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clydepowell.bsky.social
✨ Clyde ✨
@clydepowell.bsky.social
19K followers 20K following 2.3K posts
FUCK TRUMP "Sleepy Joe" When he lies, misleads, falls asleep, rambles ln a speech point it out and blame it on Old Age, and just plain being delusional.

My Major PET PEEVE with DNC
https://bsky.app/profile/clydepowell.bsky.social/post/3lpy6gzolss2x
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clydepowell.bsky.social
F U lying and delusional #Trump and your Cronies in #ICE 8647

Kristi Noem claims suspect in national guard shooting was ‘radicalized’ in US.
Hire clowns get a Circus

#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew #VoteBlue

www.theguardian.com/us-news/2025...
The image depicts Kristi Noem dressed in a colorful, intricate costume that suggests a character reminiscent of a Pierrot or a similar type of clown. The costume includes a ruffled collar with a floral pattern and polka dots in shades of red, blue, gold, and green; it has long sleeves adorned with golden buttons at the cuffs, adding to its ornate appearance. The collar and sleeve details are set against a red bodice that seems to be made of a soft, velvety fabric. The background is a chaotic mix of colors, predominantly blues, greens, and hints of gold, suggesting an abstract or painted backdrop typical for a theatrical or circus setting. Several balloons can be seen in the background, further contributing to the festive, carnival-like atmosphere of the scene. On Kristi Noem's head is a flower accessory, which appears to be a single red rose, accompanied by leaves, adding a touch of classic elegance to the playful attire. The person is wearing striking makeup with bright blue eyeshadow, dark eyeliner, and a vivid red lip color that complements the overall color scheme of the costume. To the right side of the image, there is text that reads "Fuck Kristi Noem," written in a white font on a darker background, which seems incongruent with the otherwise whimsical and festive imagery presented in the photo.
November 30, 2025 at 6:25 PM
clydepowell.bsky.social
F U lying and delusional #Trump and your Cronies in #ICE 8647
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew #VoteBlue2345.bsky.social
Four familiar, muppet-like characters stand shoulder to shoulder against a warm cream background, smiling straight at the viewer. From left to right: a small red, wide-eyed creature with an open, friendly grin; a tall, fluffy yellow bird towering behind them; a round-faced orange character with a mischievous smile; and a taller, stern-but-sweet figure with a unibrow and striped sweater. They’re holding a rectangular sign that reads “8647” in large black numbers, and beneath it the bold caption: “BROUGHT TO YOU BY THE LETTERS F and U.” The whole image has a playful, slightly retro poster feel — bright colors, simple lines, and a cheeky, tongue-in-cheek sense of humor. A worn, sepia-toned poster with the look of old paper and a faint antique compass or clock face ghosting the background. Bold black type fills most of the space in varying sizes: at the top the quotation opens with "Get it all on record now. Get the films. Get the witnesses." Then the lines grow larger and more emphatic — "Because somewhere down the track of history some bastard will get up and say that this never happened." The words "some bastard" are the heaviest, most prominent type on the page. Below the quote, the attribution reads in bold, slightly smaller type: "— Dwight D. Eisenhower, Germany, 1945." A thin dark border frames the piece, and the whole design has a distressed, archival feel that matches the urgent, no-nonsense tone of the text.
November 30, 2025 at 2:42 PM
clydepowell.bsky.social
Plan ahead, Slow them down, Help and lookout for each other.
Nothing worst than having a rabid dog cornered.
A flat, rectangular graphic dominated by a vivid, saturated red field and bold, high‑contrast white type. The composition is simple and confrontational: a single very large, all‑caps headline centered at the top, and three denser blocks of smaller white text beneath, all set in a heavy, sans‑serif type that reads like protest signage or a blunt poster. Transcription of the visible text (line breaks preserved): FUCK TRUMP Just a reminder. National Guard in D.C was ruled illegal last week. Trump chose to ignore that. Trump's people vetted him while DOGE was cutting jobs in all departments and skilled people where retiring early. Visually the piece relies on color and scale for impact — the red background signals urgency, anger, or partisan alignment to many viewers, while the large expletive headline forces an immediate emotional reaction. The smaller copy supposedly cites a legal-and-political grievance (a ruling about the National Guard in D.C.) and accuses a political operation of ignoring it; it also includes the word “DOGE,” which could be a typographical error, an ironic jab referencing internet meme culture or cryptocurrency, or an intentional pejorative — that ambiguity adds a layer of informal, combative tone. Overall the image reads as a sharply worded protest statement: direct, provocative, and designed to rally or express strong dissent.
November 28, 2025 at 9:04 AM
clydepowell.bsky.social
November 27, 2025 at 6:30 PM
clydepowell.bsky.social
HAPPY THANKSGIVING
Plan ahead, Slow them down, Help and lookout for each other.
A close, abundant still life of assorted pumpkins and gourds fills the frame: squat orange pumpkins sit alongside elongated, knobby, wart-covered gourds; pale blue and dusty-green varieties punctuate the warm palette. Textures are vivid — deep ribs, bumpy warts, smooth waxy skins, twisted dry stems — each surface catching soft, warm light that brings out highlights and gentle shadows, giving the composition tactile depth. The arrangement feels intentionally overflowing, a visual harvest with no empty space, so the eye moves from one interesting shape to the next. Across the center, a flowing white script reads “Happy Thanksgiving,” its handwritten-style strokes contrasting crisply with the organic forms and anchoring the image as a seasonal greeting. The color play — complementary oranges and teals — and the contrast of smooth and rough surfaces give the picture both harmony and lively variety. Culturally, the image evokes autumnal abundance, harvest celebration, and the communal gratitude associated with Thanksgiving; aesthetically, it balances texture, color, and typography to create a warm, inviting visual message. END OUTPUT.
November 27, 2025 at 3:04 PM
clydepowell.bsky.social
F U Wannabe #FascistPig #Dictator #Trump and #ICE 8647

