kind of formulaic

Things that make me think of INTJs

• Puzzles
• The night
• Chess
• Rain
• Condensation
• Fires
• The deep, dark ocean
• Sirens (the mythical kind)
• Gloves
• Equations and formulae
• Messy handwriting
• Perfectly preserved skeletons
• Books
• Ravens
• Ravines and cliffs
• Fortresses surrounded by snow
• Space, the moon, stars
• Perfectly packed suitcases
• Ordered shelves (only that INTJ understands the order)
• Dark chocolate with spices and salt
• Pens that run out moments before your last sentence
• Dark circles under the eye
• Computers and laptops
• Synapses
• Broken glass
• Sarcasm
• The London Underground Map
• Chemical experiments
• The wind
• Neon
• Tall, leafless trees
• Circuits and motherboards
• Bitter coffee
• Herbal teas
• Browns
• Simple but elegant crowns
• Dark green and bronze


“I want to do kiddie movies now. I’m fed up with adult movies — most of them stink. At a certain point with movies it becomes all about mathematics: this has to lead up to this, this has to lead up to that — you’re always bound by some kind of formula. But since having kids and watching lots of animated cartoons and all those great old Disney films, I think they’re better, they’re much better. They’re more fun and they take more risks.” - Johnny Depp

#JusticeForJohnnyDepp #WeAreWithYouJohnnyDepp

Belief Hinders True Understanding

If we had no belief, what would happen to us? Shouldn’t we be very frightened of what might happen? If we had no pattern of action, based on a belief -either in God, or in communism, or in socialism, or in imperialism, or in some kind of religious formula, some dogma in which we are conditioned -we should feel utterly lost, shouldn’t we? And is not this acceptance of a belief the covering up of that fear- the fear of being really nothing, of being empty? After all, a cup is useful only when it is empty; and a mind that is filled with beliefs, with dogmas, with assertions, with quotations, is really an uncreative mind; it is merely a repetitive mind. To escape from that fear - that fear of emptiness, that fear of loneliness, that fear of stagnation, of not arriving, not succeeding, not achieving, not being something, not becoming something - is surely one of the reasons, is it not, why we accept beliefs so eagerly and greedily? And, through acceptance of belief, do we understand ourselves? On the contrary. A belief, religious or political, obviously hinders the understanding of ourselves. It acts as a screen through which we look at ourselves. And can we look at ourselves without beliefs? If we remove these beliefs, the many beliefs that one has, is there anything left to look at? If we have no beliefs with which the mind has identified itself, then the mind, without identification, is capable of looking at itself as it is& - and then, surely there is the beginning of the understand of oneself.

- Jiddu Krishnamurti, The Book of Life

Olivia and George Harrison at the premiere of Damon Hill’s My Championship Year, Science Museum, London, 25 November 1996

Photo: Dave Benett/Alpha/Globe Photos, Inc./Getty Images

“Looking back on it now, I am kind of horrified that I had the nerve to do it, but I was in my early twenties and desperate to become a racing driver, and I knew that George liked motor racing, so I wrote to him to see if he could help. And he was interested. ‘Look, I want to help,’ he said, ‘because I really liked your dad.’ So from that point onwards I had a Beatle sponsor in the background. I really was shocked that he actually said that he would help. But he helped lots of people in different ways that you never get to hear about, so I didn’t like to talk about it. I felt really grateful to George for helping me out at a time when I really needed a leg up.” - Damon Hill, Living in the Material World [x]

“George liked to help people. […] He got some people to chant for me in India, and then he sent me a video; I’ve got a video of them chanting. And - and a little box with all these sort of burn offerings and stuff. And all the Harrisons were sort of rooting for me.” - Damon Hill, Living in the Material World special features

Footage of George talking about Damon Hill and the 1996 championship is available on YouTube.

anonymous asked:

How does one..... Befriend you.....?

alright, i’m going to try to be as gentle about this as i can–i know you (and the few other anons who have asked me this) mean well when you ask something like this!! and i know that when you have, like, social anxiety to contend with, it takes a lot of courage to even message someone you admire or want to be friends with in the first place! i’m really proud of you

but these kinds of messages out of the blue asking someone how they could  become your friend… they don’t feel good to receive. it’s flattering, but it puts a lot of pressure on the recipient to come up with a satisfying answer and somehow “make it work” with someone who’s basically a complete stranger.

