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It's Juneteenth yall. And I'm not letting this day go unmarked.

Black people fight for everybody. We stand in solidarity with women, lgbt people, poor people all over the world of every skin color and background. Every religion and nationality.

Today, stand with us. Be with us. Tell a black person you love them. Hug a black person (with consent). Ask that hot black girl out today. Make a black person smile. Black lives matter to everybody and you matter to us.

Stand with us on Juneteenth like we stand with you all year round, and I hope a happy Pride month continues for all of us

💝

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Reached out to a biologist to request some info about an extinct species of freshwater shrimp and the email she sent in response was not only lovely and helpful but also kind of poetry to me? People who study invertebrates are actually the most hopeful and compassionate scientists that we have.

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he roller bladed in

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CRAB SHOTZ

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I actually wrote this btw

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Love David Byrne interviews cuz you'll either get a qoute like "I want to be cute and blonde" or one of the most heartbreakingly lonely and terrifingly confused qoutes you've ever heard:

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Throwback Thursdays Singles Released This Week; The Comsat Angels "Red Planet" (1979), Echo & The Bunnymen "Pictures On My Wall" (1980), Gang Of Four "I Love A Man In A Uniform" (1982), The Virgin Prunes "Pagan Love Song" (1982), Tones On Tail "Burning Skies" (1983);

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I listen to a David Byrne and Jerry Harrison audio interview from 1978 and Jerry is so iconic, the interviewer asked how it felt to be seen as an intellectual band and why they think that is, and David was just about to start answering and Jerry says "it's cuz we don't pretend we're stupid", also he's always like the only one SERVING in photos

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found a shady lookin pill in my collection. most likely my years old ritalin. i will take this in my final time, when i truly need it

i procrastinated and now i have to do 5 coffee and thean i have to actually work but its gonna take like 5 hors bc i dont have aderalll or ritalin or any of that and fuck my stupid baka life

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great films available on the internet archive part two

first post + the archive collection with all of them

la haine (1995) dir. mathieu kassovitz

carnival of souls (1962) dir. herk harvey

andrei tarkovsky's filmography

a nightmare on elm st. (1984) dir wes craven

possession (1981) dir. andrzej źuławski

the silence of the lambs (1991) dir. jonathan demme

safe (1995) dir. todd haynes

psycho (1960) dir. alfred hitchcock

cops (1922) dir. buster keaton

sherlock jr (1924) dir. buster keaton

when harry met sally... (1989) dir. rob rainer

the bride of frankenstein (1935) dir. james whale

man with a movie camera (1927) dir. dziga vertov

coffee and cigarettes (2003) dir. jim jarmusch

m (1931) dir. fritz lang

it happened one night (1934) dir. frank capra

casablanca (1942) dir. michael curtiz

purple noon (1960) dir. rene clement

carrie (1976) dir. brian de palma

eraserhead (1977) dir. david lynch

they live (1988) dir. john carpenter

female trouble (1974) dir. john waters

do the right thing (1989) dir. spike lee

wings (1927) dir. william a wellman

fallen angels (1995) dir. wong kar wai

velvet goldmine (1998) dir. todd haynes

black panthers (1968) dir. agnes varda

american psycho (2000) dir. mary harron

the manchurian candidate (1962) dir. john frankenheimer

girlfriends (1978) dir. claudia weill

more to come ♡ glad you all like movies.

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i procrastinated and now i have to do 5 coffee and thean i have to actually work but its gonna take like 5 hors bc i dont have aderalll or ritalin or any of that and fuck my stupid baka life

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I just scanned this article from the Dutch music magazine Soundz - Edition 1, 2018. The English translation is under the cut! [Just a quick note from me: I feel like this isn’t the best piece of journalism. There are some parts where the journalist may have filled in details without properly researching them, or where the translation may not have captured what David originally said. For example, I don’t think David discovered St. Vincent, and I’m pretty sure he and Chris and Tina don’t still "get along just fine" as stated in the article. I also feel that the tone of voice doesn’t always sound like David. It’s sometimes more negative than I’m used to hearing from him, and I’ve never heard him talk about himself in the third person. But despite all these criticisms, it’s still nice to read about things like how he spent his time in Amsterdam. :) So, enjoy the read!]

