promise to tell me every time i ask to hear it?

http://nymag.com/thecut/2016/04/ask-polly-why-do-men-even-want-to-date-women.html

But you have to remember that you're not courting the entire human population. You're just looking for one person who makes sense. That person is not going to be creepy, obviously. You will pay attention and you'll make sure. That person will be a lot like you: somewhat bewildered, somewhat aware, constantly tempted to take the easier route to simple answers, to superiority, to alienation, to learned helplessness, but too deeply principled and too pure-hearted to ever stay in that easy place for too long.

You'll find smart, good-hearted men and women out there. But in order to find them, NAG (how fitting, that even your acronym is an unfair stereotype of female behavior!), you're going to have to set aside some of your preferred intellectual positions, the ones that make you feel cooler and better than everyone else. It's funny because when I wrote for suck.com, I'd get a letter from an older person who told me the same thing almost every other day, and it always made me laugh out loud. "Haw, haw, haw, this old fucker thinks that my ability to see clearly how rotten and fucked up the world is is just an elaborate way of seeming cool!" I didn't understand what these people were trying to tell me. They were trying to say, "OPEN YOUR HEART, DUMMY. Don't keep yourself safe from the world. Don't hide behind your bulletproof rhetorical positioning, just because you're smart enough to try." You don't have to be the best, sexiest, most "I already knew that" lady on the block! You don't have to be better than all the rest, just to have love in your life, just to feel strong and confident and sexy. Love comes to the woman whose eyes and heart are wide open. Educate yourself. But then stop debating everything and feel what you feel. Dare to be vulnerable. Dare to care more than a tiny bit about the most embarrassing, soft, sentimental squishy things. Admit that it's not JUST that pandemics seem scary. You're afraid of being alone, afraid that the world could end and you'd still be alone, afraid that no one will ever see you clearly, that no one will ever see straight into your big, big heart. You have to show your heart for other people to see it. Stop leading with your big brain, and show your heart. Show it even when people humiliate you for it. Show it even when it feels weak and sad to do so. When you show your heart, the whole world lights up, and love rushes in to greet you.

http://www.bonappetit.com/recipes/slideshow/hillstone-recipes

veep, "andrew" (amazon) outlander, "rent" unreal looking the leftovers, "gladys" getting on the affair, "5" killjoys kingdom angie tribeca // crazy ex-girlfriend, "josh and i are good people!" 11.22.63 top chef california broad city season 3 you're the worst the path casual nashville 311, "i'm not that good at goodbye" revenge 409, "INTEL" the flash 105, "plastique" the family arrow 304, "the magician" marry me 113, "change me" archer season 7 mindy project 318, "fertility bites" silicon valley 301 the 100 season 2 the night manager limitless the catch angie tribeca // avengers: age of ultron burn after reading edge of tomorrow going clear the normal heart source code whitney

halfasianpeople.com

what i need to do will become clear no more striving, working, earning

http://www.newyorker.com/culture/sarah-larson/the-funny-empathetic-genius-of-annie-baker

That beautiful, pained, exquisitely alive feeling you get during the best moments of theatre—that life is too wonderful to be believed, and too cruel in its ephemerality—is with you right from the start.

Baker explores the idea that empathy can be a mixed bag. When Genevieve went crazy, she “felt a deep but also disturbing connection with the soul of every person and every object that had ever existed. Not just the souls of departed conquistadors but also the soul of a picture frame, a toy trumpet.” When she went blind, that went away. It was just her. “No more trying to get in anyone else’s head.” No more worrying about what anyone thinks of her—now it was just her and her thoughts.

Baker’s style, which famously includes pauses and awkward silences and realistically inarticulate bumbling, is very much like this description of 35-mm. film. It captures the light and shadow of everyday life, the nuance of human conversation. She allows them a generous amount of time. Sometimes people leave at intermission; a woman I overheard on a cell phone in the lobby at “John” said, “You could say it’s slow going.” I get mad when people complain about the length of Baker’s plays, or even joke about it, as they loved to do with “Gatz,” Elevator Repair Service’s seven-hour “Great Gatsby” masterpiece. Three hours is insultingly long for a bad play or an indulgent play—ninety minutes can be too long—but three hours for a fantastic play not only isn’t onerous, it’s a gift. When an artist’s work is sensitive, disciplined, and well-structured, and when it listens to its subjects, portrays them thoughtfully, and treats their lives with respect, that generosity of time becomes part of the empathy, and we become part of the empathy, too. We’re paying them the respect of attention. The pacing is essential to the insight and to the rhythm of the humor.