it comes across a little as asking for some kind of formula that will lead to friendship, when at least in my experience, i just don’t have an answer for that. it would feel like lying to tell you there was a strategy guide for Being My Pal, or that if you do X Y and Z then you would Definitely Be My Friend. that’s not really how i work, and i can’t speak for everyone, but i don’t think that this is a wise or realistic way to approach friendship in general

i’ve made a lot of friends through tumblr, from random followers talking to me and getting to know me one way or another!! this is far from me saying such a thing could never happen, or even that it’s unlikely to happen. but i feel that this kind of approach does more to alienate the recipient than actually work towards friendship

on a similar vein–messaging someone you’re not on familiar terms with with something like “hey, let’s talk” without having a topic in mind has a similar problem of putting pressure on the recipient to entertain and socialize with you. it’s not a balanced exchange, and so i’d also advise not to do that. it helps a lot to have a specific thing to talk about–asking an (answerable) question, or joining in on a conversation that’s already happening via asks, is much less anxiety-inducing process than going in blind and expecting a full conversation to happen.

as for me personally… i know i haven’t streamed lately, but my streams are a good place to just hang out with me without making me feel pressured. i’m also worlds more comfortable with asks than DMs on tumblr, since i feel more like i can respond to them on my terms. i have severe social anxiety, so that’s a bit of a hurdle to overcome and i apologize, but the best way to get past that and be on friendlier terms is small interactions that i can control my exposure to

sorry if this isnt the kind of answer you want, but i’d rather be candid and honest than try to promise you something i can’t guarantee. i hope that’s okay

i hope you have a good day!!

Chad Michael Murray was actually the worst friend a person could have.

It all started on what began as a normal Friday. Jared woke up, knocked loudly on Chad’s door, took Harley and Sadie for a run, came back to shower, knocked loudly on Chad’s door again, and started breakfast. He hummed a happy tune quietly with a smile in place as he grabbed food from the refrigerator and cabinets.  Eventually Chad stumbled in, more squinty-eyed than usual, and running his hands through his spiky-blond, unruly bed hair.

“Morning, Sunshine,” Jared grinned, breaking the eggs into the sizzling pan.

“Fuck you, asswipe,” Chad spat.  Pulling on a chair at the breakfast bar so rough it screeched across the linoleum floor, he hauled himself up in it and glared at the back of Jared’s cheery head.

“You’re in a worse mood than usual,” Jared snorted, knowing that no matter how bad of a mood Chad was in, it was just an inherent part of his personality - nothing personal.

“Yeah, I am,” Chad groaned, nearly slamming his forehead into the counter top as he let it plop down.  “I was having a great night – made out with Sophia for, like, three hours straight, ate pizza, jacked off –“

“Really, dude?” Jared interrupted.

“– listened to some music, and then fell asleep, but not before fucking remembering that your gay boyfriend was coming over today,” he finished as though Jared never spoke.  

“Did you just call my boyfriend gay?” Jared asked incredulously.

“Uh, yeah.  Because he is.”  There was a pause.  

“Yep, that is true,” came with the shake of a head.  “But what’s the big deal?  Jensen comes over almost every weekend.”

“I know, but, like,” Chad groaned and slammed his head back against the counter top, “when he’s over you’re all mushy and gross and I can only handle so much gay in my life, okay?  And when he’s here, it’s double the gay.  It’s gay multiplied.  Gay squared.  That’s too much gay.”  Jared rolled his eyes and tossed the English muffins in the toaster.  

“Why don’t you go stay with Sophia or one of your other friends?” Jared suggested.

“Sophia is having a girl’s night or something tonight, I don’t really know.  She said, ‘Me and the girls want a wine and pedicure night,’ and I was like, ‘Fine, I’m gonna have a beer and video game night’ – which isn’t different than every other night, but, y’know.  And I have no other friends, Jared, why else do you think I’m living with your gay ass? That and you have the best gaming system so it was kind of a no-brainer.”

“Feelin’ the love, Chad.”

