Words, images, sounds. Immersed in media, any and all of it.
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    When Rob Thomas collides

    (via laughterkey)


    I drew a bunch of tiny (and not so tiny) things for Lucky Peach #12: The Seashore Issue, which hits newsstands today! Everything was art directed by Walter Green, including a secret Drizzy cameo. Go buy this issue immediately, it is super beautiful and comes with a comic book!

    (via momofuku)



    Perhaps no other chain restaurant in America has the cult-like following of Chipotle Mexican Grill. 

    See all 17 Chipotle enthusiasts here. 


    What, exactly, is behind the sea smells at the seashore? Tufts University microbiologist Ben Wolfe answers that question in The Seashore Issue, and his article is now up on Popular Science. Click on over to learn about the curious mix of funk, food, and sex that make up what you’re smelling (and tasting) on the beach.



    One time I won free catering from potatopia and saved it for today. Potato day.


    Jonpaul Douglass takes pictures of pizza in the wild (via It’s Nice That)

    (via thecultureofme)




    my new favorite account *read left column first*



    1. “‘Ello, ‘ello, ‘ello, what’s goin’ on ‘ere then?”
    2. "I’ve finished sweeping your chimney now so that’ll be two bob please, m’lady"
    3. "I’m Shaun Williamson — I used to play Barry on Eastenders"
    4. "OI IT’S 7 BONG"
    5. "Everything here costs three times more than it should let’s pool our monetary funds together so we can afford to live"
    6. "You’re the London to my UK government i.e. I don’t care about anyone or anything else"
    7. "Snog us innit"
    8. "Thanks for rescuing me from the River Thames in which I was drowning"
    9. "That mouth-to-mouth was wicked!"
    10. "Sick arse mate!"
    11. "Arsenal! Arsenal! Aaaarseeeenaaaaaal!"
    12. "You know The North? SOD IT!"
    13. "Doctor Who"
    14. "Here’s your chips, love"
    15. "My knob’s big like one of those big buildings they keep putting up here and also another similarity is it’s ugly and nobody wants it but uhhh here we are anyway so if you fancy a go"
    16. "I once met Shaun Williamson who used to play Barry on Eastenders"
    17. "King’s Cross but I’m Horny!"
    18. "My love for you could never die not even if the Metropolitan Police shot it repeatedly for no reason"
    19. "Laaaandaaaaaaaaaaaaaaaaaaaaaan!"

    (via verylittlebird)


    David Bowie - Move On (1979)

    The third and final installment of the Berlin Trilogy is 1979’s Lodger, which was a continuation of the significant themes of the first two albums, such as the experimental processes, range of influences, and collaboration with Brian Eno. However, the album departs from the previous albums in its lack of instrumental pieces and the incorporation of many different musical styles from around the world. “African Night Flight” was inspired by a trip to Kenya, while “Yassassin” was of Turkish influence. While Lodger is not held in as high regard as the first two Berlin albums, it is still a fantastic album with many interesting themes and further developments on Bowie’s work.

    I have mentioned throughout this week a certain restlessness of spirit in Bowie, which drove much of his artistic and personal changes over the decade. If there were ever a song by Bowie to truly encompass this concept, it would be “Move On.” The song is not one of the album’s specific engagements with another musical style outside of Western pop, but it is directly about Bowie’s sense of wanderlust. Bowie fully explores the depths of his vocal range as he croons “Somewhere there’s a morning sky, bluer than her eyes / Somewhere there’s an ocean, innocent and wild.” They are beautiful, romantic lyrics, far removed from the numb simplicity of Low. Though the three albums Low, “Heroes,” and Lodger are all grouped together, there is still variation between them, each acting as a different approach to the same mission of collaboration and experimentation.

    While the songs on Lodger are often more accessible than the previous two Berlin albums, there was still experimentation in process employed by Bowie and Eno. The creation of  “Move On” explores the idea of recycling and re-appropriating one’s own work. Under the song’s constant, shuddering sense of propulsion is a fragment of an old Bowie glam classic “All the Young Dudes,” reversed and repurposed. Bowie had long been knowingly borrowing and referencing other’s work in his own, but this is one of the first times he would directly engage with his own past. The confrontation of his past selves is now a hallmark of Bowie’s career, most recently used by Bowie in 2013’s The Next Day. In the context of “Move On,” however, the recycling of an old song into a new song about Bowie’s own restlessness reflects his need to not only move on from location to location, but also to pursue newness and difference in his own artistic output.