¤¤They say I gotta learn, but nobody’s here to teach me If they can’t understand it, how can they reach me?¤¤

I’d like to buy the world a home and furnish it with love,

Grow apple trees and honey bees, and snow white turtle doves.

I’d like to teach the world to sing in perfect harmony,

I’d like to buy the world a Coke and keep it company.

[Repeat the last two lines, and in the background:]

It’s the real thing, Coke is what the world wants today.

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Burial – Forgive “dud you gotta play!!1!+!”

WILL MENAKER: What would it look like to imagine a different world? Do you have a vision of it How would we know if we were beginning to imagine a different world? Even within this hyper-real one?
ADAM CURTIS: You ask what real change might look like, and I think that’s a really interesting question for liberals and radicals, because there is a hunger for change, out there – millions of people who feel sort of insecure, uncertain about the future who DO want something to change. I think that change only comes though a big imaginative idea. A sort of picture of another kind of future which gives people – which connects with that fearfulness in the back of people’s minds. And offers them a release from it. That’s the key thing. But I think the question for liberals and radicals is – they are always suspicious of big ideas. That’s what lurks underneath the liberal mindset. And the reason is – and they are quite right in a way – is look what happened last time when millions of people got swept up in a big idea! Look up the last hundred years – what happened in Russia, and then in Germany. The point is , Is that Political change is frightening. It’s scary — it’s thrilling because it is dynamic and is doing something to change the world but it is scary because it can change things in ways where nothing to secure. Its like being in an earthquake. Even the solid ground beneath you begins to move. And things dissolve that you think are solid and real. And I think the question liberals are left have to face at the moment is a really sort of difficult question which is: “do you really want change? do you really want it?” Because if you do many of them might find themselves in a very uncertain world where they might lose all sorts of things. What we were talking about, in many cases, is people who are at the center of society at the moment, they are not out in the margins. They would have a lot to lose from real political change because it really would change things in the structure of power.
Or – and this is the brutal question: Do you just want things to change a little bit? Do you just want the banks to be a little bit nicer, or for people to be a little more respectful of each other’s identities – All of which is good – but basically you carry on living in a nice world where you tinker with it.
That’s the key question. But you can’t just sit there forever worrying about big ideas because there are millions of people out there who do want Change. And the key thing is: they feel they’ve got nothing to lose. You might have lots to lose, but they feel they’ve got absolute nothing to lose. But at the moment they’re being led by the Right. So things won’t remain the same. But society may go off in ways you really don’t want.
SO in answer to your question, what you need is a powerful vision of the future. With all its dangers. But it is also quite thrilling. It will be an escape from the staticness of the world we have today. And to do that, you’ve got to engage with the giant forces of power that now run the world, at the moment. And the key thing is that in confronting those powers, and trying to transform the world you might lose a lot. This is a sort of forgotten idea. Is that actually you surrender yourself up to a big idea and in the the process you might lose something but you’d actually gain a bigger sense, because you change the world for the better. I know it sounds soppy, But this is the forgotten thing about politics. Is that you give up some of your individualism to something bigger than yourself. You surrender yourself – and it’s a lost idea. And I think really in answer to your question: You can spot real change happening when you see people from the liberal middle classes, beginning to give themselves up to something. Surrender themselves for something bigger. And at the moment, there is nothing like that in the liberal imagination.

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Cicada 3301 – Stellar Lumens


[–]p9k 154 puntos

“New York City’s hottest club is [56k handshake noises]. Located in the Lower East Side in a 200 square foot walkup, this one man hackathon has it all: betta fish, cd-roms, Joey Bada$$, Flippers…”

“What’s a Flipper?”

“It’s when you dox your therapist’s cheating boyfriend to take his dog so you can get sent to jail and keep your alternate personality dad from blowing up buildings.”

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Abordegat – a bord e gat – abordegat

Captura de pantalla 2017-12-08 a les 22.52.25
bord Que no produeix fruit, silvestre, no empeltat. Contorn superior d’una nau. Costat d’una nau. Bordada curta. Ferro que sosté la volada del balcó. Bastard. Nascut de pares desconeguts. Que és de mal treballar perquè és massa dur o perquè s’esmicola fàcilment. Diamant que no pot ésser aprofitat com a gemma i que, per la seva duresa, és utilitzat industrialment com a abrasiu.


Captura de pantalla 2017-12-06 a les 16.24.26

Montserrat Figueras, La Capella Reial de Catalunya – Jordi Savall, dir. Planys & Llegendes

El comte Arnau (2 voices, viol consort, cornet, shawm, 2 sackbuts, violone, theorbo, percussion)

La comtessa està asseguda, viudeta igual !,
la comtessa està asseguda al seu palau.
Se li presenta à la cambra, valga’m Déu val !
Se li presenta a la cambra el comte Arnau,
tot cobert de roges flames, ai, quin espant !,
tot cobert de toges flames, valga’ m Déu val !

– Tota sola feu la vetlla, muller lleial?
Tota sola feu la vetlla, viudeta igual?
– No la faig jo tota sola, comte l’Arnau;
no la faig jo tota sola, valga’m Déu val!
– Qui teniu per companyia, muller lleial?
Qui teniu per companyia, viudeta igual?
– Déu i la Verge María, comte l’Arnau ;
Déu i la Verge Maria, valga’m Déu val!