“Don’t feel the love from me, your boyfriend’ll be here in a few hours.”  

Keep reading

is there some kind of formula that goes like

“>post general ace positivity in the ace discourse tag

>wait for ‘aphobes’ to respond complaining about positivity in the discourse tag

>use the addition of discourse to positivity posts as ‘proof’ that ‘aphobes’ make aces’ feeling good about themselves into a point of contention and thus hate all aces



because i see stuff like this happening a lot and it’s annoying


get to know me meme: [1/5] current celebrity crushes → Sean O’Pry

‘I’m very competitive, but it’s hard to be a competitive male model because a lot of it is out of your control. You can’t control how you look, you can only control the way you act and obviously how you do your job. Don’t go hungover to castings, don’t let yourself go; it’s kind of an easy formula to follow. And I’m not taking anything away from this job, I’ve been in it eight and a half years. It’s a difficult job, and it’s really easy to be unprofessional. But if you’re a professional and you do it right, you’ll have a good career.‘

What Miranda has accomplished is a feat worthy in equal parts of both Merlin and Magellan, not just applying a kind of alchemy to the formula of stagecraft to adapt it to a more-diverse America, but to send Broadway itself setting sail into a New World — new artistic territory — what The New York Times called “a sweet spot you would not have imagined existed, somehow managing to be hip, sentimental, irreverent and deeply patriotic all at the same time.”

Who is to say if it’s perfect? Madonna — famously and infamously, in her way — said in Madonna: Truth or Dare: “I know I’m not the best singer and I know I’m not the best dancer, but I’m not interested in that. I’m interested in pushing people’s buttons, in being provocative and in being political.” Is hitting that mark not more important than hitting the right notes in the right key?

“Singing is an expression of freedom. It’s the sound of bravery. I have this conversation with Renée [Elise Goldsberry] all the time when she’s freaking out about one bad note in Satisfied,” Sydney James Harcourt, an ensemble performer in Hamilton who also understudies with aplomb for both Aaron Burr and George Washington, tells Rolling Stone. “An imperfect vocal performance can often be the better performance. I think Lin channels this idea. Yeah, he isn’t Domingo. But he can break your heart eight shows a week, 52 weeks a year, with a poignant sob in his voice during ‘Hurricane.’ I’ll take that over a high C.”

It’s not like there isn’t a long history of this in the music business.

“OK, Lin can’t sing. So fucking what?” asked Dan Charnas, author of The Big Payback: The History of the Business of Hip-Hop. “John Lennon isn’t a great singer. Bob Dylan isn’t. Look at Billie Holiday; with one octave, she influenced everyone from Judy Garland to Amy Winehouse.” He continued: “Hip-hop changed the aesthetic. Chord changes and melodic movements could now be loop-based and rhythm-based, which the industry found both frightening and liberating. He’s Beyoncé, basically. She was the first time R&B got sung in the rhythmic patterns of an emcee.”

There was a time when Broadway auditions didn’t sound like an episode of American Idol or Glee. “In a way he’s creating something new, but in a way celebrating something old. Back in the day — the Forties, Fifties, Sixties — there was a broader acceptance in what could be a Broadway-ready voice. Think of Roy Bolger or Carol Channing,” says Deborah Lapidus, who teaches Juilliard drama students — including Hamilton’s Phillipa Soo, an alum — how to sing. “Finding your voice is not a metaphor. You have to find what works for you. We want — we need, honestly — individuals. Not egotistical divas, because there’s nothing worse than swagger with nothing behind it. That’s just bullshit. But more about working from yourself, from what you know. Hip-hop does that well. And Hamilton does that very, very well.” For all the comparisons to Rent, Lapidus likens Hamilton more to Sweeney Todd, Stephen Sondheim’s laughably unconventional musical with unorthodox vocal talent that was pulled off with such winning gusto. Miranda agrees, even go so far as transforming Hamilton’s opening number into an homage to the Demon Barber of Fleet Street for a benefit performance.