Have to play this on loop for 4 or 5 mins every once in a while just as a reminder so I do not hurt anyone. Works for me.

#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew #VoteBlue
November 27, 2025 at 8:29 AM
clydepowell.bsky.social
Plan ahead, Slow them down, Help and lookout for each other.
This image presents a powerful and provocative political statement layered in a stark black-and-white design. The bold phrase "FUCK TRUMP" is placed prominently at the top in all caps, immediately drawing attention with its directness and emotional intensity. Below this, the iconic phrase from the U.S. Constitution, "We the People," is rendered in a script style reminiscent of the original document, evoking a sense of historical gravity and national identity. Following this script is the phrase "ARE PISSED OFF," also in capital letters, emphasizing frustration or anger from "the people." The juxtaposition of the revered constitutional phrase with blunt, modern language underscores a clash between traditional American values and contemporary political dissatisfaction. At the bottom, a quote attributed to Oscar Wilde reads, "Some men improve the world only by leaving it." This adds a layer of intellectual and somewhat sardonic commentary, suggesting that the subject of the statement (implied to be Donald Trump) has failed in a way that his absence might be an improvement. The overall effect is striking, combining patriotic symbolism with outspoken political critique. It captures a moment of dissent and uses both historical references and contemporary language to express a collective sense of discontent. The use of "We the People" ties individual frustration back to a collective civic identity, reinforcing that this anger is positioned as a democratic or societal grievance rather than a personal one.
November 27, 2025 at 6:32 AM
clydepowell.bsky.social
F U lying and delusional #Trump and your Cronies in #ICE 8647

