Author: ehawkes

Good To Be Alive – DJ Rap

 

Don’t crucify if I feel alive
It’s a natural high and I’m satisfied

Absolved from sin
I called the devil from within
He told me live my life
Don’t let them criticize

It’s good to be alive
Sometimes I wonder how I survived
And in my minds eye
When you’re low no-one seems to know
A fallen angel tonight
I feel no shame when I’m high
It feels so good must be right
It feels so good inside
Inside

I’d love to love you but I’m too impure an angel
I’d love to love you

Don’t compromise
You don’t live my life
‘Cos I don’t judge you
When I look in your eyes

It’s good to be alive
Sometimes I wonder how I survived
And in my mind’s eye
When you’re low no-one seems to know
A fallen angel tonight
I feel no shame when I’m high
It feels so good must be right
It feels so good inside
Inside

I’d love to love you..


On the soundtrack of the movie GoLife begins at 3am

Lollapalooza Lineup – 1995

North America

Dates: July 4, 1995 – August 18, 1995

Main StageSonic YouthHoleCypress HillPavementSinéad O’Connor (first few shows; bowed out due to pregnancy), Elastica (replaced O’Connor, as did Moby for a few shows), BeckThe Jesus LizardThe Mighty Mighty Bosstones

Side StageCoolioDoo RagPossum DixonPoster ChildrenYo La TengoBrainiacThe CoctailsGeraldine FibbersThe DambuildersLaikaThe PharcydeTuscaderoBuilt to SpillHeliumRedman, St. Johnny, Dirty ThreeMike WattVersusHumBlonde RedheadThe Roots, Blowhole, The Zeros, Pork Queen, Thomas Jefferson Slave Apartments, Sabalon Glitz, PsychoticaPatti Smith, Overpass, MobySuperchunkBeck (acoustic, generally), Spring Heel Jack U.S.A., Ariel, Incredibly Strange WrestlingGary Young’s HospitalDandelion

“Lab Stage”: Shallow, Lucifer Wong, Clod Hopper 

https://en.wikipedia.org/wiki/List_of_Lollapalooza_lineups_by_year#1995

Politics as Sport – Metaphor

When any political movement loses all sense of self and has no unifying theory of government, it ceases to function as a collective rooted in thought and becomes more like fans of a sports team. Asking the Republican Party today to agree on a definition of conservatism is like asking New York Giants fans to have a consensus opinion on the Law of the Sea Treaty. It’s not just that no one knows anything about the subject; they don’t remotely care. All Republicans want to do is beat the team playing the Giants. They aren’t voters using active intelligence or participants in a civil democracy; they are fans. Their role is to cheer and fund their team and trash-talk whatever team is on the other side. This removes any of the seeming contradiction of having spent years supporting principles like free trade and personal responsibility to suddenly stop and support the opposite. Think of those principles like players on a team. You cheered for them when they were on your team, but then management fired them or traded them to another team, so of course you aren’t for them anymore. If your team suddenly decides to focus on running instead of passing, no fan cares—as long as the team wins.

Stevens, Stuart. It Was All a Lie: How the Republican Party Became Donald Trump

You’ll never understand how politics works if you don’t understand Anna Nicole Smith

After a lecture, David Rieff, perhaps America’s most important writer on humanitarian issues, made this surprising comment: “You’ll never understand how politics works if you don’t understand Anna Nicole Smith.” What could Anna Nicole Smith have to do with politics—or brain scans, for that matter? Abundant clues to the answer could be found on any TV channel that night. There were viewers calling in, recounting their emotional responses to Anna Nicole’s life and death. Most of them were women, mourning her, idolizing her. To others, she was a gold digger, an empty-headed celebrity, a celebrity only because she was a celebrity. Her life and death resonated so profoundly with so many people because she exemplified a remarkable variety of narratives. Those narratives exist outside the body – in our culture – and inside the body – in the very building blocks of our brains. David Rieff was completely right—understanding the importance of Anna Nicole Smith will help us understand politics.