DAVID BYRNE THE OPTIMIST

"Some people have so much talent, that making choices only becomes more difficult." David Bowie said this in 2002 about his friend David Byrne. Sixteen years later, the master's words carry even more weight. With his new album American Utopia, the former frontman of Talking Heads is charting new paths.

AUTHOR: JEAN-PAUL HECK

David Byrne hates wasting time. Even during a fairly packed press day in the heart of Amsterdam. He uses his break to quickly ride back and forth between the Stedelijk Museum and his hotel. By bike, of course. “Cycling a few kilometers through Amsterdam makes me a happy man. It's like riding through paradise.” He’s 65 now, but still has that boyish charm — a handsome head of gray hair, narrow shoulders, and an ever-generous smile. “You’ve caught me at the best time of day.”

How was your visit to the Stedelijk Museum? “Very worthwhile. There was a Keith Haring exhibition where I saw some remarkable pieces. I’m also a big fan of your architect Rem Koolhaas, and he redesigned the museum in a completely innovative way. Very special! On the way back, I also stopped by Micropia. A highly interesting museum with all kinds of tiny organisms. Very groundbreaking!”

To be honest, I had the impression you’d said goodbye to music as a solo artist. “Is that so? I’ve been working on the songs for American Utopia for a few years now. The album was actually finished last year, but my producer Rodaidh McDonald told me it could all be a bit better. I had written the song Everybody’s Coming To My House with Brian Eno, and that became the starting point to reassess everything. Brian came up with the beat, and the rest came together really quickly after that.”

People say the same about you sometimes. You’re known as a musician who refuses to compromise and is always trying to innovate. Do you recognize yourself in that? “To be honest, I think the whole mythologizing around David Byrne is a bit overblown. When I made Remain in Light with Talking Heads, I was labeled a kind of musical messiah. Sure, what I was doing was adventurous and maybe even innovative, but it didn’t come close to the revolution The Beatles or Bob Dylan sparked. Personally, I think someone like Tom Verlaine deserves just as much credit as I do. That reputation did give me the chance to work with people like director Jonathan Demme (Silence of the Lambs), Ryuichi Sakamoto, and George Porter Jr. (bassist of The Meters). So after Talking Heads, I’ve always had the freedom to follow my impulses and shape them the way I envisioned.”

Still, in your role as head of the Luaka Bop record label, you must often feel conflicted. As a musician you’re completely free creatively, but as a label owner you have to watch the finances. “It’s not that bad. I mainly oversee the creative process. And honestly, I find being a label boss more fun than being a musician. I get to the office around eight in the morning, listen to new records, discuss them with colleagues, and try to connect musicians with one another. Take St. Vincent, whom I discovered. It’s amazing to read all the great reviews about her. Then I think: I must’ve done something right.”

"It’s as if there’s a gene in me that makes even my saddest songs danceable."

In addition to being a record label boss, you’re also known as Manhattan’s bicycle entrepreneur. You've been an advocate for good and safe cycling infrastructure there for years. “It’s always strange to talk about cycling in the Netherlands. I’ve been coming here since the late ’70s and saw for the first time how a busy city can coexist with cyclists. New York is actually made for bikes — it just took a while for people to realize that. I wasn’t alone in my push for recognition, though. Now I bike through Manhattan every day, and it has made my life a lot more enjoyable.”

Your new album is also full of influences from Africa and South America. And nearly all of it is danceable. “Funny you say that. It really feels like there’s some kind of gene in me that makes even my saddest songs danceable. I’ll be rehearsing with my new band soon, and the first task is to come up with good choreography. I’ve always incorporated dance into my stage shows, but this time I want every musician to dance in sync with the songs. That’s quite the challenge.”

