But you presume to know everything about me because you saw a painting of mine…


Sean: So if I asked you about art, you’d probably give me the skinny on every art book ever written. Michelangelo, you know a lot about him. Life’s work, political aspirations, him and the pope, sexual orientations, the whole works, right? But I’ll bet you can’t tell me what it smells like in the Sistine Chapel. You’ve never actually stood there and looked up at that beautiful ceiling; seen that. If I ask you about women, you’d probably give me a syllabus about your personal favorites. You may have even been laid a few times. But you can’t tell me what it feels like to wake up next to a woman and feel truly happy. You’re a tough kid. And I’d ask you about war, you’d probably throw Shakespeare at me, right, “once more unto the breach dear friends.” But you’ve never been near one. You’ve never held your best friend’s head in your lap, watch him gasp his last breath looking to you for help. I’d ask you about love, you’d probably quote me a sonnet. But you’ve never looked at a woman and been totally vulnerable. Known someone that could level you with her eyes, feeling like God put an angel on earth just for you. Who could rescue you from the depths of hell. And you wouldn’t know what it’s like to be her angel, to have that love for her, be there forever, through anything, through cancer. And you wouldn’t know about sleeping sitting up in the hospital room for two months, holding her hand, because the doctors could see in your eyes, that the terms “visiting hours” don’t apply to you. You don’t know about real loss, ’cause it only occurs when you’ve loved something more than you love yourself. And I doubt you’ve ever dared to love anybody that much. And look at you… I don’t see an intelligent, confident man… I see a cocky, scared shitless kid. But you’re a genius Will. No one denies that. No one could possibly understand the depths of you. But you presume to know everything about me because you saw a painting of mine, and you ripped my fucking life apart. You’re an orphan right?

[Will nods]

Sean: You think I know the first thing about how hard your life has been, how you feel, who you are, because I read Oliver Twist? Does that encapsulate you? Personally… I don’t give a shit about all that, because you know what, I can’t learn anything from you, I can’t read in some fuckin’ book. Unless you want to talk about you, who you are. Then I’m fascinated. I’m in. But you don’t want to do that do you sport? You’re terrified of what you might say. Your move, chief.

Israel Prepares For Long War in Gaza As Both Sides Suffer Most-Yet Casualties


theduffboy:

Sad and frustrating.

Originally posted on TIME:

If you look at most maps of Gaza, you won’t find the neighborhood of Shujaiyeh on it. But the name of the neighborhood on the eastern edge of Gaza City will likely go down in history as a particularly horrific point in a war between Israel and Hamas that only seems to get bloodier and more bitter by the day.

Each side has its own story, and they differ so substantially that it is almost a deja vu of the terrible bloodshed in the West Bank city of Jenin in 2002: Palestinians called it a massacre, Israelis said it was a battle.

This much is clear: the Israeli army laid siege to the Gaza neighborhood of Shujaiyeh late Saturday night and throughout the early hours on Sunday, shelling it with artillery blasts as well as airstrikes and helicopter fire. Israel Defense Forces soldiers also went in on foot and had…

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Telemiscommunications


Sometimes, you must pay attention to the lyrics of a song. Sometimes they will resonate.

Telemiscommunications (Deadmau5, feat. Imogen Heap)

Hey babe, how’s your day been?
No, you first..
Oh.. what? The delay’s quite bad
Yeah, sorry..
Where are you, I can’t really hear you
A taxi distracted..
Anyway you.. You were saying?
Wait, uh..
Now they’re waving me over
Can I call you back?
Yeah, everything’s fine
Why am I.. I don’t know why
I probably just need sleep
It’s been a busy week
Sorry, I’ve got to go
So, ok.. bye

This is just so unlike us
Cut back to horizontalisms
If we could win just one small touch
Contact versus tele-miscommunications

Plan foiled
The sirens pass by
Kids screaming
The longest public announcement
Reach check-in, finally got through
Running for a flight, shoes off
You’re calling voicemail
In joke, group laughter
Closing scenes in a meeting
Angel (angel) why didn’t you tell me?
One second, someone needs directions
Can’t you see I’m on the phone?

This is just so unlike us
Cut back to horizontalisms
If we could win just one small touch
Contact versus tele-miscommunications

So unlike us (unlike us)
Cut back to horizontalisms
If we could win just one small touch
Contact versus tele-miscommunications

Did I tell you I loved you today?
Did I tell you I loved you today?
(kiss kiss)
Did I tell you I loved you today?
Did I tell you I loved you today?
Did I tell you I loved you today?
Did I tell you I loved you today?
(kiss kiss)
Did I tell you I loved you today?
Did I tell you I loved you today?

Live at The Greek


Live at the Greek: Excess All Areas is a double live album by Jimmy Page and The Black Crowes, released by musicmaker.com on 29 February 2000 and later by TVT Records on 4 July 2000. In October 1999, Page teamed up with The Black Crowes for a two-night performance of material from the Led Zeppelin catalogue and old blues and rock standards. Due to contractual problems with their record company, The Black Crowes were unable to release any of their own songs which were played at the Greek shows. These songs, on which Jimmy Page played with the Crowes, included: “Wiser Time”, “No Speak No Slave”, “Remedy”, “Hard to Handle“, and “She Talks to Angels“. The double CD was released in stores by TVT Records on 4 July 2000, and featured a different track running order, an extra song, an enhanced QuickTime video and photographs taken during the concert. The Japanese version of the album also features “Misty Mountain Hop” and “In the Light“, recorded in 2000.”

Now listening to it.

 

Uncredited


“For “Take a Bow”, the second single released off of the album, Madonna wanted a more “romantic vein” so she worked with Babyface on the track because he had proved himself to be very successful in his previous works with smooth R&B, working with other artists such as Whitney Houston, Boyz II Men, and Toni Braxton.[5] Although not listed in the credits as a performer, Babyface sings background vocals on the track.[6]“