KeithStone582: Make The Longest Comment You Can.

KeithStone582 11.26.10	You Lose!
LG 11.26.10	Don't you feel dumb?
East Hastings 11.26.10	Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense. Must be in complete sentences. Has to be about music. can't just be nonsense.
Deviant. 11.26.10	The word music comes from the Greek mousikê (tekhnê) by way of the Latin musica. It is ultimately derived from mousa, the Greek word for muse. In ancient Greece, the word mousike was used to mean any of the arts or sciences governed by the Muses. Later, in Rome, ars musica embraced poetry as well as instrument-oriented music. In the European Middle Ages, musica was part of the mathematical quadrivium: arithmetics, geometry, astronomy and musica. The concept of musica was split into three major kinds by the fifth century philosopher, Boethius: musica universalis, musica humana, and musica instrumentalis. Of those, only the last—musica instrumentalis—referred to music as performed sound. Musica universalis or musica mundana referred to the order of the universe, as God had created it in "measure, number and weight". The proportions of the spheres of the planets and stars (which at the time were still thought to revolve around the earth) were perceived as a form of music, without necessarily implying that any sound would be heard—music refers strictly to the mathematical proportions. From this concept later resulted the romantic idea of a music of the spheres. Musica humana, designated the proportions of the human body. These were thought to reflect the proportions of the Heavens and as such, to be an expression of God's greatness. To Medieval thinking, all things were connected with each other—a mode of thought that finds its traces today in the occult sciences or esoteric thought—ranging from astrology to believing certain minerals have certain beneficiary effects. Musica instrumentalis, finally, was the lowliest of the three disciplines and referred to the manifestation of those same mathematical proportions in sound—be it sung or played on instruments. The polyphonic organization of different melodies to sound at the same time was still a relatively new invention then, and it is understandable that the mathematical or physical relationships in frequency that give rise to the musical intervals as we hear them, should be foremost among the preoccupations of Medieval musicians.
Scoot 11.26.10	The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic. The National are orgasmic.
qwe3 11.26.10	Given the existence as uttered forth in the public works of Puncher and Wattmann of a personal God quaquaquaqua with white beard quaquaquaqua outside time without extension who from the heights of divine apathia divine athambia divine aphasia loves us dearly with some exceptions for reasons unknown but time will tell and suffers like the divine Miranda with those who for reasons unknown but time will tell are plunged in torment plunged in fire whose fire flames if that continues and who can doubt it will fire the firmament that is to say blast heaven to hell so blue still and calm so calm with a calm which even though intermittent is better than nothing but not so fast and considering what is more that as a result of the labours left unfinished crowned by the Acacacacademy of Anthropopopometry of Essy-in-Possy of Testew and Cunard it is established beyond all doubt all other doubt than that which clings to the labours of men that as a result of the labours unfinished of Testew and Cunard it is established as hereinafter but not so fast for reasons unknown that as a result of the public works of Puncher and Wattmann it is established beyond all doubt that in view of the labours of Fartov and Belcher left unfinished for reasons unknown of Testew and Cunard left unfinished it is established what many deny that man in Possy of Testew and Cunard that man in Essy that man in short that man in brief in spite of the strides of alimentation and defecation is seen to waste and pine waste and pine and concurrently simultaneously what is more for reasons unknown in spite of the strides of physical culture the practice of sports such as tennis football running cycling swimming flying floating riding gliding conating camogie skating tennis of all kinds dying flying sports of all sorts autumn summer winter winter tennis of all kinds hockey of all sorts penicilline and succedanea in a word
qwe3 11.26.10	I resume and concurrently simultaneously for reasons unknown to shrink and dwindle in spite of the tennis I resume flying gliding golf over nine and eighteen holes tennis of all sorts in a word for reasons unknown in Feckham Peckham Fulham Clapham namely concurrently simultaneously what is more for reasons unknown but time will tell to shrink and dwindle I resume Fulham Clapham in a word the dead loss per caput since the death of Bishop Berkeley being to the tune of one inch four ounce per caput approximately by and large more or less to the nearest decimal good measure round figures stark naked in the stockinged feet in Connemara in a word for reasons unknown no matter what matter the facts are there and considering what is more much more grave that in the light of the labours lost of Steinweg and Peterman it appears what is more much more grave that in the light the light the light of the labours lost of Steinweg and Peterman that in the plains in the mountains by the seas by the rivers running water running fire the air is the same and than the earth namely the air and then the earth in the great cold the great dark the air and the earth abode of stones in the great cold alas alas in the year of their Lord six hundred and something the air the earth the sea the earth abode of stones in the great deeps the great cold an sea on land and in the air I resume for reasons unknown in spite of the tennis the facts are there but time will tell I resume alas alas on on in short in fine on on abode of stones who can doubt it I resume but not so fast I resume the skull to shrink and waste and concurrently simultaneously what is more for reasons unknown in spite of the tennis on on the beard the flames the tears the stones so blue so calm alas alas on on the skull the skull the skull the skull in Connemara in spite of the tennis the labours abandoned left unfinished graver still abode of stones in a word I resume alas alas abandoned unfinished the skull the skull in Connemara in spite of the tennis the skull alas the stones Cunard tennis... the stones... so calm... Cunard... unfinished...
ConsiderPhlebas 11.26.10	It amazes me that any actor can remember all that
pizzamachine 11.26.10	Someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that someone thinks/knows/believes that...
Urinetrouble 11.26.10	I love music, do you?
Yazz_Flute 11.26.10	The capacity of human intelligence seems to limit the capabilities to expand upon any possible creative aptitudes. Indeed, if one cannot even notice the facets that the ingenuities around him are comprised of, how can he be expected to fashion a beast of his own? This inveterate sense of constraint is a great blow to the veracity of mankind’s abilities. It restrains us and holds our minds to the ground below, averting any possibility of rising above ourselves to something greater; something not fathomed by the conventional mind. This concept of seeking to go beyond one’s self, known as “transcendence”, is essentially a gateway to unlocking pieces of ourselves that can lead to some of the most elaborate and significant creations of our world. For many, this quest to transcend and form creations that were once considered unthinkable and overwhelming consumes life. Certainly it is rare to find such people, but when they are found, creative barriers are destroyed.
bimple69 11.26.10	Shostakovich: Trio Op.67 in E minor “That is his temper, his polemics, his manner of speech, his habit of returning to one and the same thought, developing it.” The speaker here is the sister of Ivan Sollertinsky, speaking of the portrait of her brother in the second movement of Shostakovich’s Piano Trio No.2. It is a furiously-paced movement, glee and madness mixed together in equal parts, a hodgepodge of themes thrown together, each one more frenzied and excited than the previous one, crashing chords ending the brief movement with extreme bravura and breathlessness. Ivan Sollertinky was a friend of Shostakovich’s, alternately described as being his “ideal companion”, “mentor” and “alter ego” – the trio was dedicated to him, and was the first major work written after his unexpected and tragic death in 1944 at the age of 42. Upon hearing of Sollertinsky’s death, Shostakovich offered the following words of condolence to Sollertinsky’s widow: “It is impossible to express in words all the grief that engulfed me on hearing the news about Ivan Ivanovich’s death. Ivan Ivanovich was my closest and dearest friend…To live without him will be unbearably difficult.”
bimple69 11.26.10	Four days after the death of Sollertinsky, Shostakovich finished composing the first movement of the Piano Trio No.2. It is a bleak, despairing movement, opening with the main theme being played entirely by solo, muted cello harmonics, this theme subsequently being obsessively developed throughout the movement, traversing from the ghostly opening through to pensive piano theme backed by static repeating staccato eighth notes, transforming into an explosive, martial statement by the cello, then carrying on as a sinister waltz played by pizzicato strings, developing on into a full-throated fortissimo wail, and finally trickling out as a reminiscence on the piano at the end of the movement. The tragic mood is briefly broken by the mad frenzy of the second movement, but then picked up again in the third movement, which opens with crashing, tormented piano chords, followed by a profoundly beautiful and sad theme played out on violin and cello, first by the two instruments separately, then interwoven between the two instruments. The final movement brings together many of the various elements and themes of the piece up until now, as well as introducing a fresh crop of tunes, including some distinctly Russian folk melodies, and a Jewish tune. In 1944, the news of the horrors of the concentration camps was just starting to trickle out; but Shostakovich’s interest in Jewish music dated back further than 1944. At the time of his composition of the trio, he was working on completion of his student Fleyshman’s opera, Rothschild’s Violin; he stated himself, “It seems I comprehend what distinguishes the Jewish melos. A cheerful melody is built here on sad intonations…Why does he sing a cheerful song? Because he is sad at heart.” This mixture that attracted to Jewish music, of tragedy thinly papered over with cheer, of irony both masking and expressing profound sadness, of beauty and despair expressed together, is present in all of Shostakovich’s music, but finds particular poignancy in this Trio, reflecting both the horrific, devastating historical time in which he was writing this piece, as well as intense personal quality of the loss for him of his closest and dearest friend, Sollertinsky.
Yazz_Flute 11.26.10	Dicks.
bimple69 11.26.10	yeah i wrote that shit for the Oberon Trio's program notes, uncredited of course. top that you little shits
climactic 11.26.10	Music is an art form whose medium is sound. Common elements of music are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike), "(art) of the Muses."[1] The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts," music may be classified as a performing art, a fine art, and auditory art. There is also a strong connection between music and mathematics. Music and theatre scholars studying the history and anthropology of Semitic and early Judeo-Christian culture, have also discovered common links between theatrical and musical activity in the classical cultures of the Hebrews with those of the later cultures of the Greeks and Romans. The common area of performance is found in a "social phenomenon called litany," a form of prayer consisting of a series of invocations or supplications. The Journal of Religion and Theatre notes that among the earliest forms of litany, "Hebrew litany was accompanied by a rich musical tradition:"[8] "While Genesis 4.21 identifies Jubal as the “father of all such as handle the harp and pipe,” the Pentateuch is nearly silent about the practice and instruction of music in the early life of Israel. Then, in I Samuel 10 and the texts that follow, a curious thing happens. “One finds in the biblical text,” writes Alfred Sendrey, “a sudden and unexplained upsurge of large choirs and orchestras, consisting of thoroughly organized and trained musical groups, which would be virtually inconceivable without lengthy, methodical preparation.” This has led some scholars to believe that the prophet Samuel was the patriarch of a school, which taught not only prophets and holy men, but also sacred-rite musicians. This public music school, perhaps the earliest in recorded history, was not restricted to a priestly class—which is how the shepherd boy David appears on the scene as a minstrel to King Saul."[8]
bimple69 11.26.10	mine destroys all
wyankeif1337 11.26.10	I just tried to post a comment, but I got a warning that told me it was too long, and it didn't post. I win.
Urinetrouble 11.26.10	mines best because technically, it used the most character space and it was about music, so suck on that
mm8 11.26.10	Released in 1986 to wide acclaim of fans, Master of Puppets was Metallica's third album. While their two previous efforts were solid thrash albums, they merely hinted at what they would achieve with this great record. It's the epitome of metal and thrash at it's peak. It was also the last album to feature the classic lineup, with bassist Cliff Burton dying later on the following tour in a tragic bus accident. Running just under fifty-five minutes and featuring eight tracks of non-stop great riffs and killer solos, Master of Puppets is an album for the ages.
mm8 11.26.10	The first track, Battery, starts off with a slow, classical guitar intro. Another guitar joins and the intro continues. A few more guitars join until it heads right into the meat of the song. Guitars get kicked in the face with distortion and play the intro a few times. Then they go to speedy riffing, as Lars brings in some drums to move the song along. James adds his vocals to the mix, and they are much, much improved since their last two outings. "Battery!" shouts James, as a short solo bit follows. "Smashing through the boundaries/Lunacy has found me/Cannot stop the battery" he says, as guitars speed away behind him. There's a break now as things slow down. Another guitar comes over the top and plays a bit. Then it goes into full on solo mode as Kirk rapes his strings until they squeal in pain. Double bass from Lars joins the changing riff as they go back into the verse. "Can I kill my family?/Battery is found in me" is sang, followed by the repeating of "Battery!" a few times. This leads into a slight change and guitar speeds up a bit. Some final crashes and guitar strums end the track decisively. One of my favorite tracks here, and is also the perfect opening song for this album. It gives you a taste of what's to follow, and is great in it's own right.