Elect then hire clowns you get a Circus

#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew #VoteBlue
A satirical image-macro: a frontal photo of the White House cropped behind its iron fence and central fountain, but the classical roof has been replaced with a large red-and-white striped circus tent topped by a small U.S. flag. Bold black bars frame the top and bottom; the top bar contains white text reading “HOW THE REST OF THE WORLD,” and the bottom bar has yellow text reading “SEES TRUMP’S WHITE HOUSE.” Visually it’s a photomontage — the crisp neoclassical façade and manicured lawn are left intact while the tent’s stripes and peak turn the building into a spectacle. Compositionally the dark bars and high-contrast text force a single, punchy interpretation, and the bright tent colors make the alteration impossible to miss against the muted greens and stonework. Symbolically the circus roof signals showmanship, chaos, and entertainment over sober governance; the caption frames that as an external (global) perception of the administration named in the text. As a meme, it compresses a political critique into a single visual joke: a seat of power reimagined as a traveling sideshow.
November 27, 2025 at 12:03 AM
clydepowell.bsky.social
F U lying and delusional #Trump and your Cronies in #ICE 8647
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
A stark, high‑contrast image: plain white serif type set against a pitch‑black field. The lines are centered and stacked, each sentence broken so the eye moves down in measured beats. The font feels formal and sober — the long, narrow letters and generous leading give the short lines a punctuated, almost oratorial cadence. There are no images or decorative elements, only the words themselves, which makes the message visually blunt and unavoidable. The text reads as a direct juxtaposition: “Anne Frank hid from Nazis. In this moment, a child is hiding from ICE. The uniforms change, the cruelty doesn’t.” Using Anne Frank — a widely recognized symbol of wartime persecution and the loss of innocent life — the poster deliberately draws a line from historical atrocity to a contemporary agency (ICE). The visual minimalism and the repeated short clauses create a moral and emotional insistence: uniforms and names shift, but the human cost and the pattern of state-enabled cruelty persist. Culturally and symbolically, the piece works as a provocation and a call to memory. It leverages collective memory of the Holocaust to comment on current immigration enforcement, asking viewers to see continuity in systems of exclusion and detention. The design choice to strip away imagery leaves the analogy uncluttered and forces ethical comparison; the black-and-white palette underscores gravity and mourning. The image is a spare, high-contrast poster made of plain black type on a white field. At the top, in a larger bold face, sits the declarative headline: “Silence is Complicity.” Below that, centered and set as a compact block of verse, is the well‑known stanza often attributed to Pastor Martin Niemöller. The poem is arranged as a repeating, escalating list: “First they came for the Communists… I did not speak out,” then the same pattern for Socialists, trade unionists, and Jews, finishing on the bitter, final line that there was “no one left / To speak out for me.” A small epigraph in quotation marks and italics (visually set apart near the bottom) reads: “Some men improve the world only by leaving it.” — Oscar Wilde. Visually the piece is deliberate in its simplicity: centered text, no ornament, no imagery beyond the words. That austerity focuses the eye on rhythm and repetition; the repeated opening (“First they came…”) creates a drumbeat that mirrors the poem’s moral progression. The stark black‑on‑white palette, plenty of white space, and formal alignment give the poster the feel of a public notice or protest placard — practical, urgent, and moral rather than decorative. Culturally and symbolically, the poem is a moral parable about the costs of inaction and the way persecution proceeds by stages: when communities remain silent as others are targeted, the circle of vulnerability widens until everyone is endangered. Its structure — repetition with slight variation — is itself a device that makes the ethical lesson inevitable and cumulative. The Oscar Wilde line at the bottom adds a mordant, almost aphoristic counterpoint: a cynical aside about how some people’s absence is, to some, an “improvement,” which can be read as a comment on those who benefit from others’ removal or on the moral vacancy that allows persecution to proceed. Overall, the poster’s message is direct and uncompromising: silence in the face of injustice is not neutral; it is complicity. The fo…
November 25, 2025 at 9:58 AM
clydepowell.bsky.social
F U Stupid Asshole #Trump and your Cronies at #ICE 8647

Plan ahead, Slow them down,
Help and lookout for each other.

#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
The image is a cropped screenshot of a social-media exchange presented on a dark background: white text blocks on black, with the familiar rounded profile circles and small blue verification marks beside two accounts. At the very top there’s a short commentary line asking, in plain text, “Anyone else tired of being lied to?” — that line sits above the embedded screenshot like an observer’s lead-in. Inside the screenshot are two stacked posts. The upper post is a formal-sounding statement from an official account tied to the Department of Veterans Affairs. Its message is proud and succinct: it says the department “are proud to have opened ten new health care facilities during the second Trump Administration!” The profile circle for that account shows a small American-flag-themed image and has a blue checkmark indicating verification. Beneath it, a reply from another verified account pushes back sharply. The reply claims the projects referenced were actually planned under the subsequent administration and accuses the department of firing roughly “almost 2,000 workers so far” with “plans to cut 86,000 more,” ending bluntly with “Get real” and a first-name address. The reply’s profile circle contains a headshot-style image and also shows a verification badge. Visually, the composition is high-contrast and direct: tiny icons (reply/retweet/like are suggested by familiar spacing), compact sans-serif type, and the layered look of a screenshot embedded in another post. The May 28 date is visible, lending a moment in time to the exchange. Interpretively, the image captures a short, pointed example of political dispute condensed into social-media form: an institutional claim of accomplishment met by a corrective (and accusatory) response about origins of projects and workforce reductions. Symbolically it’s about competing narratives — credit versus accountability — played out publicly and succinctly on a platform built for rapid rebuttal.
November 24, 2025 at 8:11 AM
clydepowell.bsky.social
F U lying and delusional #Trump and your Cronies in #ICE 8647

