Reblogged from stillhalfasleep
for the pause that refreshes
i took the title from a coca-cola advert.
fuck yeah.
(Source: stillhalfasleep)
Steve Coogan, Nosso Irmão sem Noção (Our Idiot Brother, Jesse Peretz, 2011)
i was searching tumblr for anything from my idiot brother and this was fairly high on the search results. i love steve coogan, but this is rather unfortunate for him. anyway; i’ll just leave this here for you all. go watch the film. it’s great.
maybe the worst thing i’ve ever seen.
(Source: iraffiruse)
i think this is my favourite episode. love this one.
(Source: hugsfromcas, via fuckyeahmitm)
(Source: iruntothefutureandjump)
Judee Sill - The kiss
“Sill signed to David Geffen’s newly founded Asylum Records — the label that epitomised mellow West Coast rock — in 1970. Asylum’s roster included The Eagles, Jackson Browne, Joni Mitchell and Linda Ronstadt, and Geffen had already masterminded the careers of Crosby, Still & Nash and Sill’s kindred spirit Laura Nyro. But unlike her distinguished labelmates, Sill’s career failed to ignite. Eighteen months after 1973’s Heart Flood, and having endured three months of agonising recuperation following corrective back surgery, Sill abandoned the recording of her third album and disappeared without a trace until, in November 1979, news broke of her suicide from a cocaine and codeine overdose.
It seemed the inevitable end to such a free-falling life. Sill was born in Studio City, California in October 1944, her background respectable Hollywood. But her father, a cameraman at Paramount Studios, died when she was only eight and her mother remarried and relocated to LA. Sill’s family life then disintegrated. Her mother succumbed to downers and alcohol, her stepfather Ken Muse — an award-winning animator for Tom & Jerry — allegedly abused her. When her brother, the only stable influence in her life, left home during high school, she transformed into the proverbial wild child. She and a partner began a series of gas station hold-ups that saw Sill wind up in reform school. Already experimenting with drugs, on release in 1964 she moved from dope to daily LSD consumption and ended up back in jail for narcotics offences and passing forged cheques. Her drug-world connections, and the time she spent hanging out in jazz and folk clubs, now drew her into musical circles. Sill’s first influences had been, predictably, the folk of Joan Baez and Buff Sainte-Marie. On home recordings from 1968 included on Dreams Come True, Sill is captured singing such traditional fare as “500 Miles” — utterly charming but no indication of the artistry to come. ” - http://chalkhills.org/articles/Uncut0504.html
