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The Founding Fathers Would Be Alcoholics By Today's Standards

On average, every person older than 15 in the English colonies of North America (basically, today’s United States and Canada) drank the equivalent of 7 shots of alcohol per day

source: Forgotten Drinks of Colonial New England

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Taiwan

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Slow Down, Milosh

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Fall In Love With Me, Yung Bae feat. Flamingosis

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It would be so hard to have sex in that bed.

Looks good though.

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私は愛に ハイです by Yung Bae

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Something About You by Hayden James

There are your typical tracks, then there are tracks that show restraint and discipline, this is one of the latter. 

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Left Hand Free by alt-J

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We think of death as a medical problem, but neglect the life we have left

- Atul Gawande for New Scientist

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The secret, under-discussed weapon in filmmaker Jean-Luc Godard’s arsenal has always been his actors — the extraordinary performers that anchor the films, giving voice (and face) to the constant stream of arguments and asides and ideas. Seberg and Belmondo in Breathless, Constantine in Alphaville, Bardot and Piccoli in Contempt, Jagger in Sympathy for the Devil, Huppert in Every Man for Himself, Ringwald in King Lear, Karina in so many — throughout his over 50-year career, Godard has maintained a deep understanding of the power of star power.

Goodbye to Language, his latest feature and first in 3D, is the fragmented story of two nearly identical couples, infidelity, a wandering dog, and changing seasons. “The idea is simple,” Godard himself said, but the telling, of course, is not; the 83-year-old brings the layered style he’s been refining over the last two decades (of overlapping texts and images, voices and movements) literally into a new dimension. In this work, as restlessly experimental and rich with allusion as anything Godard has ever made, the emotional core comes, once again, from the actors.

The film’s breakout star (besides Roxy, Godard’s dog) is the young actress Héloïse Godet, giving a classically Godardian performance that delicately juggles the recitation of literary aphorisms with an intense immediacy and raw vulnerability.

Madness & Poetry: Actress Héloïse Godet on Collaborating with Jean-Luc Godard

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Sunshine , Flight Facilities feat. Reggie Watts 

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Two Bodies, Flight Facilities feat. Emma Louise

I didn't understand it at the time. I fail to achieve any degree of understanding in the ensuing years, which are three in number. I presume Herb means that inherently you cannot be commercial and artistic. You cannot be commercial and quality. You cannot be commercial concurrent with have a preoccupation with the level of storytelling that you want to achieve. And this I have to reject. I don't think calling something commercial tags it with a kind of an odious suggestion that it stinks, that it's something raunchy to be ashamed of. I don't think if you say commercial means to be publicly acceptable, what's wrong with that?

As long as you are not ashamed of anything you write if you're a writer, as long as you're not ashamed of anything you perform if you're an actor, and I'm not ashamed of anything.

This is the area I know. But I think innate in what Herb says is the suggestion made by many people that you can't have public acceptance and still be artistic. And, as I said, I have to reject that.

- Rod Serling, quoted in the extended version of this song, and as the Intro of the iTunes album 

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Clair De Lune, Flight Facilities feat. Christine Hoberg

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Melt, Chet Faker feat. Kilo Kish

Them words, too accurate.