A quick drawing, and alternative universe, inspired by the cover of YA #8, where Billy appeared with this new look. I had to make up Teddy’s look based on Billy’s.
I had a lot of fun drawing this picture, I hope you like it. ♥♥
Rocco Morabito, a journalist with the (now defunct) Jacksonville Journal in Florida USA, was driving back to his newsroom one summer’s day in July 1967 when he passed a group of utility workers by the side of the road, shouting about an unconscious, electrocuted co-worker who was dangling from a power pole, after having received a 4,000 volt charge of electricity. Morabito used his car’s two-way radio to notify emergency services and then took a photograph of the scene, an image which hit newspaper front pages around the world and eventually led to Morabito being awarded the Pulitzer Prize the following year. The picture shows a senior lineman, J.D. Thompson, giving mouth-to-mouth resuscitation to 29-year-old apprentice lineman Randall Champion, and subsequently saving his life - the first time such a method of resuscitation had been widely publicized, and which was dubbed “The Kiss Of Life” by the Copy Editor of the Jacksonville Journal, Bob Pate. It’s now, of course, a term widely used throughout the world.
On the cover of American Prospect, Joel Sternfeld’s ode to roadside America, was a ghoulish photo. A fireman shops for a pumpkin as the farmhouse — whose fire presumably brought him to this very acres — burns in the background. Its fiery destruction perfectly complemented the wintry leaves, the spoilt pumpkins, and from the foreground, with his hands tightly clasped upon a prized possession, the orange-clad firefighter: an American Nero.
It was not a staged Leibovitzian spectacle. Joel Sternfeld indeed witnessed the fire while driving his Volkswagen through McLean, Virginia. However, if there is one thing the readers should take from Iconic Photos, it is that photographs lie too. In this case, the fire was a controlled training exercise and the firefighter was on a break.
But this fact wasn’t even clear to the reviewers of his works (here, here). When the photo was published, firstly in Life, and then in many other magazines and exhibitions, it was only with pithiest of captions: “Joel Sternfeld; McLean, Virginia; December 1978″. The photographer himself reveled in this ambiguity; in a 2004 interview where the Guardian called him the chronicler of “the sinister curiousness of modern America”, he confided:
“Photography has always been capable of manipulation. Even more subtle and more invidious is the fact that any time you put a frame to the world, it’s an interpretation. I could get my camera and point it at two people and not point it at the homeless third person to the right of the frame, or not include the murder that’s going on to the left of the frame. You take 35 degrees out of 360 degrees and call it a photo. There’s an infinite number of ways you can do this: photographs have always been authored.”
A healthy, inexpensive, environmentally friendly solution for housing millions of retiring baby boomers is staring us in the face. We just know it by a dirty name.
Sooooo… is the message the Nice Guy™ photoshop wizard is trying to convey that “Good Guys” are an alien species that feels entitled to invade the women’s space for its own edification, while the “Asshole” is a companion species that offers a mutually beneficial relationship?
They may have accidentally had a moment of self-awareness.