things to say during sex
  • endemic? what does that even mean?
  • I like these ones…i don’t even know what they are
  • my favorite is the otter
  • everything’s always about Daniel 
  • we’re like 30 seconds shy of making this an infomercial 
  • young dogs dude 
  •  is this guy alright? he seems so bummed 
  •  I’ve been obsessively listening to Neil diamond 
  •  We’re still working on that one 
  •  Actually red bulls are uh….bulls are male

Interpol Live at Underground, Cologne (2003) [Full - HD]  



A woman in her 40’s wrote Pann posts on being forced to prostitution with her sons. Like she says in the post, she held interviews with TV shows and even went to the police for investigation, but her “husband” is powerful enough to block them all. Pann netizens are currently trying to get this issue on the news by contacting journalists, TV shows, and etc.

Please help the woman and her sons by spreading her story and reporting it to news sites. Please use#HelpLeeJungHee hashtag on SNS because she revealed that her name is Lee Jung Hee (이정희)

[!!!] Please watch Lee Jung Hee and her sons video (in English):

Conversation between the mother and the police (in Korean): and a few more in their channel.

[!!!] How you can help them:

Petitions:  (you can find the instruction to sign the petition in their youtube video comments)  AND  AND

For full information here (including the posts wrote by the mother and sons):

Updates on this case:

Please help share the awareness! Please help the mother and sons reveal the truth.

Retrieved from
Her son’s 3rd Post

Please listen and trust us. Even though we’re telling the truth and my father is lying, I’m very sad that the Seoul Sexual Assault Investigations officers and other won’t believe us, but I’m glad many people believe us now. If my brother and I didn’t get raped why would we be in such pain now? I want this whole thing to end quickly and go to school and be free, so I can go outside and see my friends and have a normal life. I don’t want to live with my father or be anything like him. Please help us live. Please help us three live happily.

Please don’t let this story die! Thank you everyone who spread the word!


Act Natural: The Portraits of Music Photographer @tomspray

To see more of Tom Spray’s music photography, check out @tomspray on Instagram. For more music stories, check out @music.

There’s this one shot of Interpol. The image is monochrome, head-on, austere and if its striking shadow dance evokes the music of the band, then so too does it reflect the vision of the man behind the camera.

England-raised, Denmark-based music photographer Tom Spray (@tomspray) has photographed everyone from Pussy Riot to the Rolling Stones. Despite the breadth of his work, his portfolio has recurring themes, like spontaneity, nature and – as with Interpol – intimacy.

“I like to capture a natural expression on people,” says Tom, who has just returned from an assignment for the music website Pitchfork that saw him tasked with snapping “portrait, candid and atmospheric shots” at Spain’s Primavera festival. That’s where he ensnared Interpol (among others) – but not before he captured Tyler, The Creator, looking all in-your-face, up close and pensive.

Did Tom have time to bond with Tyler before he raised the lens? “God no,” he says with a laugh. “Tyler arrived about 30 minutes before his set, and I think he was trying to recreate some sort of Compton hanging-out-on-the-front-porch vibe with his crew. So I just approached him and asked if I could take a few frames. It was against this really ugly concrete backdrop and there was absolutely zero light. I did it all within about 30 seconds, but I hope I still captured who Tyler, The Creator is – albeit within a very short frame.”

Tom’s portraits are deceptively casual. He prefers to snap mid-conversation, rather than setting up elaborate poses. (Which is just as well, as he’s rarely granted the chance for the latter on festival shoots.) In doing so, he effectively catches people unaware, and they reveal something in return.

“I’ve been doing quite a lot of tight framing and low depth of field on individuals recently,” he says. “That gives you this extremely intimate vibe. It’s almost like me with my lens pressed up against your face, which is extremely intrusive, but at the same time you capture a sort of vulnerability about a person when you break down a barrier like that.”

Perhaps that’s what’s so remarkable about the Interpol shot: they appear closer, their features larger. They seem less untouchable.

“Again, the Interpol shot was very rushed,” recalls Tom. “Daniel [Kessler] the guitarist was very ill, and there was this whole media circus around, trying to get them to say a few words on camera. It was all very chaotic.” None of this is evident in the photograph. Its atmosphere appears to be one of absolute calm. “That’s the beauty of photography,” he nods.