You teach playwriting at Hunter College. What do you try to drive home to your students? The main thing I want them to take away, and I think it frustrates them sometimes, is that there isn’t one real right way to write a play, and that it’s their job to reinvent the art form every time they write a play, and that their tastes mean something, and they shouldn’t be writing from a place of anxiety. That when you write from a place of anxiety and fear and careerism, you write usually stupid stuff. Have you done that? Yeah. Sitting down and being like, “I’m gonna write a hit!” That’s so bad. I make them read this book by Lawrence Weschler about Robert Irwin, the artist. It’s my textbook, and it’s called Seeing Is Forgetting the Name of the Thing One Sees. Irwin has this quote, something like, When I turned 35, I stopped being motivated by ambition and became purely motivated by curiosity. And that is what I try to teach them.

http://www.vulture.com/2015/12/annie-baker-on-memoir-reality-tv-and-hollywood.html

https://datwinning.com/about-2/ http://cleojournal.com/masthead/

https://mvork.wordpress.com/2016/04/08/a-qa-with-the-washington-posts-james-wagner-on-empathy-for-hispanic-players-peds-and-growing-up-around-the-world/

http://birthmoviesdeath.com/2016/03/04/whiskey-tango-foxtrot-review-top-tier-tina-fey

And it’s in that dramatic arena that Fey really surprises: Baker’s goofier moments have a tinge of Liz Lemon to them (and, though familiar, those glimpses are always welcome), but when Baker is struggling with the morality of this war and her position in it, when she’s rudderless and seeking direction, when she must resort to extreme measures to get her story or save her friends, we see a wealth of strength in Fey, the sort of insight and wisdom that has, until now, been saved for her writing rather than her perfectly silly performances. That’s not to say that dramatic acting is harder than comedy – in fact, I’d argue that the opposite is true – but Fey’s already conquered the world of comedy. Whiskey Tango Foxtrot is an ideal bridge between the two genres, proving without question that she can do both – often in the same moment.

"tough as hell" "well, that's a nice looking strawberry" :)

http://topiama.com/r/4983/i-am-aisha-tyler-and-i-have-all-the-jobs-ama#r61

Q: Lana...LAna....LANAAAAAA!!! Thanks for all your work on Archer, looking forward to the next season. Are you as badass in real life as you are in the show? 31. By: Condoozle Thread | Permalink A: No. I am curled up in the damp coolness of the space under my dining room table, alternately weeping uncontrollably and trying to keep tears out of my keyboard. After this I will spend a few hours running from my own shadow, and then climbing the walls. Which is how I stay so fit.
Q: How difficult is conveying your comedic art via animation? 35. By: logically Thread | Permalink A: Well, all I have to do is jump around like an idiot yelling at the top of my lungs in a sound booth, and then other people convey my comedic art via animation, at which point I am already home with a pocket full of granola bars I stole from the sound studio. so, easy. Q: I can never think of a question for these things. If you were me, what would you ask you? 36. By: ImAnAlbatross Thread | Permalink A: Why I'm still typing this shit myself

http://joeposnanski.com/when-you-smile/

"Rest is the conversation between what we love to do and how we love to be. Rest is the essence of giving and receiving. Rest is an act of remembering, imaginatively and intellectually but also physiologically and physically. To rest is to give up on the already exhausted will as the prime motivator of endeavor, with its endless outward need to reward itself through established goals. To rest is to give up on worrying and fretting and the sense that there is something wrong with the world unless we are there to put it right; to rest is to fall back literally or figuratively from outer targets and shift the goal not to an inner bulls eye, an imagined state of perfect stillness, but to an inner state of natural exchange. The template of natural exchange is the breath, the autonomic giving and receiving which is the basis and the measure of life itself. We are rested when we are a living exchange between what lies inside and what lies outside, when we are an intriguing conversation between the potential that lies in our imagination and the possibilities for making that internal image real in the world; we are rested when we let things alone and let ourselves alone, to do what we do best, breathe as the body intended us to breathe. When we give and take in this foundational way we are closest to the authentic self, and closest to that self when we are most rested. To rest is not self indulgent, to rest is to prepare to give the best of ourselves, and to perhaps, most importantly, arrive at a place where we are able to understand what we have already been given." -David Whyte

https://www.theguardian.com/technology/2016/apr/16/monica-lewinsky-shame-sticks-like-tar-jon-ronson?CMP=twt_gu

She drifted back to London and had coffee with her old LSE professor, Sandra Jovchelovitch. “She said to me, ‘Whenever power is involved, there always has to be a competing narrative. And you have no narrative.’ It was true. I had mistakenly thought that if I retreated from public life the narrative would dissipate. But instead it ran away from me even more.” That’s when Lewinsky realised she had to do something to de-objectify herself.