Lakoff, George. The Political Mind: A Cognitive Scientist’s Guide to Your Brain and Its Politics 

The Rolling Stones, Trump, and Atlantic City

Atlantic City wasn’t where you’d expect to find the Rolling Stones in 1989. It was, for the most part, a mecca for East Coast pensioners who couldn’t endure the trip to Vegas. Church groups would show up by the busload, throw nickels in the slots, feast on a free buffet, and reboard the bus before nightfall. Frankie Valli was as rock ‘n’ roll as it got. Donald Trump lured the Stones to this den of decadence with a huge offer. It called for three concerts, December 17, 19, and 20, at the Atlantic City Convention Center, next to Trump Plaza Hotel and Casino. It’d be the Stones’ last stop of the tour.

…Trump bought these shows outright for $6 million – a ton of money back then – so he was the boss. He, not the Stones, determined the ticket prices. He also got to sell/distribute the tickets however he wanted. For the December 17 show, he comped the best seats to his high rollers. Blue-haired old ladies and guys who reeked of Vitalis. They couldn’t name a single Stones song, but when they saw the value of their tickets – $500 a pair – they couldn’t resist the perk. The Stones weren’t happy, but it was their own fault for making Trump their boss for the week. At a preconcert press conference, they avoided all photo ops with him and threatened to leave if he came near them.

German, Bill. Under Their Thumb

Being Guns and Roses Manager

DOUG GOLDSTEIN: When you’re dealing with two heroin addicts, a cocaine addict, and a bipolar lead singer, every day is mayhem. Well, three heroin addicts, actually: Izzy, too. But Izzy cleaned up midway through the Appetite tour.

… when I get back to the hotel, there’s four ambulances, two fire engines, about fifteen cop cars, and three hundred people standing in a circle. Slash is there, naked. And bleeding. He’d come in overnight, to bring Steven heroin, I think. I told my security guy, “Earl, go to my room and get my briefcase.” I used to carry between $30,000 and $50,000 at all times, just for situations like this.

So I go, “Did anybody see anything here?” And a guy goes, “Yeah, I did.” So I walk away with him and he goes, “I saw him throw a maid to the ground.” I’m thinking, Okay, this is not good. I said, “I notice you got a little blood on your shirt. That’s, what, a $2,000 custom shirt?” He goes, “No, no.” I said, “Trust me, I know clothing. That’s a $2,000 shirt.” I bring out $2,000 and give it to him. “Think you’re okay going on with your day?” He said, “Yeah.”

The cops are cracking up because they can see I’m paying people off. I grabbed the hotel manager and said, “Give the maid $1,000 and an apology from us, please. What about the damage to the hotel?” He goes, “I’d say it was $700.” I said, “So another $2,000 will take care of that. Do you feel like pressing charges?” He goes, “No.” This whole time, Steven is on his balcony, yelling at Slash: “You stupid heroin addict!” We got in the car as quick as we could and boogied. It probably cost $10,000, but I kept ’em out of jail.

Tannenbaum, Rob; Marks, Craig. I Want My MTV

Samuel Beckett’s Waiting for Godot – Is it Dramatic?

Samuel Beckett’s Waiting for Godot has established itself as the most original contribution to dramatic literature since 1950. The distinction of the writing is undeniable. All kinds Of good things may be said about the dialogue, “but is it dramatic?” Let us set aside the fact that very little happens in the play, for this is true of so many good plays. And many good plays have wrongly been found undramatic (“not a play”) by their first critics. The first critic to make the point, and repeatedly, that Beckett’s dialogue is not dramatic is Beckett himself — in that dialogue. For this “criticism” is inherent in the recurrent joke of letting the conversation simply dry up and having one character tell the other to say something. In this, Beckett has put into a play what “cannot be put into a play.” For in a play, the dialogue cannot conceivably dry up. A play is, so to speak, a much longer piece of dialogue, reduced to the number of lines one sees in the final text by the craftsmanship of compression. Pauses can only occur when they are equivalent to dialogue, when their silence is more eloquent and packed with meaning than words would be. The dramatist fights against time. He cannot “get it all in.” His craft is the filling out of every nook and cranny that each second as it passes may offer him, just as the painter’s craft is the filling in of each square inch of canvas. That any part of the dramatist’s precious couple of hours should stand empty, and that there should be any difficulty about filling it, is absurd. But Waiting for Godot is ‘drama of the absurd.”

