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The Black Grouper (Shedd Aquarium #3)

Herman Menzel

1946

Oil on canvas

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“Nature & Technology” by morganetenoux ◆ Same circles, different purposes

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Kayfabe is blowing up a part of yourself until (and this is the part people miss) it becomes an entire professional discourse. You are subjectified as what you perform and you are rewarded for it. The real you dissolves under the exaggerated you, but also that doesn’t matter because the only real you that ever existed was the performative you. Ric Flair has said this explicitly: there is no Richard Fliehr and there hasn’t been for decades.

Notes from a classroom. Eight years ago, almost to the day, I… | by Ian Williams | Nov, 2024 | Medium

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peter jansen

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𝗾𝘂𝗲𝘀𝘁𝗶𝗼𝗻𝘀 a burden to others

𝗮𝗻𝘀𝘄𝗲𝗿𝘀 a prison for oneself

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loversneverdie.com

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The good news is that in 1995 we will have a good operating system and programming language; the bad news is that they will be Unix and C++.

Rise of Worse Is Better (1991)

Richard P. Gabriel, Lucid, Inc

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celeste mountjoy

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“People think it’s gimmicky having Legos around the house. I actually do this shit bruh. It’s fun for me, I do this shit all the time.”

- Myles Turner

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“The other bands that I was in – I think that either I or other people in the bands had some kind of, uh, expectation that it would take up the majority of our time. Right? Certainly when I was in Big Black, I only had a job because it was necessary, and if I didn’t need to have a job, I wouldn’t have, and I would have just done Big Black while it was active. But now, I kinda feel like having a job is great, and being in a band as a side project is great and not any kind of a compromise at all. And that’s one of the reasons why this band (the band I’m in now), Shellac, has been so durable. We just had our 20th anniversary, and I don’t think we could have survived that long– Music means different things to everybody, right? Like some guys who are in bands, they think that it’s not – they’re not legitimate if it’s not their job, it’s not their profession, right? I don’t think that’s true because I have been moved by so much music that was made by people for whom it wasn’t their profession that I don’t make that parallel. I don’t see it as a lack of commitment to not try to make a living off of it. I see it – I see it like totally converse to that. I think of music as something that I’m willing to work 40 hours a week or more to support, like a wife and family, right? Music to me is that important. It’s so important that I don’t expect it to make a living for me. I expect that I will have to work a normal, regular job like a regular person in order to have the luxury of being able to play music. That, to me, just seems like a totally sensible position, right? And also, once I had internalized that and made that my mentality, uh, I think that the reason that I love my band so much – and I do love playing with Bob and Todd, you know, to the core of my being, right? – the reason that I do is that I never have cause to resent it. There’s never a single time where I feel like, “Aw, crap, we have to go on tour?” You know, like, “Aw, geez, we have to knock out another album.” Those kind of thoughts never enter my mind. It never seems like an obligation, it never seems like it’s any pressure whatsoever. It’s just a pure, pure joy, you know?”

—

From this awesome Low Times interview with Steve Albini: http://www.lowtimespodcast.com/lt_episodes/26/. 

When Albini said this, it sucked all the air out of the room for me. Just awesome.

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William Cordova

now’s the time (pachacuti)

2009

Graphite, gold leaf, oil stick, dust, hair, watercolor, and metallic ink with photomechanical and inkjet printed collage on paper

50 5/8 x 30 7/8 inches

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This one fucking hurts.