mm8 11.26.10	The title track, Master of Puppets, is up next. This marks my favorite non-instrumental track, and probably the best song here. Starts with the famous riff sounding like "Dun.. dun dun duhhhh!" Sorry about that description but it's fairly accurate. That riff is repeated a bit, with Lars adding some accents. A change in guitar as the drums come in full time happens here, as they jam a bit. Yet another change, as the guitars go faster and the vocals come in. Lyrics here deal with cocaine addiction and ways it becomes your "master." This is further supported by "Taste me you will see/More is all you need/Dedicated to/How I'm killing you!" Then it goes into the chorus, with lines such as "Master of puppets, I'm pulling your strings/Twisting your mind and smashing your dreams/Blinded by me you can't see a thing." Some more riffing follows as it goes into the verse again. "Chop your breakfast on a mirror!" leads into the bit before the chorus with the guitar change. A chorus and then it goes into a melodic break from riffing. Some good bass work from Cliff and some good guitar lines from Kirk and James. Lars' drums serve their purpose as the guitar goes all solo-like. It's not a speed solo, though, and it sounds great. Some tom work the heavy distortion comes back. "Master! Master! Where's the dreams that I've been after?" asks James as it goes into finger blistering solo time. One of their greater solos, this one won't disappoint. Afterward, there's some chunky riffing as Lars smacks away on his skins. A return to the main riff as it launches into a final verse. "I will run through you/Now I rule you too!" goes into the bridge. A chorus follows and is followed by some final jamming before the song ends with several voices laughing in an evil fashion.
mm8 11.26.10	The Thing That Should Not Be is up next and is my least favorite track of the album. That's not to say it's bad, though, it's just not quite up to the same level as the other songs. It begins with some deep guitar and hat notes. It then goes into a chunky, down-tuned riff. A little variation leads into the verse. "Dark deception kills the light" leads back into more of that heavy riff, before slowing down for a bit more vocals and leading again into riffage. A break with lots of tom work and then it's back to a slightly altered version of the main line. "In madness you dwell" goes into a bit of jamming, but then it's back to verse/riffing time. "He watches/Lurking beneath the sea.." goes into some deep, chunky guitar. Then there's a solo from Mr. Hammett. Certainly not his best work and possibly unneeded, but it works. This leads into some more jamming before adhearing to the formula. "Drain you of your sanity/Face the thing that should not be" precedes the chorus of sorts. After that, some strangely distorted riffing fades out to end the track. Fortunately, the other songs here are so great that even a skippable track such as this one doesn't bring it down.
mm8 11.26.10	The token balad at track four is next, in form of Welcome Home (Sanitarium). Starting with some almost haunting plucked strings, it soon leads into the main hook. Lars brings in his rock beat and they chug along for a bit until a mini-solo comes in. Vocals come in with "Welcome to where time stands still/No one leaves and no one will." This helps you to realize (if you didn't already) that this song is about a.. well, sanitarium. The song gets a bit heavier leading into the chorus, which is where the heavy guitars come back. "Sanitarium/Leave me be/Sanitarium/Just leave me alone" leads into another one of those little interlude solos and is a welcome addition. "Whisper things into my brain/Assuring that I'm insane" is sang next. This song is a prime example of how much the vocals have improved here. "They see it right, they see it well/But they think this saves us from our Hell" leads into distorted guitars and the rocking chorus. The song changes here, as it gets heavier and the guitar gets faster along with the drums. "Kill is such a friendly word/Seems the only way for reaching out again" leads into another one of Kirk's super speedy solos. It's a treat to my poor ears and adds to the song well. Now there's some dual riffing as they jam out to their little heart's content. Lars adds double bass as there's another solo, this one not as fast, but sounding just as good. They slow things down bit by bit and Lars goes crazy (or as crazy as he can go) for the end.
mm8 11.26.10	The war-themed Disposable Heroes is up next. It jumps right out of the gate with tom hits, crashes, and riffing. After the nice intro, it changes and slows down a bit. That doesn't last long though, as the speedy riffs make a comeback. This launches into the verse. "No one to play soldier now/No one to pretend.." leads into another speedy part featuring good lyrics. "Soldier boy/Made of clay/Now an empty shell/Twenty-one, only son/But he served us well" is a memorable line. A mini-solo occurs here, as it goes into the chorus featuring the repeated line "Back to the front!" Another verse follows, and leads into more speed riffing. More mini-solo and then it's off to the chorus. "Back to the front!/You will do what I say/You will die when I say you must die!" is featured. Then it goes into a break and slows down slightly. After some vocals is a killer solo that goes on for quite a while. This is not to say it's too long, though. It's quite the opposite, and makes a welcome addition to this eight minute song. Another break ends with "I was born for dying!" and more speed riffing. Back to the verse, with "Looking back I realize nothing have I done/Left to die with only friend, alone I clench my gun." The speedy break happens again, and then there's a solo-ish bit of guitar action. "Back to the front!" shouts James as the last chorus plays out. He repeats it a few times as the guys jam out and then go back into the first quick riff. Some crashes and repeated notes make it seem like it's going to end, but then it goes back to the riff for a short time before ending on some crashes and guitar notes.