You're planning something pretty ambitious. “I’ve been thinking about this for years. Since the Stop Making Sense tour with Talking Heads, I haven’t done anything this large-scale. And everything will be part of it — songs from my solo albums, and definitely also from Talking Heads.”

In the musical Here Lies Love (2010), which you made with Fatboy Slim about the life of Imelda Marcos, disco dancing was also central. “I found out that Imelda had an apartment here in New York with a massive disco ball hanging in the middle. She loved disco music and the New York club scene. Later I learned there was even a disco ball in the palace in Manila. My philosophy was: someone who owned that many flashy shoes had to love dancing. Whether she ever danced to Talking Heads music? That’s entirely possible.”

Are you now living the life you always envisioned? “Actually, yes. Of course, I’m still a worrier, but there are enough beautiful things happening around me. I no longer feel pressure when recording new albums, and that’s a big deal for me. With Talking Heads, all the expectations made me paranoid. That’s no longer the case. Now I live a pretty balanced life. I usually work until about two in the afternoon, and after that I go home to make music.”

In the past, you’ve made some rather dismissive remarks about the hype surrounding world music. “I once said that there seems to be a kind of perverse need to see musicians from other parts of the world perform in folkloric clothing. Meanwhile, those people walk around backstage in jeans and T-shirts just like you and me. We simply don’t want them to look exactly like us, because the clothes we wear are associated with calculated, market-driven music. It’s as if those musicians aren’t allowed to have the same awareness of what’s going on in the world. And that’s nonsense. In America, there are many young musicians with a dual heritage. They blend the grooves of our neighboring cultures with Western musical ideas. And that’s exactly what our label tries to encourage.”

At one point, you were accused of profiting off unsuspecting people from the Third World. “Anyone who knows David Byrne even a little knows that’s absolute nonsense. My involvement with musicians from outside Europe and America has always been driven by idealistic motives. But there will always be people who, under the guise of moralism, want to crush any innovative initiative.”

You were less happy with the No Talking, Just Head album your former bandmates recorded without you in 1996. “I thought it was pretty pathetic, to be honest. Take Jerry Harrison (keyboardist) — within Talking Heads, he was the one who translated my musical instincts. He clearly has talent, as he’s shown now as a producer (for bands like Live), but the fact that he got involved in a ridiculous project like The Heads really surprised me. I also never understood it from Tina Weymouth (bassist) and Chris Frantz (drummer). I thought the first Tom Tom Club album was quite nice, so what was the point of making No Talking, Just Head? Ah well, I see it as a misstep on their part, and honestly, I’ve long since forgotten about it. We still get along just fine.”

“My lyrics are mostly absurdist, and there’s not much I can really say about them.”

'American Utopia' is a pretty telling title. Against all odds, you seem to believe in a happier America. “There are still plenty of things that can make people happy. On the album, I often use animals as metaphors. For a dog or a cat, there’s no such thing as heaven. Or at least, they’re unaware of it — assuming heaven even exists. I remember the first time I heard the song Reasons to Be Cheerful, Part 3 and I thought it was fantastic, even though I could barely make out the lyrics. Especially that part with ‘carrot’ and ‘parrot’ in the same sentence:

'The juice of the carrot, the smile of the parrot A little drop of claret – anything that rocks Elvis and Scotty, days when I ain't spotty, Sitting on the potty – curing smallpox'

Later I met Ian Dury in England, and he was truly an amazing person. Sharp, humorous, and incredibly talented.”

