prison industry

get cold feet

to suddenly become too frightened to do something you had planned to do, especially something important like getting married We're getting married next Saturday - that's if Trevor doesn't get cold feet! I'm worried she maybe getting cold feet about our trip to Patagonia.


Frank and Jordan are lying next to each other in bed.

FRANK: How’d a water stain get there?

Camera cuts up to two brown stains on the ceiling above Frank.

FRANK: It rained maybe twice this last year. It’s like everything’s papier-mache.

JORDAN: Stop thinking.

FRANK: I don’t like being on a ledge.

JORDAN: Nobody gets rich on their own money,

FRANK: I never really knew what to do with it. Money.

Camera cuts to show the outside of Frank’s house.

FRANK: I see that about myself.

JORDAN: You always said you want lots of land.

FRANK: Yes, but you need children to leave it to. It’s never really yours. You don’t take it with you.

JORDAN: You don’t take anything with you.

FRANK: Just yourself. Whatever that was.

JORDAN: I’ve worked my whole life. Same as you. And not being poor is better than the opposite.

FRANK: My old man back in Chicago, when I was a kid… (laughs) he used to lock me in the basement when he’d go on a bender. Usually last the night. Let me out the next day. Thought he was keeping me safe, I guess. This one time, I was six - he puts me down there. I wake up and it’s locked. It had happened before. Anyways, so I guess he ended up arrested, I guess.

JORDAN: God, baby.

FRANK: Well, by the second morning I was out of food. The third day the light bulb burnt out. Pitch black in there. That’s when the rats started coming out. I dozed off and I felt a thing nibbling my finger. I woke up, it was, you know, chewing my finger.

JORDAN: What did you do?

FRANK: I grabbed it in the dark with my hands, I started smashing. And I just kept smashing it until it was nothing but goo in my hands. 2 more days I was in there. In the dark. Til my dad comes home.

JORDAN: Sometimes I wonder how many things you have like that. That I don’t know about.

FRANK: Ever since, I wondered: what if he never comes home? What if I’m still in that basement in the dark? What if I died there? That’s what that reminds me of.


FRANK: The water stain. Something’s trying to tell me that it’s all papier-mache. Something’s telling me to wake up, like… like I’m not real. Like I’m only dreaming.

Cut back to the water stain. The cut to--

HS2: the human cost of Britain’s most expensive ever rail project

Protesters against HS2 have been dismissed as nimbys, but there’s more at stake than house prices. Is there no future for life in the slow lane? 



The Beerlight novels and some of Toxicology are set in a supposedly future dystopian town called Beerlight, apparently modelled on Baltimore.
"I've felt, more strongly as I've grown older, that reality's always somewhere else. You can't take reality in your hand, it's a perfume and it's everywhere. But I've never been able to find out where it comes from, so I'm left wondering, is it real?" — Peter Barnes, Introduction to Plays: Two
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Sue Coe

From Wikipedia, the free encyclopedia
Sue Coe (born 28 November 1951) is an English artist and illustrator, working primarily in drawing and printmaking, often in the form of illustrated books and comics. She grew up close to a slaughterhouse and developed a passion to stop cruelty to animals. Coe studied at the Royal College of Art in London and lived in New York City from 1972 to 2001. She lives in upstate New York. Her work is highly political, often directed against capitalism and cruelty to animals.


Coe was born in TamworthStaffordshire. For a quarter century she has explored factory farmingmeat packingapartheidsweat shopsprisonsAIDS, and war. Her commentary on political events and social injustice is published in newspapers, magazines and books. The results of her investigations are hung in museum and gallery exhibitions and form an essential part of personal fine print collections by artists and activists alike. Coe's paintings and prints are auctioned as fund raisers for a variety of progressive causes and, since 1998, she has sold prints to benefit animal rights organizations.
Her major influences include the works of Chaim Soutine and José Guadalupe PosadaKäthe Kollwitz, Francisco Goya and Rembrandt. She is a frequent contributor to World War 3 Illustrated, and has seen her work published in The Progressive,Mother JonesBlabThe New York TimesThe New YorkerTime MagazineNewsweek The Nation[1] and other periodicals.
In the 1980s, Coe was featured on the cover of Art News and her artwork has appeared in numerous museum collections and exhibitions. In 2002, Brown University staged an exhibition of her work titled Commitment to the Struggle: The Art of Sue Coe.[2]
Recent projects include 9-11, on the collapse of the World Trade Center, and her publication Bully: Master of the Global Merry-Go-Round (2004), a critique of the Bush administration. Her latest book Sheep of Fools… a song cycle for 5 voices was published in September 2005.
She taught courses at Parsons School of Design about social awareness in art. Coe was elected into the National Academy of Design as an Associate Academician in 1993, and became a full Academician in 1994.
Her work is represented by Galerie St. Etienne in New York City.
Her artwork is featured in the animal rights movie, Earthlings, and on the cover of Animals, Property, and the Law (1995) by Gary Francione.