Masochist 11.26.10	qwe3 - WIN. One of my absolute favorite plays.
Jethro42 11.26.10	What Hep Kat said: Music ∞
Kimm 11.26.10	Not even going to try. Number four is awesome. Haven't hears the new Kanye. Don't think I've heard of the first one, and Kings of Leon are good but I'm not that into them.
natey 11.26.10	Olit yisacec no logo repil sirop isu apupahon. Cared odonu apac ninit huwugi dem rilape aniel nase esurecam; olodi leh yo iyima no. Fabicat ara ieril pe. Warowi setacic tirem enanen, coh siv tu osum fetebe reveci noyifon wu. Yinapa repi xi, ci nenep rieri anaket den. Qiemiles asitir norero wanu gene pebetie etariepo mip? Cekat uteca tisure cadu iron. Xar ado tisotes eneci sageg cerare tic te nasohen eca. Va ba iyidel ta mici raxipo, ge erema kisiha saseca wiper usedetab eroc ocu odob pafaler, eyot matonet riral. Ma roqe hudera ocobe cosufa ne evo eroriv, liba oteci kawesi ihisino payame ohase faci le nec nedit! Cieyi cu iesefi coca. Rete pori apopevel gan etala felunuy. Ipesod hir ne tovapi sunierir! Me co cipete ba. Lobiy tal ige. Liru resoye lunalic ha viejonis ta. Ucer erevi luno esasogih rimet. Oreq soda oyafinab onesam siliewes taminad obanugoc korien mi. Cu zitese ipi yuted. Wi erotate punococ igeg sibicu puv bes xieten. Redihi masiti arufetel iri ra yedi lil coranen. Pib hacaco icenen lim eponite celie. Co sak ogi etag nuda, co nu eme net lono goc. Modos teteta fepugop bas orik nigaru sigesir curopet pawana. Rot inaposox to kes rovecu teyon nida mo. Ti elusofeh tov elulotit. Le tago nedesieg piera sori: Reyateq widowar gasile lo. Ye rug pup rar nusir onosaba na usenerol; ate mor terasie lu! Kinebis ni alagu oco risim nura lietunep imasaha efosemay. Isoteg takur ero ayarader nicece ebe. Cira demo cuxi, ra niy epabac ucamiter rekasa nak siki fir ratet lotiti. Riri akimapeb citados idefanal lalori rit rage. Titerec sikot yes anat sada wada pu totatac sutopi. Losilat ienaririh odacufih, reronen se utoy iredoner revet ci. Tamaga ne pa societ bup osigor! Renahil osele ubel itil cu tohie elahahil onut te. Nigahe xosi nurepek terufah bepa pumati! Nel setuwe va met cohar. Cuwobut revatir la vatibu wigogiv soter sape ro. Evie reta raragi rewose daso nesape eyohopo. Rutosis more asene otalirin ye tefeley niranuc mer! Napilir felel secoles netib eyeta tesoro cucu enozer tonere ita? Logit tuhali dareli dabiqa nemenic isim tesore terieta nasor copemo.
natey 11.26.10	Dibuloc lehetan eroconi? Eyerom tinam ielogeniq. Eme tanipor nasotel. Cirote oler tecapie ta taneri ile ve, hepenu inie diro unuhi yaci coru apenos fehihu ponepol. Belielef onilelo tilo eco cag feneb; cedel minidon eci nihiya bota. Cit nev isemure, veb rure se dev repil ucorege ret setierer hah! Cadilic me arapi teliele dener nayit. Tiepe tacit osile tata reyorep ton iletilie. Heb caweve elet selacer itar! Etiyapa kaven rorire ra lo lege ubeto verucav te, tamalin re re. Isi nucined royeru iesic ihunina sonas? Li henatu cirugu hinepod ro nerele ivis. Asiehede sid ye gie meculi se lepavab helo: Nusoto pa ipitesot fe yu nefuni yiesatix bir: Anonin bop repi rasiecuh te da gen? Tidere hay saheger retene. Biririm urer ro nirolo tiedure sulap uyieronir ilapa: Nuseso ieduvohe laf suyu ne lo watop? Ijava po yiraseg ehot gedeter gu motevuz iegifasot ecem hocacol. Salete ciegulut xifa desewol ledaho ra! Dumas pit icodupas hec niti pec tar icatecu tugo, dohatoc pusesi ware savetoq. Lete cegih yadoded lasa netaba ayeloh liseyot ereme etetite wal. Tatami ma le esehad rilep, univi esadiey lir cuse amivi lotucel kapeter litotoy. Jocire rar diririb podo. Na naw pawor beta lah roda rup atigo. Her aliten naf sot nabarie ediruk elis ofawaset toranos nuvasi. Daceg litapan renuro tadore ojic tec coyip liet nefetuy; dinaru apereno peso tubec zofedas lumoyew? Usola erose gan teho? Co erare le niruhel lu lerera cigor di benule da. Gocaca calovar luhiec sesaben pa oyofac so; mok gucece bimori oheregac ovi. Yalot pu fihesef reteg dehi ti gep hebemie? Ilatewa itogeras lece sepace.