Plan ahead, Slow them down, Help and lookout for each other
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew #PhotoOfTheDay
A person stands in an outdoor, urban-park setting holding a large, hand-painted protest sign that dominates the frame. The sign’s message is written in tall, blocky letters: “NO SIGN IS BIG ENOUGH TO LIST ALL THE REASONS” in black, with the final line “I’M HERE” emphasized in pink/red and slightly larger — a visual punch that turns a long, declarative sentence into a personal statement. The lettering is clearly hand-drawn, slightly uneven, which gives it an immediate, human quality rather than a crafted commercial look. The individual wears glasses, a dark coat and scarf, and smiles gently while pointing at the sign, a small gesture that connects person and message. Behind them, leafless trees and a low institutional building suggest a chilly day and a civic or campus location — the kind of place where rallies, vigils, or demonstrations occur. The composition emphasizes solidarity and accumulation: the oversized sign and the line “no sign is big enough” suggest that the reasons for being present are many, complex, and not easily summarized. Symbolically, the image reads as a distilled protest trope — the refusal to reduce one’s motivations to a single slogan and an insistence on being physically present nonetheless. The handwritten, slightly imperfect type and the splash of color on the final phrase amplify sincerity and urgency: it’s a personal testimony in a public space. A dense outdoor crowd fills the frame, many people clustered closely together and several wearing bright red clothing. Dominating the foreground are two hand-made protest signs held high: the left sign reads “THE FUTURE OF THE WORLD IS IN MY CLASSROOM” with the word “CLASSROOM” spelled in colorful block letters; the right sign says “I WORK TO MAKE A LIVING / I TEACH TO MAKE A DIFFERENCE,” with different words emphasized in blue and red. The signs’ bold, simple lettering and use of color make their messages readable at a distance and act as focal points against a softly blurred background of trees and faces. Visually, the scene uses repetition (many heads, many signs) to convey solidarity; rhetorically, the placards set up a contrast between economic necessity and vocational purpose, underscoring teachers’ claims about the social importance of education. The overall impression is of a public demonstration centered on education and teacher advocacy, using clear, emotionally resonant slogans and collective presence to make a civic point.
November 22, 2025 at 8:25 PM
clydepowell.bsky.social
F U Wannabe #FascistPig #Dictator #Trump and #ICE 8647
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew #QuietPiggy
A bold, high‑contrast graphic: white, all‑caps text on a black field frames a stylized U.S. flag that ripples across the center. The top line reads “WHEN TYRANNY BECOMES LAW” in a heavy, slightly distressed sans‑serif; the bottom line, equally emphatic, declares “REBELLION BECOMES DUTY.” The flag’s red, white and blue are saturated against the dark background and the whole piece has a weathered, poster‑or‑T‑shirt aesthetic—rough edges and a worn texture that suggest urgency and long‑standing conviction. Symbolically it fuses patriotic imagery with a revolutionary message: the American flag ties the sentiment to notions of national identity and the founding era, while the wording frames resistance as a moral obligation rather than mere dissent. The sentence is a conditional moral claim—if “tyranny” is institutionalized, then “rebellion” is not optional but a duty—which makes it rhetorically powerful and also potentially provocative. Historically, similar phrases are often linked in popular culture to Revolutionary rhetoric and are sometimes misattributed to figures like Thomas Jefferson, although clear documentary evidence for that attribution is lacking. Overall, the image functions as a compact, declarative call to oppose perceived governmental overreach, packaged in familiar national iconography to heighten its emotional and cultural resonance. A small street protest caught mid-afternoon: people stand on a sidewalk under a green street sign, each holding bold, hand-made placards. Foreground center is a large, rectangular sign in stark black, white and red reading "RESIST FASCISM / FIGHT OLIGARCHY" in heavy block type — the contrast and short imperative phrases give it the feel of a rallying cry. Above and slightly behind it is a patriotic red-white-and-blue placard that reads "PRO-AMERICA / ANTI-TRUMP," and nearby is a stylized, posterized portrait rendered in flat blues and reds with high-contrast highlights, evoking propaganda or pop-art poster aesthetics. On the right an older person in a straw hat and sunglasses speaks into a microphone or megaphone while holding another sign whose text is partially visible; their posture and open mouth add urgency and sound to the otherwise still photograph. The composition leans on American colors and bold typography to communicate political allegiance and opposition; the language evokes anti-authoritarian and anti-elitist themes common to contemporary protest movements. There’s no technical diagram or scientific system to solve here — it’s a direct visual statement and a slice of civic expression.
November 22, 2025 at 11:40 AM
clydepowell.bsky.social
F U Perverted Old Man #Trump and your Cronies in #ICE 8647
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
