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Me: *waking up in the morning because i got work*

the funeral director embalming me:

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ben sharpiro:

a reminder of mozart, and a song he wrote about licking ass:

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this clip from episode 21 has been making me laugh for the last ten minutes asihdkash. the audio suddenly cutting out, the slow head turn, the noise at the end akjhfkdsjh

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Tony Hawk is at a weird level of fame.

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take the money and run

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the only adjectives in the english language:

1. tender

2. feral

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I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.

“We have a word for that in Japanese,” he said. “It’s called ma. Emptiness. It’s there intentionally.”

Is that like the “pillow words” that separate phrases in Japanese poetry?

“I don’t think it’s like the pillow word.” He clapped his hands three or four times. “The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.”

Which helps explain why Miyazaki’s films are more absorbing and involving than the frantic cheerful action in a lot of American animation. I asked him to explain that a little more.

“The people who make the movies are scared of silence, so they want to paper and plaster it over,” he said. “They’re worried that the audience will get bored. They might go up and get some popcorn.

But just because it’s 80 percent intense all the time doesn’t mean the kids are going to bless you with their concentration. What really matters is the underlying emotions–that you never let go of those.

— Roger Ebert in conversation with Hiyao Miyazaki

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directions

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Driving directions in Europe, 1922.

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Shaun Tan

‘Never leave a red sock on the clothesline’ 2012, oil on canvas, 84 x 73 cm (34” x 30”)

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An album of edm remixes of Debussy called après un rave

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The Fairmont West Virginian, West Virginia, February 2, 1917

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Ade Adesina  -  The View After the Questions   (linocut, 2018)