Originally, you weren’t even planning to give interviews, right? You just wanted to visit a few cities and give a kind of lecture on the theme: there are enough things in this world that can make people happy... “Haha, exactly. I thought I could get away with that. In the end, I decided to do a few interviews after all, but it’s always hard for me to talk about my own music. My lyrics are mostly absurdist, and there’s not much I can really say about them. The fact that American Utopia is connected to my Reasons to Be Cheerful talk is purely coincidental. But apparently, the desire for hope and positivity was so strong that it seeped into my songs.”

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BURNING BYRNE

FEAR OF MUSIC (1979) Fear of Music was the band’s transition album. After working with Brian Eno previously, he was brought back in for this one. The songs were mostly recorded in the apartment of drummer Chris Frantz and bassist Tina Weymouth. Guitarist Robert Fripp of King Crimson and even actor Gene Wilder made guest appearances on the album.

REMAIN IN LIGHT (1980) With producer Brian Eno and guest musicians like guitarist Adrian Belew, singer Nona Hendryx, and bassist Jon Hassell, the direction shifted dramatically on the highly danceable Remain in Light. Byrne had discovered African music and, on this fourth album by the band, he experimented freely with it. Eno’s sonic experiments and Byrne’s idiosyncratic direction made this album one of the best of the 1980s.

MY LIFE IN THE BUSH OF GHOSTS (1981) This collaboration with Eno came as a complete surprise. Byrne demonstrated that he was uniquely capable of creating cinematic music using modern techniques. Pioneering work at its finest and one of the most challenging pieces of the 1980s.

SPEAKING IN TONGUES (1983) The crossover was perfected on Speaking in Tongues. A very accessible album by Talking Heads standards, with monster hits like Burning Down the House and Slippery People.

REI MOMO (1989) Byrne went Latin on his solo album, receiving help from singers like Kirsty MacColl, Celia Cruz, and Milton Cardona.

LOVE THIS GIANT (2012) WITH ST. VINCENT Byrne had previously worked with St. Vincent on the album Here Lies Love. The album was a huge hit, and during their tour together, Byrne proved that, in his early 60s, he hadn’t forgotten how to dance.

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the first truck driver to hear the hit song Once in a Lifetime by The Talking Heads probably heard them say "and you may find yourself behind the wheel of a large automobile" and was like brother I sure do

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Office 97 Assistant Computer Chronicles - Best of COMDEX 1996

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The healthcare strike in Portland, Oregon is in its third week with no clear end in sight. Front-line caregivers with the Providence Healthcare System negotiating union contracts at multiple hospitals that would improve employee working conditions and protect legally-mandated nurse:patient ratios so nurses don't get assigned an unmanageable and unsafe number of patients per shift. There's been some progress with negotiations, and the governor of the state is putting pressure on both sides to end the strike soon, but Providence continues to hold out on key issues.

As a float pool nurse, every shift I go to whatever floor is understaffed. In nearly every unit I've been to, there have been patients who still be in the ICU, getting one to one care. But because we don't have enough critical care staff, we transfer This is not safe for patients or staff. And it's not just medical safety. It takes time to talk out a problem instead of calling security, or to help someone with severe mobility issues go to the bathroom, or to sit with someone crying. The kind of care that makes you feel like a person, not just a patient, takes time. The more patients I have per shift, the less time I have for each of them.

A strike is our strongest negotiating tactic. And as long as we're on strike, we're not getting paid. The longer you don't get paid, the harder it is to not cross the picket line. We're already out two paychecks so far. A lot of people cannot afford to lose that much income. As the primary income earner for our household: GOD I would love to make money again. That is what Providence is banking on. They're losing a TON of money during this strike, but they've got deeper pockets than their workers. They are betting that they can survive the strike longer than the union can.

You can support the strike by donating to the Oregon Nurses Association's hardship fund which provides money to caregivers so they don't have to scab. (I'll put a link in a reblog I'll make right after posting this.) There's also a public petition you can sign that I'll also link. And if you're in the Portland area, we've got picket lines at like nine different places at any given point. Even just awareness is helpful. Providence wants people to be angry at the striking healthcare workers, not them.