A bright, punchy comic: on the left, a young woman with brown hair in a ponytail, wearing a purple hoodie and jeans, stands with closed eyes and a casual, shrugging gesture as if dismissing or explaining something. Dominating the right side is a large, very yellow wood‑chipper rendered with bold black outlines and flat color—its feed hopper and chute have been given a cute, anime‑style face (blushing cheeks, simple smiling eyes), which makes the machine look unnervingly friendly. Above them, hand‑lettered text reads: “Whether you’re being inappropriate with an 8‑year‑old, or a 15‑year‑old, the ‘Chippy 5000’ doesn’t discriminate.” The artist’s signature and a date appear in the lower left. Visually the piece trades on contrast: cheerful, kawaii anthropomorphism and saturated color versus a dark, punchy caption about harm. That tension creates black humor and a satirical bite—the smiling machine and the woman’s nonchalance make the violent implication feel both absurd and chilling. Interpreted culturally, it reads as a blunt, ironic comment on wrongdoing and consequence (and on how society sometimes treats serious abuses with indifferent or flippant attitudes): the cute, impartial machine “doesn’t discriminate,” obliterating any excuse or nuance. The style—clean lines, simple palette, exaggerated expressions—keeps the image readable and sharp while amplifying the unsettling juxtaposition.
November 22, 2025 at 10:45 AM
clydepowell.bsky.social
F U Old Man #Trump and your Cronies in #ICE 8647
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
A glossy, black-furred cat fills the frame, its fur rendered with sharp highlights that emphasize a plush, almost velvety texture. The cat’s eyes are a striking, narrowed amber—half-lidded, intensely focused—and its expression reads as sardonic and unamused. With one paw curled around a plain, cream-colored mug held up to its muzzle, the cat seems deliberately humanized: the posture and the cup suggest a moment of caffeinated sarcasm. The mug bears bold, block-letter text: “TRUMP” on the first line and beneath it, in smaller type, “Is he dead yet?” The typography is straightforward and confrontational, designed to be read immediately. The background looks like a soft, neutral fabric (this appears to be a print on a cup), which mutes distraction and keeps attention on the cat and the slogan. Visually and emotionally the image leans on dark humor and satire. The black cat—an animal often associated with superstition, mischief, or independence—serves as a sly mouthpiece, turning human political animus into a compact, provocative visual gag. As an artifact it blends pop-culture parody, political provocation, and merchandising design: simple composition, high-contrast imagery, and a pithy, shocking caption meant to provoke a reaction.
November 22, 2025 at 5:09 AM
clydepowell.bsky.social
F U lying and delusional #Trump and your Cronies in #ICE 8647
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
The image is a square graphic with a soft, cloudy background that fades from pale yellow at the top left into gray, then to bluish tones and white toward the bottom. The edges are slightly darker and more textured, giving a vignette effect that draws the eye toward the center text. At the top left there is a stylized quotation mark in dark gray, signaling that the text is a quote. The main message is centered and uses two contrasting colors to emphasize urgency: In bold black capital letters: “IT’S IMPORTANT TO VOTE IN THE MIDTERMS.” Directly beneath, in bold red capital letters, a more dramatic statement: “IF DEMOCRATS WIN, PRESIDENT TRUMP WILL BE IMPEACHED.” Below this, in smaller, italicized black type, is the attribution: “Karoline Leavitt.” Visually, the design employs a common rhetorical technique: neutral or serious information in black, followed by a high-stakes warning in red. Red, culturally associated with danger, alarm, or urgency, underscores the implied threat of impeachment. The mix of soft, almost watercolor-like background with stark, blocky text creates contrast between a calm visual field and a heated political message. Culturally and politically, the quote references U.S. midterm elections and uses the prospect of impeachment as a motivator to vote, reflecting partisan campaign rhetoric. It encapsulates a broader theme in modern political communication: framing electoral outcomes in terms of existential consequences for a favored leader, thereby turning routine civic participation into a high-drama event.
November 22, 2025 at 12:07 AM
clydepowell.bsky.social
F U lying and delusional #Trump and your Cronies in #ICE 8647
Plan ahead, Slow them down, Help and lookout for each other
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
The image is a bold, poster-style illustration in black and off‑white with text and a central figure. Visual details: At the top, large capital letters read: “THEY BLAME IMMIGRANTS.” Below this text is a drawing of a man in a suit and hat, with a stern expression, pointing outward as if directing attention or issuing an order. Behind and beside him is a heap of money: bundles of cash with visible bills, suggesting large wealth. Under the illustration, more large text says: “SO YOU WON’T BLAME BILLIONAIRES.” At the very bottom, in a black band with white text, it reads: “It’s Well Past Time ‘EAT THE RICH’”. Symbolic and cultural meaning: The suited man symbolizes wealthy elites or powerful figures. The pile of money emphasizes extreme wealth and economic inequality. The phrase “They blame immigrants so you won’t blame billionaires” reflects a political critique: it suggests that powerful or wealthy people deflect public anger toward immigrants instead of allowing scrutiny of economic systems or rich elites. “Eat the rich” is a long‑standing slogan in political and cultural discourse, used metaphorically to express frustration with extreme wealth concentration and perceived injustice in capitalist systems. Overall, the poster uses stark imagery and strong language to convey a message about scapegoating and class conflict.
November 20, 2025 at 7:26 PM
clydepowell.bsky.social
F U Stupid Asshole #Trump and your Cronies at #ICE 8647