okay, back to la-is-good tweets: this weekend i had a sublime moment at gelson's where the kombucha display was right under a speaker playing this song: https://www.youtube.com/watch?v=hMc8naeeSS8

http://www.hardballtimes.com/vin-scully-the-voice-of-our-game/

Nolan Arenado steps the plate, cueing Scully’s next revelation: that the third baseman boasts the highest rate of extra-base hits to plate appearances and the highest rate of RBIs per at-bat. “He has an RBI every five at-bats, and he’s on a tear in September. And on top of all that, he’s a terrific third baseman.” In a quick but lyrical transition, cold stats have surrendered to a warm salute. And while that salute has failed the factual accuracy of UZR, it does bear the stamp of Scully’s experience and the endorsement of his kindness. We trust he is right. Arenado really is a terrific third baseman, and the broadcaster’s assessment shares jurisdiction with sabermetrics. Scully is no antagonist. For him, the opposing team is never the enemy and always a collection of men who merit our respect. Even now, as Arenado digs in, we know biographies will arrive on that Irish tenor to further demystify the opponents, rescuing them from the sectarian contempt that can accompany each uniform while restoring their lives to the scope of shared experience. Those guys came from somewhere, he emphasizes. They do have moms and dads.

If luck is where preparation meets opportunity, then Scully just got lucky again. One wonders: Did his biographical anecdote foretell McCutchen’s double, or did McCutchen’s double come to animate the tale? Either way and once again, Scully has mingled live action and past events into seamless description, making the episode appear engineered from available parts of the timeline. In his booth, history is always happening, and the moment is always unique, even if it isn’t entirely different from moments that came before it. Face it: He has seen a lot of doubles off the bats of thousands of sons of advice-giving dads. No single instant occurs without precedent, and none occurs without consequence, but neither is it the end of the world. Andrew McCutchen just hit a double. We look back and then we move on, and still here we are, on this occasion. His stories leave room for the moments that make the stories important, and the moments never interrupt the larger narrative of the game within the game of baseball. They fit. Each pitch and each play is one small piece of the unfolding tale, one that embraces the transistor-radio days as well as each passing instant of Twitter feeds and player updates. The narrative that pulled us in has given us the biographies that draw us closer. We know who hit that double now — we know him better than before. This is important. The story doesn’t ignore us. It includes us. We are not observers; we are participants. We played ball too, in the yard with Dad. We put our passion inside it. We were part of baseball then, and we’re part of it now. We are not alone.

http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html

The jagged conclusion of “’06” asks what it might mean to turn away from self-representation in sound. White noise is a spray of pitches and volumes that contains all audible frequencies. It is constant and patternless. Quite literally, it’s the sound of undifferentiated possibility. One can think of Staples’s provocative noise as the opposite of a stereotype, or freedom in sonic form. His signal fritzes into static with a snarl of hope: Noise and silence mark the edges of what can be considered music. To end an album like this points to a world beyond the song and to hands manipulating the transmission. What can be said outside the culture’s limiting expectations, and who might we become if we learn to listen to it?

"Lay in the weeds and wait, and when you get your chance to say something, say something good." -Merle Haggard

after tonight it's seventy three feelin so free or seventy two feelin so blue DAMN STILL GOING TO THE PLAYOFFS

http://www.mccoveychronicles.com/2016/3/31/11336198/2016-sf-giants-spring-training-stats-predictions#367227737 http://www.mccoveychronicles.com/2016/3/31/11336198/2016-sf-giants-spring-training-stats-predictions#367253423 http://www.levi.com/US/en_US/category/sports/collections/levi-collections-sf-giants?partnerId=ed-10137572-883452033 http://smithbellcraft.bigcartel.com/product/don-t-mess-with-the-bull-don-t-mess-with-texas-edition

Drop-offs The Dodgers encourage ride sharing and car service vehicles. Uber, the preferred ride of the Dodgers, will be allowed to enter any autogate to drop off. All other car services will be permitted at Sunset Gate A for drop off in Lot 12. Once passengers are dropped off, Uber and car service vehicles will be required to exit through Sunset Gate A. After the game, Uber and car service vehicles will be permitted to enter the stadium via Sunset Gate A to pick up passengers in Lot 12.

"you two get along really well don't you? you play off each other in a fun way"

http://espn.go.com/nba/story/_/id/15148955/on-top-nba-world-steve-kerr-found-struggling-just-stand