Interpol has long drawn comparisons with Joy Division, whose bleak aesthetic was infamously captured in monochrome by Anton Corbijn. Is he a reference point of sorts for Tom? “Yeah, Anton Corbijn’s someone I have a lot of respect for,” he says. “And Annie Leibovitz, especially her ‘70s and ‘80s stuff.”

Tom’s style and approach is entirely his own, but there are shades of Leibovitz’s ‘80s-era flair for bold color in his work – particularly a bright and surprisingly floral portrait of Swedish pop livewire Robyn.

“I took that at Pitchfork Festival in Paris in 2012,” recalls Tom. “I got to build my own studio on-site, so it was taken under controlled lighting. Robyn was extremely easy to work with – you don’t really have to direct her – she’s quite playful and goes with the flow. We gave her a bouquet of flowers …” She wields them like a weapon.

Tom’s photos often raise a smile – Robyn’s floral arsenal; Black Lips’ leery, wine-wielding all-nighter – but few are more heartening than his portrait of blues and funk troubadour Charles Bradley, his smiling eyes brimming with tales untold. “That’s one of my favorite shots from last year,” Tom offers. “It was at Primavera again, but he came up to my hotel room, and we just hung out for half an hour. We chatted much more than I took photos.”

Tom’s love for seizing spontaneous moments works well in the live arena too – from a picture of Syrian street-folk star Omar Souleyman with the jumping masses reflected in his mirror sunglasses, to a mid-mosh pit shot during the Roskilde Festival set of black metal band Hexis.

“It’s pretty much all down to light and luck,” says Tom with a laugh. What he does not say is that it takes a patient hand to capture a person’s essence; that it takes a brave man to square up to Tyler, The Creator; that it takes a keen eye to capture the magic of music. But seeing is believing.

– Nicola Meighan for Instagram @music

dagNotes: tumblr is *white* dildos

Tired of reading posts where people attempt to justify standardizing/quantifying various narratives of oppression and privilege to compare “racial” groups in order to argue which groups are more or less privileged, hence, more or less oppressed. This isn’t going to cut it and for one very important reason. Quite frankly, it’s a white man’s game. As such, it’s reactionary and regressive.

If we’re speaking of privilege in communities of color in the US, then we’re examining individuals (and the communities they represent) who have been interpellated as white subjects. To use those interpellated subjects as if they usefully represent actual communities of color, in other words as well-defined minority communities, reinforces the white power structure. Why do we insist on objectifying–using quantities and percentages–to talk about oppression, or worse “the oppressed”? I think it makes it easier to ignore history, for one thing, and easier to cultivate a proper, unambiguous, and standard civility for traditionally white scientific discourse about society as a whole.

How can we compare Asian-American experience(s) of oppression and privilege to Black experience(s) of oppression and privilege without necessarily standardizing their experiences as a standard minority experience (SME) thus privileging the notion that communities of color are monoliths of ethnic experience organized according to dominant white modes of observation. White power helps creates an SME that permits comparison across “color”. White power literally counts on it. We criticize this attempt to standardize narratives of experience when we see it in colorblind discourse, don’t we? Why not everywhere it’s implemented, then?

In my opinion, this standardization becomes more problematic when we consider immigrants and immigration.

I constantly see Christians in various traditions (particularly evangelical) seeking to justify the misogyny in Paul, attributing passages which talk about the submission of women (and therein children and slaves) like Ephesians 5:21-33 and Colossians 3:18-4:1 to cultural context, scribal interpolation, etc. What if Christians just wrestled with the possibility that Paul had extremely problematic things to say about women? What if Christians just said that maybe we disagree with Paul and his ideas of household codes? What if Christians lived into the spirit of honesty and truth that is so proclaimed in the religious tradition and honestly said that maybe, just maybe, Paul is problematic as opposed to trying to justify the problematic passages to ensure the validity of a pre-conceived conclusion that the Bible is perfect?

What would that do to the integrity of those who adhere to Christianity?