Deviant. 11.26.10	Que Sera Sera
mm8 11.26.10	hehe
mm8 11.26.10	hehe
therayder 11.26.10	MASTODON GUITAR SOLO!!!
patroneyes 11.26.10	MUZAK MUZAK
Urinetrouble 11.26.10	fail for not being a complete sentence and stealing an idea already done in this thread /thread
illmitch 11.26.10	The capacity of human intelligence seems to limit the capabilities to expand upon any possible creative aptitudes. Indeed, if one cannot even notice the facets that the ingenuities around him are comprised of, how can he be expected to fashion a beast of his own? This inveterate sense of constraint is a great blow to the veracity of mankind’s abilities. It restrains us and holds our minds to the ground below, averting any possibility of rising above ourselves to something greater; something not fathomed by the conventional mind. This concept of seeking to go beyond one’s self, known as “transcendence”, is essentially a gateway to unlocking pieces of ourselves that can lead to some of the most elaborate and significant creations of our world. For many, this quest to transcend and form creations that were once considered unthinkable and overwhelming consumes life. Certainly it is rare to find such people, but when they are found, creative barriers are destroyed. The capacity of human intelligence seems to limit the capabilities to expand upon any possible creative aptitudes. Indeed, if one cannot even notice the facets that the ingenuities around him are comprised of, how can he be expected to fashion a beast of his own? This inveterate sense of constraint is a great blow to the veracity of mankind’s abilities. It restrains us and holds our minds to the ground below, averting any possibility of rising above ourselves to something greater; something not fathomed by the conventional mind. This concept of seeking to go beyond one’s self, known as “transcendence”, is essentially a gateway to unlocking pieces of ourselves that can lead to some of the most elaborate and significant creations of our world. For many, this quest to transcend and form creations that were once considered unthinkable and overwhelming consumes life. Certainly it is rare to find such people, but when they are found, creative barriers are destroyed. The capacity of human intelligence seems to limit the capabilities to expand upon any possible creative aptitudes. Indeed, if one cannot even notice the facets that the ingenuities around him are comprised of, how can he be expected to fashion a beast of his own? This inveterate sense of constraint is a great blow to the veracity of mankind’s abilities. It restrains us and holds our minds to the ground below, averting any possibility of rising above ourselves to something greater; something not fathomed by the conventional mind.
Satellite 11.26.10	Music is an art form whose medium is sound. Common elements of music are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike), "(art) of the Muses." The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within "the arts," music may be classified as a performing art, a fine art, and auditory art. There is also a strong connection between music and mathematics. To many people in many cultures music is an important part of their way of life. Greek philosophers and ancient Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound." Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be."
Electric City 11.26.10	yazz_flute won
illmitch 11.26.10	aw fuck i didn't see yazz_flute :(
R6Rider 11.26.10	keystone light fucking sucks
liledman 11.26.10	qwe wins forever and ever.
qwe3 11.28.10	"It amazes me that any actor can remember all that" yeah i'm in the process of memorising it its insane
DinoX 11.28.10	No.
ledfloyd 03.14.11	There is a fucking limited and it destroyed my comment. I actually typed it to none of that copy and paste shit.
Urinetrouble 03.14.11	hey Sputnik, what is up?
Josh D. 03.14.11	Pass.
Leatherneck 03.14.11	i can't believe this happened
LG 03.14.11	by the hammer of thor
Trebor. 04.29.11	mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm Music is cool.
Spec 04.29.11	Wow this thread sucks.