Now this is the way us old Boomers handle ICE agents
with no IDs or Warrants.

#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
November 20, 2025 at 6:34 AM
clydepowell.bsky.social
F U Old Man #Trump and your Cronies in #ICE 8647
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
#PhotoOfTheDay #QuietPiggy
The image is a stylized cartoon illustration of Trump in a dark business suit, white dress shirt, and red tie, standing with his arms folded. The background is a flat, pale blue, which makes the central figure pop out more strongly. Trumps head is exaggerated and transformed into a pig’s face: pink pig ears, a rounded orange‑pink snout with large nostrils, and a smooth, almost mask‑like surface that blends with human hair and jawline. This fusion of human figure and animal features creates a caricature that’s meant to be mocking rather than realistic. The arms‑crossed pose and straight posture convey defiance or stubbornness, reinforcing the satirical tone. To the right of the figure, in plain black text, are the words “Quiet Piggy.” The phrase, paired with the anthropomorphic pig imagery, suggests an insult or attempt to belittle and silence the depicted person. Pigs in Western political cartoons often symbolize greed, gluttony, arrogance, or moral corruption, so the pig mask here likely functions as a visual shorthand for those traits. The simple, almost poster‑like layout—single figure, flat background, bold caption—emphasizes the image’s role as pointed political or social commentary rather than a neutral portrait.
November 20, 2025 at 6:22 AM
clydepowell.bsky.social
F U Wannabe #FascistPig #Dictator #Trump and #ICE 8647

Plan ahead, Slow them down, and Help each other

#Resist 24/7/365 Turn up the Volume Film ~ Film ~ Film
#NoKings #Indivisible #BlueCrew #PhotoOfTheDay #QuietPiggy
In the image, people are gathered in what appears to be a protest or rally. The focus is on two large, hand-made signs held by individuals bundled in winter clothing, suggesting a cold day. The sign on the left is on white poster board with bold, uneven hand-lettering in blue and red. It reads: “TO GET TO OUR NEIGHBORS, YOU HAVE TO GET THRU US!” Certain words—especially “NEIGHBORS”—are enlarged and written in a more vivid blue, giving emphasis and a sense of solidarity and protection. The phrase frames the group as a protective barrier around a vulnerable community. The sign on the right is narrower and looks more weathered, with a rougher, almost distressed style. It says: “ABOLISH ICE” The word “ICE” is in red with stylized lettering and circles for the letters “C” and “E,” adding a graphic, urgent feel. “ICE” here refers to the U.S. Immigration and Customs Enforcement agency, a frequent focal point of immigration-related protests. Around them, there are hints of an urban environment—stone steps, buildings in the background, people in dark coats. At the lower right, there’s a bright yellow bag with a simple, cartoon-like smiling face, which contrasts sharply with the seriousness of the signs. That smiley face injects an odd, almost accidental cheerfulness into an otherwise tense, political scene. Symbolically and culturally, the image reflects contemporary protest culture in the United States around immigration and deportation. The “neighbors” language evokes community, mutual care, and a moral appeal: immigrants are not “others” but people next door. “Abolish ICE” is a direct demand, associated with movements that criticize immigration enforcement as cruel or unjust. The hand-made nature of the signs and their imperfect lettering underscore grassroots activism—ordinary people, not polished institutions, asserting their stance in public space. A crowd moves down a city street, packed between tall buildings that recede into the background. The atmosphere suggests a protest or march: people are walking close together, many wearing masks and casual clothes, some holding signs. At the center, a person in dark clothing and sunglasses holds a white poster board. The message is written in large, uneven letters, alternating colors: “ICE melts under Resistance!” The word “ICE” is in blue, “melts under” in black, and “Resistance!” in a bold red that visually dominates the sign. The person’s grip on the sign is firm, with both hands visible at the edges of the board, and their face is partially shadowed by a cap and glasses, which gives the sign itself more prominence than the individual. Other demonstrators are scattered behind and to the sides, slightly out of focus, forming a moving backdrop of faces, placards, and motion. One sign to the right edge is partially visible, with the word “Silence” legible, hinting at another slogan about speaking out. Sunlight cuts through the urban canyon, casting sharp highlights on the street and the marchers, which gives the scene a sense of midday urgency. Symbolically, the sign hinges on a double meaning of “ICE.” Literally, ice melts under heat; metaphorically, “ICE” refers to U.S. Immigration and Customs Enforcement. The phrase “melts under Resistance” suggests that organized public opposition—protest, activism, political pressure—can weaken or dissolve the power of that institution. The color contrast reinforces this metaphor: cold blue for “ICE,” then the intense red of “Resistance,” evoking heat, passion, and defiance. The scene captures both a specific political stance on immigration enforcement and a broader theme of collective resistance as a force of change.
November 19, 2025 at 3:44 AM
clydepowell.bsky.social
F U Stupid Asshole #Trump and your Cronies at #ICE 8647

