Today's Document

Discoholic đŞŠ
art blog(derogatory)

if i look back, i am lost
I'd rather be in outer space đ¸
hello vonnie

Love Begins

Jar Jar Binks Fan Club
YOU ARE THE REASON
The Bowery Presents
Not today Justin

titsay
taylor price
The Stonewall Inn
noise dept.
No title available
Doug Jones
macklin celebrini has autism
EXPECTATIONS

romaâ
seen from Italy
seen from Colombia
seen from United States

seen from United States
seen from Netherlands

seen from Indonesia

seen from Switzerland

seen from United Kingdom
seen from TĂźrkiye
seen from United States
seen from Netherlands
seen from United States

seen from Maldives

seen from United States

seen from United States
seen from Venezuela
seen from United States
seen from United States

seen from Australia

seen from Bangladesh
@thediscography
Bus stop at Fordham Road and Decatur Ave in the Bronx
 Forks ReturnÂ
Patrick Emery Happiest plant ever.
Music writing rule no. 1
If youâre listening and learning and enjoying music and writing as well as you can about it, youâre doing your job.
(The âenjoying musicâ part is critical, I think. It means you actively enjoy the act of hearing and responding to music, even when you donât enjoy the music itself; not that you simply enjoy everything you hear. The opposite of this would be for listening to become a chore. That happens sometimes; it has a lot to do with personal things beyond the state of whatever music worlds you favor. Music writers tend to have or make a lot of listening time, and looking forward to filling it in is key to enjoying the doing of the work. And listening is work; meanings shift, and as weâre learning from the newly remastered versions of Sgt. Pepper and Purple Rain, even the sounds of recordings we know under our skin can change too. Enjoying music is being alive to it, and that can mean anything from new album-new album-new album monitoring to living inside a favorite couple of albums for a month. Thereâs no right way of doing it except doing it.)
(The âlearningâ part is something that took a long time to really understandâwhen I was younger I had a programmatic view of things like Iâd see later on from younger writers, e.g. the guy who informed me on FB around 2007 that it was âmy jobâ to have an opinion about a given Wilco album. No, it isnâtâwhich isnât to say that someday I wonât go back and, in fact, form opinions on every Wilco album. We all get to change our minds, our habits, our methodologies; not doing so is a little inhuman, at least in the post-digital age. But what was most short-sighted of me was not realizing that the music I already love has more to teach me, more to impartâit has not even begun to do those things, in fact, because our relationship with what we listen to really is so personal, so private in some ways, that even people who talk about what they listen to publicly can only express a certain amount of what they get from it. There are things weâll never be able to express publicly about the things we love; some of them are beyond us, some are embarrassing, some are holy. Chances are the things that move us most do so for all of those reasons, and their importance shifts with the years and with context. Thatâs the stuff you keep learningâeven beyond the newly encountered or plain new things that teach you what youâd never know otherwise.)
Seems familiar.
Pohutukawa Ultramarine (#f30b1a to #1808af)
<vomits>
Brian Eno & The Winkies :: A Year With A Collapsed Lung (BBC Sessions + Live 1974)
For a minute there after leaving Roxy Music, Brian Eno was poised to become one of the eraâs most glam-tastic superstars. Heâs captured here venturing to outer regions with the Winkies.
HÊlène Fillières for Martin Margiela. ph. Mark Borthwick
Fuvahmulah Cobalt (#44d9f7 to #0453b3)
Madam Moll, gangster from the late 20s, with her M1928 Thompson in front of a bank safe she just robbed
Lidy PratiďźArgentine, 1921-2008ďź
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