“[“What’s the Frequency, Kenneth?”] was about a guy who was trying really hard to “connect” with a younger generation and just desperately failing at it. It’s commenting on my generation’s inability to grow up: people can’t look in the mirror and see themselves as anything other than a kid in an adult’s body. So I made this character who puts on a really hideous shirt to try and fit in at some skate park and the kids are just like, “Who’s grandpa? What’s he’s doing?” I saw that everywhere around me and I saw it in myself, I’m sure.”—
That’s a quote from Michael Stipe. In the next paragraph he says “No matter how hard we tried to be in the cool moment, we were always either way ahead of it or way behind it.” “Kenneth” was way ahead of the curve — I think the ideas about aging and generational divides in that song are very, very relevant today.
"Immunity from having the "race card" played is part of the Herman Cain appeal. Does he think it also means he can get away with being as hateful as the worst ’60s segregationist, only against a religious minority and not an ethnic minority?" (Salon)
"You can score badges on Foursquare and become the mayor of a local organic vegan cafe, but wouldn’t you rather score bronze and silver medals of valor like Hemingway did in World Wars I and II?" - Neither of those things sound like a lot of fun, to be honest.
"Rewarding middle-class, educated, comedy workaholics for lampooning people without any of their advantages, struggling on the margins of society – was this where we’d come to, a boorish festival of exploitation and contempt?" (Barbara Ellen)
“Brussel wordt nooit een lief, niet eens een moeizaam lief, maar blijft altijd een commère die reutelt en zeurt en mij uiteindelijk negeert. Een tochtig plein, een grauwe straat, het gejammer van de trams. Liever die eerlijke tristesse dan een geveinsde gezelligheid”—David Van Reybrouck
"The 1988 version of The Vanishing endures because it zigs where most psycho-killer movies zag, staged with a matter-of-factness that breaks from the thick atmosphere and emphatic shocks of other thrillers of its kind.” (The AV Club)
"The number of DSK’s room is meaningful. We should interpret reality as if it was a novel. Had he checked into room 2706 he would not have attacked a chambermaid, he would have masturbated peacefully." - Arnon Grunberg