The dog may not bark but I bet the Pig Squeals

#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
#QuietPiggy
The image appears to be a stylized magazine cover parody. A very large close‑up of a Trump’s face dominates the frame, his mouth open in a broad grin so that his teeth fill the center. The photograph has been digitally altered: in place of the person’s normal nose, there is a pink pig’s snout, complete with round nostrils, creating a jarring and obviously cartoonish effect. The extreme close‑up emphasizes skin texture, wrinkles around the eyes, and the gleaming whiteness of the teeth, making the animal feature stand out even more. Across the center, bold white lettering reads “Corruption” in a dramatic, serif typeface, with smaller surrounding phrases that frame it as the main accusation. The top resembles the masthead of a well‑known city magazine, while the bottom black band carries the phrase “Quiet Piggy” in stark white letters, like a caption or taunt. Visually, the pig snout is the central symbolic element. In many Western cultures, pigs are used as metaphors for greed, gluttony, filth, or a lack of moral restraint. By grafting a pig’s nose onto a human face and pairing it with the word “Corruption,” the image is satirical and accusatory: it implies that the subject is driven by greed or unethical behavior. The polished magazine-layout style—clean typography, strong central image, and high contrast—mirrors real editorial covers, so the piece functions both as political or social commentary and as a parody of mainstream media imagery.
November 18, 2025 at 7:33 AM
clydepowell.bsky.social
F U lying and delusional #Trump and your Cronies in #ICE 8647

My favorite Oatmeal Creme Pies just got smaller "PISSED"
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew

www.politico.com/news/2025/11...
The image is a plain black square with bold white text laid out in two main sections, like a digital poster or meme. The top section reads: “Trump says Americans are ‘damn lucky’ he’s in office in first affordability pitch” This is presented like a news headline: larger type, centered, and stacked across several lines. The use of single quotes around “damn lucky” highlights it as a direct, colloquial phrase, suggesting bluntness or bravado. The lower section responds in a more conversational, personal voice: “I Just came from the Grocery Store. Man is this Guy LYING High Prices and shrinkflation” Here the capitalization is irregular—“Just,” “Grocery Store,” “Man,” and “LYING” are capitalized for emphasis, with “LYING” in all caps, visually conveying anger or frustration. The phrase “High Prices and shrinkflation” sits like a tagline beneath, summarizing the complaint. Symbolically and culturally, the image functions as political commentary. It juxtaposes a claimed political message about affordability with an everyday experience—shopping at a grocery store—used to contradict that message. The reference to “shrinkflation” (a phenomenon where product sizes get smaller while prices stay the same or rise) connects it to contemporary economic anxieties and consumer frustration. The stark black-and-white design reinforces the confrontational tone: no images, just text, as if the argument is meant to feel blunt, urgent, and uncompromising.
November 18, 2025 at 4:56 AM
clydepowell.bsky.social
F U Stupid Asshole #Trump and your Cronies at #ICE 8647
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
#PhotoOfTheDay
The image shows a yard sign staked into a patch of grass along a suburban street, with houses and autumn-colored trees in the background. The sign has a stark black background and bold white text at the top reading: “KNOW YOUR PARASITES.” Below the heading are three labeled images in a row: On the left is a close-up illustration of a deer tick, with a dark body and reddish-brown back, labeled “DEER TICK.” In the center is a similar illustration of a dog tick, with a darker, more uniformly colored body, labeled “DOG TICK.” On the right is a photograph of Donald Trump’s face, lips pursed, labeled “LUNA TICK,” a pun on “lunatic.” Visually, the sign uses simple, high-contrast design so the text and images stand out clearly from the street. The humorous structure sets up a pattern with two actual parasites (ticks) and then subverts it with a political jab, calling a well-known political figure a “parasite” and a “lunatic” through wordplay. Symbolically and culturally, this is a piece of political protest art. It equates a controversial political figure with harmful parasites that feed off a host, implying he harms or exploits society. The humor relies on puns and visual juxtaposition, a common tactic in political yard signs and protest posters to convey criticism quickly and memorably to passersby.
November 18, 2025 at 1:28 AM
clydepowell.bsky.social
F U lying and delusional #Trump and your Cronies in #ICE 8647

Know your rights, Plan ahead, Slow them down ,Help each other

#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
#Charlotte #Asheville
#PhotoOfTheDay
The image captures a protest scene, dense with people and hand-made signs. The focal point is a white poster held aloft in the center that reads, “You’ve Shaken The HORNETS NEST,” with “HORNETS” emphasized in larger, bolder letters. The handwriting is uneven and urgent, giving it a spontaneous, emotional feel. Around it, other signs emerge partially from the crowd. On the right, there’s a red sign with white letters that appears to say “AGAINST OPPRES[SION],” though the text is partly cropped. Another sign lower down mentions “ICE,” likely referencing immigration enforcement in the United States, which situates the protest in a contemporary political context. The people themselves are mostly seen from behind or mid-crowd—dark coats, backs of heads, and raised arms—creating a sense of collective movement rather than focusing on any one individual. In the background, trees with autumn-colored leaves suggest the protest is taking place outdoors in fall, the muted greens and browns contrasting with the bright, assertive colors of the signs. Framing graphics overlay the image: a white border and text at the top right that says “NEWS THAT IMPACTS YOU,” and a logo at the bottom left reading “WCNC CHARLOTTE,” indicating this is a news broadcast still. Symbolically, the phrase “You’ve Shaken The Hornets Nest” suggests that authorities or policymakers have taken an action that has stirred up intense public backlash—hornets being a metaphor for an angry, mobilized population. The hornet also echoes the mascot of Charlotte’s NBA team, the Hornets, subtly tying the metaphor to local identity: disturbing the “hornets’ nest” is like provoking the city itself. The mix of signs about oppression and ICE signals a protest centered on social justice and government policy, with the image capturing not just an event but a moment of civic agitation and communal voice.
November 17, 2025 at 9:57 PM
clydepowell.bsky.social
F U Mentally Declining #Trump and your Cronies in #ICE 8647
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
#PhotoOfTheDay
In this image, a young woman stands prominently in the foreground, holding up a sign that reads, "So bad, even introverts are here." The sign itself uses a playful combination of colors: black for most of the text and a vibrant green for the word "introverts," drawing attention to that key part of the message. The woman's expression is composed and calm, conveying a quiet but firm sense of engagement and purpose. Behind her, a crowd of people fills the background, their faces and signs slightly blurred due to depth of field, suggesting a large gathering or protest. The diverse crowd indicates a shared concern or cause that has motivated people beyond their usual comfort zones, as hinted by the witty sign—highlighting that the situation is significant enough to bring even introverts out into the public sphere. This image captures a moment of social or political activism, where the presence of introverted individuals speaks volumes about the gravity of the issue at hand. The sign's message also touches on human behavior and personality tendencies, subtly nodding to the fact that introverts typically avoid large group settings unless deeply compelled, thereby amplifying the impact of their participation. The overall tone is one of quiet determination mingled with a touch of humor, making it a compelling visual statement in a collective movement.
November 17, 2025 at 3:51 AM
clydepowell.bsky.social
F U Perverted Old Man #Trump and your Cronies in #ICE 8647
#Resist 24/7/365 Turn up the Volume
#NoKings #Indivisible #BlueCrew
#EpsteinFiles
bsky.app/profile/clyd...
November 17, 2025 at 1:04 AM