that was the saddest fucking thing ever

no more sad kitty posts. christ.

On a serious note, this is Charley

Hit the D.E.C.K.

You know you need it. hey.

http://torrents.thepiratebay.org/3899036/Daft_Punk_-_Alive_2007___Encore_%5BSplitted_into_tracks%5D.3899036.TPB.torrent

A Nation of DoucheBags : Short Version

I just got done watching Bridget Jones for what must now the tenth or twelfth time and realized that romantic comedies don't reflect reality and the media influences me. also that hugh grant is a fox. also i need a man that can respect me for me.

dude.

tenth dimension.

Imagining the Tenth Dimension

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i've been spening some time in the archives..

anyone remember the timecube guy?



and i don't think the numa numa guy realizes that we want to make fun of him...not that we think he's super cool




especially since he has put together a whole website to show off his coolness and gives me the ability to buy his headphones which as far i can tell are just regular wrap around headphone

http://newnuma.com/

Back to the good ol' stuff

http://www.electricretard.com/0012.html

A Nation of Douchebags - By DJ Marsh Boa

We watch romantic comedies and begin to idealize the lifestyle that is portrayed. We desire more tension, more drama, a bigger climactic payoff in our own personal affairs so we plan our romanticism such that we never have a genuine moment like in the story’s plot, but instead construct moments that, viewed externally, would appear to be the most perfect and objectively significant, reflecting these praises onto person whose soul was so unlimitedly beautiful that it aligned the stars and, acting out the primordial story of the ideal gender dynamic, presented the model for all future human interactions based on an analysis of praxis rather than intention or moral clarity. The result of this modeling of behavior on a vicarious representative depicted in romantic comedies is that we become the characters that we are emulating. Here, our modeling of the main character takes place consciously in terms of our behavior. Simultaneously, we model our moral clarity on a subconscious level, such that we quietly degenerate into morally bankrupt members of society. The main characters involved either begin the movie as douchebags and schismatically transform into perfect men or remain relatively constant, but discover the intellectual jewel that enables them to live with their tragic flaw (typically, this takes place via a genuine and non-strategic concession by the female interest). Unfortunately, both of these archetypes do not confront their flaws in a realistic manner. In the former, the man undergoes a magically transformative moment after a major plot development or a reciprocation from the other side of the relationship rather than an internal struggle. Even when the man explains his realization and justification for his sudden change, the most typical explanation fundamentally boils down to a “realization” so profound that it deeply changed his moral framework in terms of his essential calculus in setting priorities for himself (ie between ethical behavior or emotional strength and immorality or indecisiveness). The viewer does not perceive a struggle in as much as the character was forced to make tough decisions or be honest with himself; rather, the character simply musters the sheer will power to force himself into a fundamentally incompatible internal calculus and moral framework. In the latter, this transformation is briefly washed over and the film cuts to the apology scene, at which point the woman reveals that her outward strength in the face of his overt pleas was a façade and that the explicit act of apologizing was all it would take to get her back.

The result of these transformations is that the viewer is told that all it takes to overcome all of your flaws in one fell sweep is to think really hard until God intervenes and the truth hits you like a bolt of lightning. Worse still, the lack of a discussion of his thought process tells us that we don’t even need to think particularly hard – we can get by on just looking like we are thinking really hard while in actuality we are thinking about our job and patiently waiting for the moment of enlightenment. This is particularly problematic in the latter case, at which point the viewer sees the woman admitting lack of resolve as proof that one’s behavior need not actually change in any tangible manner, but that one must simply appear to be willing to make strategic concessions and admit their flaws only as deflection mechanisms to ease the pressure while we wait for the transformation. In most cases, we slowly realize that the transformation isn’t actually necessary, because while we can’t have the beauty of the make-out scene in the rain (complete with heavy panting), what we do have is not bad, even if it is based on a foundation of deceptions.

We become the douchebag in the beginning of the movie, but wait in vain for the magic transformation moment at the end without thinking that a true introverted struggle is necessary in any sense. In some cases, we even realize our degradation into douchebaggery but justify it to save ourselves the anguish that would ensue if we recognized our foolishness at buying into a mythology that taught us that our problems will be solved eventually by a divine enlightenment. If we admitted such a blind obedience to a lie, we would be forced to use our new vision to scan the horizon, at which point we detect a nagging suspicion that we are surrounded by guys just like us – blind, obedient, ignorant douchebags.

Since Meredith never posts, i'm transforming this blog into only videos of cats. Suck it, bitch.

And old chestnut and a new

the old chestnut:
http://youtube.com/watch?v=Bm22mnMEORU

The new: