Jacob Joesph Angelo Richardson, born April 15th, 1993. Philosophy and psychological studies undergraduate.
Dedicated to: politics, literature, music, film, philosophy, psychology, culture and science. Anarcho-socialist, agnostic atheist and existentialist.
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"According to the FBI, there have been 129 confirmed white Christian terrorists in the last 20 years. That includes Timothy McVae, the uni-bomber, the Atlanta Olympics bomber and dozens of family planning centers and abortion clinics. Muslims? 19. Which would make white people the most likely demographic to commit a terrorist attack. So watch your mouth before you call me a terrorist or I’ll knock your fucking teeth out.”
(via onomatopoeinis)@48 minutes ago with 286587 notes
now that im in the space mood i’d like to remind each and every one of you that NASA drew a dick on mars. we drew a dick on another planet. that is mankind’s legacy.
THIS IS AN ACTUAL PHOTO OF THE SURFACE OF MARS. PLEASE NEVER FORGET THIS.
(via stars-and-spirals)@1 hour ago with 50897 notes
In his brilliant lecture entitled “The Theory and Function of Duende” Federico García Lorca attempts to shed some light on the eerie and inexplicable sadness that lives in the heart of certain works of art. “All that has dark sound has duende”, he says, “that mysterious power that everyone feels but no philosopher can explain.” In contemporary rock music, the area in which I operate, music seems less inclined to have its soul, restless and quivering, the sadness that Lorca talks about. Excitement, often; anger, sometimes: but true sadness, rarely, Bob Dylan has always had it. Leonard Cohen deals specifically in it. It pursues Van Morrison like a black dog and though he tries to he cannot escape it. Tom Waits and Neil Young can summon it. It haunts Polly Harvey. My friends the Dirty Three have it by the bucket load. The band Spiritualized are excited by it. Tindersticks desperately want it, but all in all it would appear that duende is too fragile to survive the brutality of technology and the ever increasing acceleration of the music industry. Perhaps there is just no money in sadness, no dollars in duende. Sadness or duende needs space to breathe. Melancholy hates haste and floats in silence. It must be handled with care.”
All love songs must contain duende. For the love song is never truly happy. It must first embrace the potential for pain. Those songs that speak of love without having within in their lines an ache or a sigh are not love songs at all but rather Hate Songs disguised as love songs, and are not to be trusted. These songs deny us our humanness and our God-given right to be sad and the air-waves are littered with them. The love song must resonate with the susurration of sorrow, the tintinnabulation of grief. The writer who refuses to explore the darker regions of the heart will never be able to write convincingly about the wonder, the magic and the joy of love for just as goodness cannot be trusted unless it has breathed the same air as evil - the enduring metaphor of Christ crucified between two criminals comes to mind here - so within the fabric of the love song, within its melody, its lyric, one must sense an acknowledgement of its capacity for suffering."