asteroid617

[asteroid617]

let jedi be jedi.

let them be uncomfortable with romance and/or marriage.

let them be repulsed at the idea of leaving the order.

let them feel liberated by jedi beliefs--let them see it as freedom from the burdens and chains of worldly life to follow the will of the force.

let them love the temple and think fondly of their fellow jedi and their communal lifestyle.

let them care for their masters and their padawans without imposing the dynamics of the nuclear family. let them explicitly reject comparisons of their masters to parents, or their padawans to children.

let them defend the jedi openly! without shame!

let them embrace the modesty, humility, and practicality of jedi clothing.

let them love being jedi, everything about being jedi, with no strings attached.

just....let jedi be jedi

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Hey 😀 what the fuck 😀 what the fuck? 😀😀😀 what the fuck 😀😀😀😀

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𝕬𝖉𝖗𝖎𝖆𝖓 𝕿𝖊𝖕𝖊𝖘 🥀❤✨

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f1 When aerodynamics meets aesthetics 📸

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The Blog vs. the Blogger

Thanks @blondecasino for tagging me this was a lot of fun! And is actually pretty on point 💖

(Picrew link)

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my family’s daal recipe (punjabi malaysian)

daal (lentil curry) is a fundamental/staple food across south asia as it is cheap to make, packed with protein, flavourful, and completely vegetarian. it can also be made vegan by substituting ghee (clarified butter) with coconut oil if desired. there are as many ways to make daal as there are lentil varieties that can be cooked on their own or combined, but this is the blend i grew up eating and the one i like best. this daal is meant to have a thick and hearty texture.

daal can be served with fresh basmati rice or any kind of south asian flatbread of your choice (chapati/roti is most common, but it is really good with aloo or paneer stuffed prantha too.) my favourite way to eat it is with basmati rice and a couple of fried eggs on top :)

full recipe + instructions below the cut

Keep reading

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“When he wanted to, John could be an avid reader, and he decided to read every book in the house. In the afternoons we sat by the pool and read quietly. John became obsessed by two books Tony King had given him as gifts, Hunter Thompson’s Fear and Loathing in Las Vegas and Nigel Nicholson’s Portrait of a Marriage, which Tony said would remind John of his marriage to Yoko. John loved the Thompson book, a seamy study of a drug-involved journalist investigating the underbelly of America, and became obsessed with the notion of starring in a film version of the book. On the other hand Portrait of a Marriage really disturbed him. The book was an account of the fifty-year marriage of Vita Sackville-West and Harold Nicholson, both of whom were bisexual and continually unfaithful to each other, yet were able to evolve a relationship of great depth and longevity despite the incompleteness of their marriage. John was very distressed by the theme of sexual incompatibility in the midst of great emotional attraction and the fact that no matter how hard one tries, a marriage may always remain incomplete.”

—

In May Pang’s Loving John (1983).

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[My profound gratitude goes to @eppysboys, who’s going through this insightful book and took the time to bring this gem to my attention.]

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Regarding Fear and Loathing in Las Vegas:

It was later adapted into a film of the same title in 1998 by Terry Gilliam, starring Johnny Depp and Benicio del Toro who portrayed Raoul Duke and Dr. Gonzo, respectively.

The novel lacks a clear narrative and frequently delves into the surreal, never quite distinguishing between what is real and what is only imagined by the characters. The basic synopsis revolves around journalist Raoul Duke (Hunter S. Thompson) and his attorney, Dr. Gonzo (Oscar Zeta Acosta), as they arrive in Las Vegas in 1971 to report on the Mint 400 motorcycle race for an unnamed magazine. However, this job is repeatedly obstructed by their constant use of a variety of recreational drugs, including LSD, ether, cocaine, alcohol, mescaline, and cannabis. This leads to a series of bizarre hallucinogenic experiences, during which they destroy hotel rooms, wreck cars, and have visions of anthropomorphic desert animals, all the while ruminating on the decline of both the “American Dream” and the ‘60s counterculture in a city of greed. 