Eric Bentley. The Life of the Drama

Pascal’s Wager and Hamlet

Pascal and Hamlet both struggle with the question of how to act under circumstances of constant uncertainty. Hamlet deeply desires conviction before he acts, while Pascal argues that our actions will lead to belief. And, since we can never be absolutely certain, only the highest in a set of probabilities should dictate our actions. Though they try to weigh finite probabilities against the infinite, both Hamlet and Pascal recognize that the human condition limits our ability to know the infinite consequences of our actions and choices. To understand these probabilities, Pascal reasons through rigid, calculable steps. His process contrasts sharply with Shakespeare’s representation of temperamental human logic in Hamlet. Hamlet’s distorted reasoning highlights our mortal tendency to fixate on even the smallest risks in the shadow of vast gain. As Shakespeare writes, “Thus conscience does make cowards of us all”.


Regardless of the strength or weakness of one’s conviction, acting with confidence (even if insincere at first) creates a stronger, genuine belief. Uncertainty, according to Pascal, can be overcome through action and outward show.

Conversely, Hamlet is immobilized by uncertainty. Unlike Pascal, Hamlet needs to believe in his choice of action before he can perform it. He is thoughtful to the point of obsession, and constantly puts off action for the sake of having a more solid reason to do it. Hamlet recognizes his own hesitancy, and often berates himself for not being as passionate and resolved as the actor is in relation to the fictional Hecuba, or as Fortinbras’ soldier is over an inconsequential piece of land. All the while that he, Hamlet, has the strongest reason to act – his father’s wrongful death and his mother’s disgraceful marriage – all he does is complain:

Why, what an ass am I! This is most brave,
That I, the son of a dear father murdered,
Prompted to my revenge by heaven and hell,
Must like a whore unpack my heart with words
And fall a-cursing like a very drab,
A stallion! Fie upon’t, foh! About, my brains.

Student Essay
Brumbaugh, Victoria. “Action and Uncertainty in Pascal’s Wager and Shakespeare’s Hamlet.”

The Art of the Probable: Literature and Probability
https://ocw.mit.edu/courses/literature/21l-017-the-art-of-the-probable-literature-and-probability-spring-2008/assignments/

Course Description
“The Art of the Probable” addresses the history of scientific ideas, in particular the emergence and development of mathematical probability. But it is neither meant to be a history of the exact sciences per se nor an annex to, say, the Course 6 curriculum in probability and statistics. Rather, our objective is to focus on the formal, thematic, and rhetorical features that imaginative literature shares with texts in the history of probability. These shared issues include (but are not limited to): the attempt to quantify or otherwise explain the presence of chance, risk, and contingency in everyday life; the deduction of causes for phenomena that are knowable only in their effects; and, above all, the question of what it means to think and act rationally in an uncertain world.

So You’re an X? Can you help me Y?


"Oh, you’re a programmer? I have a problem with my printer…". What’s the equivalent of this in your job? from AskReddit

Funke-munke
Oh you’re an Occupational Therapist- Can you help me find a job

CarbineFox
“Oh you’re a geologist? What kind of rock is this?” Just kidding, we love that shit and will tell you a long story of the history of that rock and how we saw examples in the field in the middle of nowhere.

geckospots
ahaha yes we will!!

Other common questions include:

Is this a meteorite? (no, it’s industrial slag)
Is this a diamond? (no, it’s quartz)
How much is this rock/mineral/fossil worth? (probably $0)
Is this a dinosaur bone? (no it is not)
Is this gold? (no it’s pyrite/fools gold)

keithwaits
So you’re a statistician? …..

I never get to help friends and family with my professional skills 🙁

MHRolley
“oh you’re a mechanical engineer, can you fix my car?”

International__
Yes but it’s going to cost 20 milion dollars in R&D. And another 2000$ for your psycholpgist

Absolute_Predator
“Oh, you’re a chemical analyst? You must know how to make drugs”

Conscious_Tea
Oh, you’re a therapist? tells me about their family member who really needs to see a therapist

DJRonin 9
“Oh you’re a Graphic Designer? Can you make a logo for me really quick? It’s for my cousin’s birthday. I don’t have any money to pay but I’ll have multiple revisions that will cut into your actual paying work time, but then get upset when you ask for payment”

Noblesseux
Fuckin this. Same with cinematography and photography. I had a guy walk up to me the other day while doing street photography and ask me if I do music videos. I’m like ??? no, and even if I did I wouldn’t take a job from some random who walked up to me on the street and tried to make a verbal contract with no discussion of pay.