Roger Miller - Chug-A-Lug
[How do I do it?] Well, it’s always a mystery, because you don’t know why you get depleted or recharged. But this much I know. I do not allow myself to be overcome by hopelessness, no matter how tough the situation. I believe that if you just do your little bit without thinking of the bigness of what you stand against, if you turn to the enlargement of your own capacities, just that itself creates new potential. And I’ve learned from the Bhagavad-Gita and other teachings of our culture to detach myself from the results of what I do, because those are not in my hands. The context is not in your control, but your commitment is yours to make, and you can make the deepest commitment with a total detachment about where it will take you. You want it to lead to a better world, and you shape your actions and take full responsibility for them, but then you have detachment. And that combination of deep passion and deep detachment allows me to take on the next challenge, because I don’t cripple myself, I don’t tie myself in knots. I function like a free being. I think getting that freedom is a social duty because I think we owe it to each not to burden each other with prescription and demands. I think what we owe each other is a celebration of life and to replace fear and hopelessness with fearlessness and joy.
Wes Anderson’s original, black & white, 13 minute version of Bottle Rocket.
Anderson’s short film, which he shot in 1992 and distributed two years later, was originally set to star ”real” and established actors but, due to budget issues, the main roles were given to co-screenwriter Owen Wilson and his brother Luke, neither of whom had ever appeared in a film before.
Things worked out okay.
We wear clothes, and speak, and create civilizations, and believe we are more than wolves. But inside us there is a word we cannot pronounce and that is who we are.
Anthony Marra, A Constellation of Vital Phenomena
Cannon Beach // Nikki
Josh Ritter - Mexican Home (John Prine cover)