It’s been about a year since I’ve even heard anyone talk about Somebody That I Used To Know. It’s been long enough that its over-saturation has completely subsided. I listened to it today. What a great song, for real. I like basically everything about it.
When that song came out, I was in the process of getting over a few people in my life who had recently become people that I used to know. The way that it played constantly kept me totally raw to those feelings. Even so, I have always said that if it was a song on an album that I had bought, I would have loved it.
i love sir patrick stewart more with each passing day.
See, guys. This is how you do it. Notice the words “Not all men are like that” are never spoken.
I get this completely irrational and projected feeling that Patrick Stewart figured something out when he was 65 that he needed to figure out his whole life and that made him finally able to be happy and it makes me so happy to see him happy I just want to cuddle the idea of his happiness.
The way you say that makes me feel like it must not be hopeless for me. I’m only 30, there’s still lots of time to figure things out.
Sure, I’d like to have figured it out already and I don’t look forward to the time between now and when I have found whatever it is that clicks into place for me, but just knowing that it could happen, that I could be having the kind of fun that he seems to be having with his life, that that’s a potential future for me?
Over his long career of making and building, self-taught photographer Michael Paul Smith has at times referred to himself as a text book illustrator, a wallpaper hanger and house painter, a museum display designer, an architectural model maker, and art director. All of these skills have culminated in the amazing ability to shoot forced perspective outdoor scenes using his extensive diecast model car collection. Something he calls his “quirky hobby.”
For nearly 25 years Smith has been working on a fictional town he refers to as Elgin Park where all of his miniature scenes take place. To make each shot he positions an old card table at scenic points around Boston and positions his minutely detailed cars and model sets on top. Using an inexpensive point-and-shoot camera and natural light he then snaps away, simply eye-balling the perspective to get everything right.