For a sense of the scale with which Hamilton is reinventing the American Dream, we need to look at the way the show is casting its expansions in Chicago, Los Angeles and San Francisco — as well as the folks who will replace the original cast in New York. Beyond its obliteration of racial barriers, the show is looking at aspirants as young as 16, according to Bethany Knox, Hamilton’s casting director at Telsey + Company. She noted that 188 candidates are being considered through online video submissions. They don’t have to sing canon showtunes – it turns out Adele and Bruno Mars work just as well, she says. The casting calls explicitly assure dreamers that no experience is necessary, an astounding claim for the most-coveted production in a generation. They clearly want more Mirandas.

“This is what we do. This is where we thrive,” says Knox, who noted that Telsey cast Rent as well. “There’s only so much known talent. We have to look outside of the box. There’s such a range of needs here. And, thankfully, when you have a hit on your hands, the world opens up a bit. Not just for us. For them, too.” Lapidus agrees: “Seeing yourself represented on stage, it offers a bigger way in. And that’s what education is all about.”

It can be hit or miss. “What you want is Amy Winehouse, not the 30 people they put on after her to chase that audience,” says Christina Bianco, who’s made a name for herself with her impressive impressions of top singers. “Vocal fireworks will never compare to honesty. Do what you know. Do what you love. Barbra Streisand is infamous for standing there with her eyes closed. But that’s what it takes for her to get that voice out of her.”

The point is not to set out to be the next Miranda, to write like him, to rap like him, to sing or dance like him. The point is not to imitate his talent, but rather to imitate his weirdness, his trust that weirdness will find a way. That’s how ability transcends into artistry. He has already done the same for Daveed Diggs, having written lyrics for him — in the latter’s Hamilton roles of the Marquis de Lafayette and Thomas Jefferson — at 6.3 words a second, a level of rapping dexterity Miranda himself cannot achieve.

Miranda was never from an immigrant family (Puerto Rico is part of the United States, despite some high-profile blunders saying otherwise). Despite his raps about doing homework in the back of the bodega with his abuela, he was never poor — his debut work, In The Heights, was his sophomore project at Wesleyan. His idea of being classically trained is knowing his way around an original Nintendo. Before Hamilton, he led the kind of life where he could indulge in the creation of his hip-hop improv group Freestyle Love Supreme and, on a lark, have a small speaking role in The Sopranos. What he is, for sure, is weird. And a welcome reminder that the American Dream isn’t just about getting rich, but rather getting there by being different, by being yourself. It’s a get-weird-quick scheme, and it’s beautiful more often than it’s bountiful.

all these reviewers are so fucking stale and boring… they desperately want there to be some kind of post boyband formula so all their reviews are influenced by that shit and completely inane comparisons instead of looking at zayn as a debuting artist, like i get the reasons why but it’s still unfair and just a blatant bias lmao like it’s impossible to be objective about an album if you’re looking at it through the limited lens of ‘the robbie williams’ or ‘the justin timberlake’ or whatever other fucking asinine lazy assumption 

  • Stryker: But you say, I think it's in lane boy, don't trust a perfect song, don't trust a perfect person,can you expand on that a little?
  • Tyler: Um, the song lane boy on this new record, was kind of a moment for me to air out some things that I was thinking. So we've been through the album cycle of Vessel,and for the first time ever, got kind of a glimpse of what it takes, to not only be successful on the road, but be successful with, you know, writing good songs. And uh, we never knew that there was kind of this formula out there, for what makes a song popular or successful or a single, or however yo want to say it. But when I started diving into that world, that songwriting world, I realized that a lot of these bands that I consider peers, and not only that but bands that I look up to, they're not even really writing their own songs, or if not there are people helping them do it, it just makes sense. Uh, it didn't feel like them, I felt like I knew them as an artist and as a songwriter, and then they come out with this and you're just like this doesn't feel like them... There are different parts of it. Obviously lyrics are the first thing that you can tell that this person would never say that. But then, um, I don't know, everyones looking for this hook. Everyone' looking for this structure quickly. If you can get to the chorus quickly, if you can hit it two times before the bridge, and if the bridge can get out of the bridge soon enough to hit the chorus again in under 3:20 or whatever it is your shooting for then you're good to go. And so, that's kind of like, that's the culture we're living in now. And I understand that, and I get that, but like I'm interested in trying to find like a true piece of art, maybe inside of those boundaries.