Selected bibliography[edit]


Guy Colwell is a Bay Area underground comix artist turned mural painter who recently went back to explicit political work, to disastrous effect. As described in this Steve Gillliard post (and original story), Colwell tackled the Abu Ghraib prison torture story and his painting was so effective it got his art dealer literally punched in the face, and spat on, by angry yahoos. The gallery--in the bohemian North Beach area of San Francisco, of all places--was also vandalized, and the dealer closed her business yesterday. The painting is explicit, illustrational agitprop in the Sue Coe tradition, depicting subhuman GIs with American flag patches on their uniforms, screaming in rage at a row of naked figures, hooded, wired up and standing on buckets. All the emotions are right up on the surface, and this is a time when emotions matter.

Colwell has taken the Abu Ghraib photos, which were already starting to lose some shock value through endless media repetition, and dared to nationalize them by making ugly, monstrous caricatures out of "the troops." We aren't supposed to regard our soldiers as bad or suspect, even though the war was launched for fraudulent reasons and no one knew how the "liberated" Iraqis were being treated. (For the record, I support the troops but wish they could be put to work by the Pentagon protecting us from our real enemies.) The people who assaulted Colwell's dealer are still in whipped up "war mode"--which is hard to come down from after all the Fox News and New York Times/Judith Miller propaganda. The dark side of America is an ugly beast and with blood in the air, it's not so easy to calm. When the Japanese attack you, you put all your energy into attacking the Japanese; when an "invisible network of terror cells" attacks you, it's hard to know where the energy's supposed to go. So you hit "sitting duck" countries. And art dealers.

Fortunately there's some counter-energy in the form of concerned artists who fear fascism at home more than randomly-striking terrorists. In this sense Guy Colwell is a sort of anti-Mumford, referring here to Steve Mumford's rapidly-dating "Parisian flaneur in Iraq" sketchbook drawings of American soldiers at work and rest in an exotic foreign land. Those bland, tastefully smeared, courtroom style drawings, purporting to be some kind of art vérité, managed to hide the hatefulness and essential wrongness of the US invasion of a country that never threatened us except with words--a classic colonial adventure fused with misdirected payback. Mumford even got interviewed by CNN, the official voice and supporter of the war. Colwell's art is simplistic, not tasteful in the least, but it cuts right to the subjugating core of the BushCo enterprise. Not that a punch in the face validates art or is anything other than repugnant, but no one will ever be punched over Mumford's drawings.
[UPDATE: Capobianco gallery's "Guy Colwell page," which had a clearer view of the Abu Ghraib painting, was removeda few hours after I posted this (that's the gallery where the dealer was attacked). Its website is now also closed, but has a phone number to view a video of the gallery closing memorial.]

- tom moody 5-30-2004 6:01 pm [link

posted Guy Colwell before couple of times but this is a nice print version and any excuse...

oil on canvas 1976; reproduced here from the May 1980 issue of Heavy Metal magazine; appeared as the cover for the comic Inner City Romance No. 4, 1977 (Last Gasp Eco-Funnies)Guy Colwell websitewww.atelier9.com/


The best is the hair running amok in the lady bits, or stretched across the asshole, sweet lizard God, I don't care what company I'm keeping it has to get outta there.

not bin on here for ages http://altcomics.tumblr.com/

"People talk about their human rights - what about mine?"