The preface quotes Samuel Johnson: “He who makes a beast of himself gets rid of the pain of being a man.” The quotation alludes to the protagonists’ profuse drug use in escaping the coarse realities of American life; passages detail the failed counterculture, people who thought drug use was the answer to society’s problems. The contradiction of “solace in excess” is thematically similar to The Great Gatsby. Thompson posits that his own drug use (unlike Timothy Leary’s mind-expansion experimentation drug use) is intended to render him a mess; that he is the poster boy of a generation of “cripples and seekers…”; their erratic behaviour depicts the restless failure his generation feels. Throughout Fear and Loathing in Las Vegas, the protagonists go out of their way to degrade, abuse, and destroy symbols of American consumerism and excess, while Las Vegas symbolizes the coarse ugliness of mainstream American culture. [Source]

I’ve seen through junkies, I been through it all / I’ve seen religion from Jesus to Paul / Don’t let them fool you with dope and cocaine / No one can harm you, feel yer own pain

LADD: What happened to the in-quotes “revolution”?

JOHN: Not the physical revolution, but the whole game that was going on? [pause] I think, in one way, all of us were under a slight illusion that we might… Maybe it wasn’t an illusion, and maybe had we pushed harder, we would’ve gotten what we wanted, but I’m not sure we – anybody really knew what we wanted. We knew we didn’t like what was happening, but nobody knew quite what – what it was that we wanted. ‘Cause we’d never had it.

— Interview w/ Jim Ladd. (October 10th, 1974) 

[John talking about waking up from the dream that was the idealism of the 60s as a metaphor for waking up from the dream of his own life]

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About Portrait of a Marriage:

Vita Sackville-West, novelist, poet, and biographer, is best known as the friend of Virginia Woolf, who transformed her into an androgynous time-traveler in Orlando. The story of Sackville-West’s marriage to Harold Nicolson is one of intrigue and bewilderment. In Portrait of a Marriage, their son Nigel combines his mother’s memoir with his own explanations and what he learned from their many letters. Even during her various love affairs with women, Vita maintained a loving marriage with Harold. Portrait of a Marriage presents an often misunderstood but always fascinating couple. [Source]

The classic story of the relationship between Vita Sackville-West and Harold Nicolson, and a unique portrait of the Bloomsbury Group. The marriage was that between the two writers, Vita Sackville-West and Harold Nicolson and the portrait is drawn partly by Vita herself in an autobiography which she left behind at her death in 1962 and partly by her son, Nigel. It was one of the happiest and strangest marriages there has ever been. Both Vita and Harold were always in love with other people and each gave the other full liberty ‘without enquiry or reproach’, knowing that their love for each other would be unaffected and even strengthened by the crises which it survived. This account of their love story is now a modern classic. [Source]

Even though I have not read this book, I can’t help but wonder if the assessment that the marriage was “incomplete” in the absence of monogamy was perhaps not a feeling expressed by the participants, but rather a projection of John’s own anxieties. 

John was very distressed by the theme of sexual incompatibility in the midst of great emotional attraction and the fact that no matter how hard one tries, a marriage may always remain incomplete.

The phrasing of the issue is so on point, that despite May’s developed emotional intelligence, these ideas appear to me as having been expressed by John himself (whose indulging in deep introspecting often made him quite apt at identifying his feelings).

It’s just handy to fuck your best friend. That’s what it is. And once I resolved the fact that it was a woman as well, it’s all right. We go through the trauma of life and death every day so it’s not so much of a worry about what sex we are anymore.

— John Lennon, interview w/ Jonathan Cott for Rolling Stone: Yoko Ono and her sixteen-track voice. (March 18th, 1971)

It’s a plus, it’s not a minus. The plus is that your best friend, also, can hold you without… I mean, I���m not a homosexual, or we could have had a homosexual relationship and maybe that would have satisfied it, with working with other male artists. […] It’s the same except that we sleep together, you know? I mean, not counting love and all the things on the side, just as a working relationship with her, it has all the benefits of working with another male artist and all the joint inspiration, and then we can hold hands too, right?

— John Lennon, interview w/ Sandra Shevey. (Mid-June?, 1972)

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Of the stayed and the departed.

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Of Friends and Foes

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LORD HAVE MERCY (x) (x)

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nanami mhm mhm yeah yes mhm mhm

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retro jujutsu kaisen 🩸😈 #呪術廻戦    #JJK

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hide and seek

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someone get the strap