Got a Girl Crush On: Maria Bamford’s The Special Special Special!
Part genius, part unbridled out-there craziness that winds itself back to brilliant. Stand-up in her living-room with her parents as the sole audience—this is comic gold (and now streaming on Netflix).
This week, hone your math skills with Applied Math: Fools.
AFP- do it with a rock star
There is no other way to put this, but John McCain was lying. It wasn’t President Obama who negotiated the Status of Forces agreement. George W. Bush negotiated and signed an agreement with the Iraqi government in December 2008. The Iraqi government refused to give any remaining U.S. combat troops local immunity, which means that any combat troops that remained in the country could have faced prosecution from Iraqi authorities. By taking this step, the Iraqis made it clear that they wanted the U.S. combat troops out. It also means that the only way U.S. combat troops can go back in is if they are invited by the Iraqis. […..]
The decision on whether or not to keep combat troops in Iraq was never Obama’s to make. George W. Bush and the Iraqi government made that decision. The American people were told by Republicans for nearly a decade that their troops were bleeding and dying for Iraqi freedom, but John McCain and his fellow Republicans are blaming Obama for not taking away that freedom.
Just because John McCain doesn’t like the decision that the Iraqis made to remove U.S. combat troops from their country doesn’t mean that President Obama is wrong for respecting their sovereignty. Obama called this argument bogus during his press conference yesterday, but it is even worse.
It is a lie that is being sold to the American people in order to justify an escalation of U.S. military activities in Iraq. John McCain is still trying to rewrite the failed history of the war that he continues to champion.
I took this picture of myself at the end of a day I spent in bed, scared and crying, feeling alone and hopeless and completely desperate.
This is the face of my mental illness. This is the face of my sadness when it is at its most inexplicable and its most pronounced.
I am not ashamed of it.
ok do you see this Legendary Epic woman right here? this is wendy fucking carlos and i’m going to describe to you why wendy carlos is 30 thousand times better than you
- she is a 74 year old trans fucking woman. she remembers having dysphoria at age five and started hrt in 1968. you think transitioning is difficult now? try doing it in 1968. the thought scares the shit out of me.
- her first album, switched on bach, is a literal hour of her playing bach’s music on synthesizers. that’s classical edm. edm wouldn’t exist if she hadn’t brought synthesizers to prominence. the catch? synthesizers in 1968 were monophonic. that means you can only play one note at a time. wendy carlos sat there and played each instrument’s piece of bachs music at least 6 times per symphony, painstakingly overdubbing and rerecording each line, one at a time.
- oh yeah, switched on bach was the first classical album to sell more than 500k copies and she won 3 grammies and stayed on the billboard #1 pop charts for 17 weeks.
- you know tron? that really awesome movie whose sequel daft punk made the ost for? wendy is the original daft punk. tron’s soundtrack was all her; not only that, but so was a clockwork orange and the shining.
- in 1998 this piece of shit momus (aka nick currie on wired) made a song mocking wendy’s sexual orientation. $50k of currie’ money later, she forced him to remove that song from his entire collection, have the master destroyed, and his music career fucking died after that.
figured i’d post this since daft punk keep getting a lot of love. i love daft punk, but they owe their lives to this fucking badass.
HOLY. CRAP. I did not know this.
work work work work work!
Wendy Carlos also scored Kubrick’s ‘Clockwork Orange’ and ‘The Shining.’ She’s a big deal, people.
This is an excellent writing advice from Chuck Palahniuk. This was first seen on tumblr. Unfortunately, when I clicked on the link, it no longer existed.
But, I still think it’s worth sharing.
writingadvice: by Chuck Palahniuk
In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.
From this point forward—at least for the next half year—you may not
use “thought” verbs. These include: Thinks, Knows, Understands,
Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred
others you love to use.
The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.
Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d
had to bum a ride or pay for a cab and got home to find Monica faking
sleep, faking because she never slept that quiet, those mornings, she’d
only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present
the details that allow the reader to know them. Instead of a character
wanting something, you must now describe the thing so that the reader
Instead of saying: “Adam knew Gwen liked him.” You’ll have
to say: “Between classes, Gwen had always leaned on his locker when he’d
go to open it. She’s roll her eyes and shove off with one foot,
leaving a black-heel mark on the painted metal, but she also left the
smell of her perfume. The combination lock would still be warm from her
butt. And the next break, Gwen would be leaned there, again.”
In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
writers use these “thought” verbs at the beginning of a paragraph (In
this form, you can call them “Thesis Statements” and I’ll rail against
those, later). In a way, they state the intention of the paragraph. And
what follows, illustrates them.
“Brenda knew she’d never make the deadline. Traffic
was backed up from the bridge, past the first eight or nine exits. Her
cell phone battery was dead. At home, the dogs would need to go out, or
there would be a mess to clean up. Plus, she’d promised to water the
plants for her neighbor…”
Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.
If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.
Thinking is abstract. Knowing and believing are intangible. Your
story will always be stronger if you just show the physical actions
and details of your characters and allow your reader to do the thinking
and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail.
Present each piece of evidence. For example:
“During roll call,
in the breath after the teacher said Tom’s name, in that moment before
he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just
as Tom was saying, ‘Here’.”
One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing,
you may be alone. Reading, your audience may be alone. But your
character should spend very, very little time alone. Because a solitary
character starts thinking or worrying or wondering.
For example: Waiting for the bus, Mark started to worry about how long the trip would take…”
A better break-down might be: “The schedule said the bus would come
by at noon, but Mark’s watch said it was already 11:57. You could see
all the way down the road, as far as the Mall, and not see a bus. No
doubt, the driver was parked at the turn-around, the far end of the
line, taking a nap. The driver was kicked back, asleep, and Mark was
going to be late. Or worse, the driver was drinking, and he’d pull up
drunk and charge Mark seventy-five cents for death in a fiery traffic
A character alone must lapse into fantasy or memory, but even then
you can’t use “thought” verbs or any of their abstract relatives.
Oh, and you can just forget about using the verbs forget and remember.
No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and
words show their thoughts. You—stay out of their heads.
And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”
“Ann’s eyes are blue.”
“Ann has blue eyes.”
“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”
Instead of bland “is” and “has” statements, try burying your details
of what a character has or is, in actions or gestures. At its most
basic, this is showing your story instead of telling it.
And forever after, once you’ve learned to Un-pack your characters,
you’ll hate the lazy writer who settles for: “Jim sat beside the
telephone, wondering why Amanda didn’t call.”
Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.
For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.
Then, pick through some published fiction and do the same thing. Be ruthless.
“Marty imagined fish, jumping in the moonlight…”
“Nancy recalled the way the wine tasted…”
“Larry knew he was a dead man…”
Find them. After that, find a way to re-write them. Make them stronger.
|—||Thanks Hiraku! (via wingedbeastie)|
Fuck you right in the eye, Hobby Lobby. Right in the motherfuckin’ eye.
*Ginsburg, I know, my rage blinded my usual propensity to spellcheck. My bad RBG!!