whats the over under on a little bit of sugar in a coleslaw dressing? i tend to like a little bit but its very easy to go overboard. also tonight i am making kale pesto and pasta
I don’t much like the taste of granulated sugar in coleslaw but I think a bit of honey and stuff can be good for overall flavour profile. Though, I type that, & now I’m sure I’ve eaten coleslaw that had granulated sugar in it that I liked. Point being yea I think a little bit of sweet can work well.
Anonymous asked:
You're so cool. You're like a gender.
I’m a person
Anonymous asked:
May I ask what the context for the gay sex image specifically is
I don’t know what to tell you. It’s gay sex.
Anonymous asked:
But do you know about Cole's Law?
Important and oft-forgotten lesson on the importance of putting too much or too little mayo&vinegar on that bad boy.
Anonymous asked:
i like the jerma amongus streams lots so youre only my second favourite among us player sorry :(
Hokusai’s Great Wave fascinates me because, unlike almost every other artwork in that bracket of fame, it was never a bespoke piece that was only later reproduced. It was a commercial print right from the start, and while versions of it can be identified as belonging to different print runs, there is no meaningful ‘original’ aside from the long-since-discarded printing plates.
Even better, this state has been imposed on artworks that were once unique. In 2021, the art collective MSCHF bought an Andy Warhol sketch at auction for $20,000, made 999 meticulous forgeries of it, shuffled them to destroy any record of which was the original, and sold each piece for $250 as Possibly Real Copy of 'Fairies’ by Andy Warhol, by MSCHF.
As with many smartass art collectives, MSCHF’s projects range from eye-rolling to kinda clever to brilliant, but I think this is their magnum opus. It has exactly the kind of unwieldy literal title I adore. The original work has been arguably destroyed, but in a way that Warhol would applaud. It’s the most pointed way to ask art buyers, do you care about the actual artistry of the work or just the bragging rights of owning the original?
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Artistic domains where reproduction is trivial are often prone to the Superstar Problem: Why would I listen to the world’s 50th-best cellist when I can stream all the Yo-Yo Ma I want just as easily? NFTs were pitched as a solution to this, marking the original or master copy of a natively-digital work to let it retain value. But even if the crypto market didn’t have its own 2008 every few weeks, I don’t want fine-art auction houses to be the future of digital art, especially when there are already plenty of existing ways to mitigate the problem. A fursona, a tabletop-game character, a niche Blorbo, etc. are all bespoke value-adds that enable a much greater range of artists to get commissions. But these require a culture of art fans who don’t care about flipping it at Christie’s, often overlapping with fannish cultures where plenty of artists operate at all experience levels.
I don’t have any tidy conclusions for this, but I just want to say that an earlier version of this process - “paint me a biblical scene, and put me in it to flex my wealth and piety” - culminated in one of the funniest artworks I’ve ever seen, Francisco de Zurbarán’s Christ Crucified (With Donor):
To me this is greater than getting an Oscar. Thank you a lot.
Anonymous asked:
Hi, I'm new here (trans girl)
Why are we all talking about gay sex?
I don’t care what your gender identity is and you don’t need to specify it to me in a question unprompted. That feels weird. Anyways, I’m talking about gay sex because I want to.
Anonymous asked:
well CAN YOU post the gay sex image??? It was the funniest joke I ever saw watching a stream but I don’t have it saved