– A on teniu les vostres filles, muller lleial?
a on teniu les vostres filles, viudeta igual?
– A la cambra són, que broden, comte l’Arnau –
a la cambra són, que broden, seda i estam.
– Me les deixaríeu veure, muller lleial?
Me les deixaríeu veure, viudeta igual?
Massa les espantaríeu, comte l’Arnau,
massa les espantaríeu, valga’m
Déu val!
– Deixeu-me’n endur una filla, muller lleial,
que amb mi passarà les penes que estic passant.
– Així com les heu guanyades, valga’m Déu val!
tot sol com pugueu passau-les, comte l’Arnau.
– Solament la més xiqueta, muller lleial.
– Tant m’estimo la més xica com la més gran.
– Pet què no caseu les filles, muller lleial?

– Perquè no tinc dot per dar¬Ies, comte l’Arnau.
– AI capdavall de l’escala, muller lleial,
al capdavall de l’escala n’hi ha l’arjant.
– Són monedes mal guanyades, valga’m Déu val!
Pet on heu entrat vós ara? Valga’m Déu val!
– Per la finestra enreixada, muller lleial.
– Ai, que me l’haureu cremada, comte l’Arnau!
– Ni tan sols us l’he tocada, viudeta igual.
– Què és això que us surt del cap, comte l’Arnau?
– Males coses que he pensades, muller lleial.
– Què, és això que us ix pels ulls? Valga’m Déu val!
– Són les males llambregades, viudeta igual.
– Què és això que us ix pels nassos, comte l’Arnau?
– Són les coses que he olorades, muller lleial.
– Què és lo que us ix per la boca, comte l’Arnau?
– Són les males paraulades, viudeta igual.
– Què vos ix per les orelles? Valga’m
Déu val!
– Males coses que he escoltades, muller lleial.
– Què és això que us ix pels braços, comte l’Arnau?
– Són les males abraçades, muller lleial.
– Què és lo que us ix per les mans, comte l’Arnau?
– Males coses que he tocades, muller lleial.
– Què és això que us ix pels peus? Valga’m Déu val!
– Els mals passos que donava, viudeta igual!
– Què és aquest soroll que sento, comte l’Arnau?
que és aquest soroll que sento, que em dóna espant?
– És el cavall que m’espera, muller lleial.
– Baixeu-il grana i civada, comte l’Arnau.
– No menja gra ni civada, muller lleial,
sinó ànimes damnades, si n’hi donau.
– A on vos han donat posada, comte d’Arnau?
A on vos han donat posada? Valga’m
Déu val!
– A l’infern me l’han donada, muller lleial;
a l’infern me l’han donada, viudeta igual!
– Per què allí us l’han donada, comte l’Arnau?
Per què allí us l’han donada? Valga’m Déu val!
– Per soldades mal pagades, muller lleial,
i donzelles deshonrades, viudeta igual!
– Cada dia us faig l’oferta, comte l’Arnau ;
cada dia us faig l’oferta, valga’m Déu val!
– Vos dic no em féu pas l’oferta, muller lleial;
vos dic no em féu pas l’oferta, viudeta igual,
que com més me féu l’oferta, muller lleial;
que com més me féu l’oferta, més pena em dau.
Feu-ne tancar aquella mina, Muller lleial;
feu-ne tancar aquella mina, viudeta igual,
que dóna al convent de monges, muller lleial, que dóna ai convent de, monges de Sant Joan.
Quina hora és que el gall ja canta, muller lleial?
Quina hora és que el gall ja canta, viudeta igual?
– Les dotze hores són tocades, comte l’Arnau ;
les dotze hores són tocades, valga’m Déu val!
– Ara per la despedida, muller lleial;
ara per la despedida, dem nos les mans.
– Massa me les cremaríeu, comte l’Arnau;
massa me les cremaríeu, valga’m Déu val!

The way we were. “Your girl is lovely, Hubbell” Robert Redford

Petty prick prides plutarquic capability for purposeful pursuit of unphased sporty pitch’s imperfections. Bellend


Caure de certa manera,

viure de la llastima

gesticulació ploranera

com porter que no domina

una posició que no estima.
Angles llumínics per calcular

lletja negrosa sorra plastifica

masoquistic esport, d’amor propi car;

proves, deprès i ilús ab-negat, d’acarar

amb peus clavosos, car l’accídia galçifica.

Yesterday’s Thresh

Oh why she had to go, I don’t know.

Oh yesterday!… Loves such an easy game to play………………………….YES!trdy


New beginnings. Like very much the way an inning comes after the latter, new sights are onto us. Well mixed with DFW, and rhythmically synced to Draft Punk beats, van Kilmer destroys a well cooked steak on earth while gently whispering: “But I’m so tired of squinting”. The cause of such Pain can only be attributed to heart-ache after her love interest and fellow co-astronaut ostensibly dries to death, naturally induced secondary effects of having joyfully embraced radioactive gamma rays. This convoluted metaphor isn’t but the never released after-credits scene of the critically shunned and cosmically underrated 2000’s movie “RED PLANET”, and might find useful to illustrate that in many ways, leaving things behind can be of use as tools when in the path for love and (religiously “meaningful”) “meaning”. Ath tis point (pun intended) the only thing lacking is a snark ridden, truly post-Post-modern. If I’m allowed to flex the brushstroke variance palette, only a warm BSO by new age Sinatra Pawl L0ren, could yearn better for a sweltering strive for fondness and amity[LY] intimacy. L.O.V.E.|||| w/ a twist·