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Old 12-05-2012, 12:34 AM   #284161
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My plan was to try and write my paper about those songs, maybe a few others, and try to comment on how those bands and those songs directly affected the radically changing youth culture.

The Stones I see as the anti-Beatles...they were the non pop friendly rock band with blues influence. The stones were some of the leaders in the youth culture

Doors-Biggest American band in this list, just had a huge impact...i still need more info

The Who-British band that specialized in new sounds, trying new things...i again still need more info

Jefferson Airplane-first real psychedelic drug culture band to emerge.
Debating music or any kind if art is wholly subjective but as someone who has wasted countless hours of their life doing so...

I'd say it's less how they influenced changing youth culture than how they represented changing mores as expressed (atypically by youth culture) during perhaps the most transitory period of popular culture yet recorded given changes in technology, worldpolitik and perhaps most the presence of mass communication in society (which has now been superseded by the Internet revolution, which is still somewhat nascent itself). To me these four represent the two distinct movements I paraphrased before:

Stones/Who: the youth of the uk in rejection of the "all hail the queen" culture of prideful perseverance without questioning the lack of potential socioeconomic mobility post ww2 (rhe result of a people relieved not to be under the rule of Nazi Germany and happy to rebuild their country eventually getting past that moment two decades later and saying wtf do we get out of this, nothing but hand to mouth and smokestack lightning). Yet, in different ways.

The Stones from the get go were decidedly counterculture, they wanted to be fn Muddy Waters and Robert Johnson and adopted the very sound and language of one of, if not the most, vocal groups of disenfranchised people on Earth at the time (largely because they were American and had the right to be so), that of the Southern black post emancipation society. They of course helped evolve the sound that became rock as much as anyone else save perhaps the Beatles, but in a far darker and more serious fashion. They were the working class English who much as the Southern black mourned, why work all my life away when there's nothing in this for me?

The Who to me are much more optimistic more oriented toward the perseverance of the personal and human spirit amid the confines of society. Less angry and more overt in challenging the status quo, and that it could be defeated through refusal to accept what's handed to you, the impending outcome of the teenage wasteland. They're way less bluesy and one if the first real arena bands by no coincidence. Whereas the Stones sad f you I'm not playing your game or anyone else's but my own, the Who was more, we represent the coming change and we can all make this happen.

Keith Richards is stoned on H making love to his guitar, his only real pursuit, oblivious to his surroundings. Pete Townsend is smashing his to bits every night to a frothing mass as they scream in solidarity. Rejection and disassociation vs rebuke and resolve to change.

With the American groups it's the other side of the coin. The troops come home to fanfare and tract housing and a car in every driveway and a sense of global manifest destiny but, whoops, that's all easier envisioned than executed. Behind the populist cloak of the American dream is a generation or 50 of seriously damaged people, the building of the great nation and savior of global freedom wears a shining exterior skin but the inside is rotten with every issue you can think of, from segregation, patriarchal home life, PTSD from ww1 and 2 and Korea and it all comes together at once to explode in the late 1960s. The rise of bands like the Doors and Jefferson Airplane may seem resultant of the immediate combination of Owsley acid and Vietnam anti-imperialism (internally re the draft and externally the larger war/anti communist effort) but the seeds were being sown as far back as the transcendentalists of a hundred years prior. As far back as the Civil War. What's good for the country or the family or the projected American persona, well, it doesn't seem to feed the soul of the individual... Or something like that.

The Doors were so much bigger than JA in my mind. They were musically far more significant and they openly mocked the hegemony in both lyrics and sound. Protest lyrics and creepy horror movie soundtrack confusion that fell in over itself. Sometimes extremely visceral (touch me baby, light my fire!) and at others extremely abstract (riders on the storm, peace frog) and a lot about guilt free sex (love her madly, la woman). Compared to JA they were about (like Morrison himself) slapping people in the face and saying "wake up from this stupid silly mundane suburban american dream and live now!" Morrison wanted to be and thought of himself as a pied piper, but I don't think beyond feeling alive they proposed any answers.they wanted to be a wakeup call.

Jefferson Airplane was the periodoc guide book to the philosophical transformation The Doors beseeched. They were for when you had already agreed to this compact (either deliberately over time or suddenly through the ingestion and mind altering affect of LSD, or both) and you were looking for the words to express the psychological journey. Again, in typical youthful fashion they offer no answer to the abandonment of the pre LSD/traditionally structured world, but they clearly define how perceptions are to be reconsidered in a wholesale fashion... Once you look closer and see the same things you always see from a different perspective, nothing will ever be the same or mean the same to you again. The rules are not concrete, they are rubber, or more truly fluid.

I think your thesis works, each was at the tip of the spear of these elements and points of changing youth culture... I guess I see them more as a whole, as a larger mechanism of youth culture, forever beforehand kept under the control of the ruling adult class, finally having the ability to unite and say, f that, if anything is going to be changed it has to be by us now before we're too weighted down by this fd up world and prevailing patriarchal mindset to resist - and we can force the revolution through the ground up using the radio, and television, which leveled the playing field considerably by allowing youth to influence programming and the outbound message through buying and requesting records to be played.

This was of course the culmination of generations of efforts to forward a more egalitarian and less proscriptive form of society which goes back before Christ to the begining of time. But, the greed of record executive, radio station owners, advertisers... That finally gave that yourh voice a vehicle that literally couldn't be tuned out and ignored.

Ask the journalist and the answer will always be about the role of mass communication in society... But really it's the combination of many things including science, theology, politics, art, even economics and impending globalization.

Of the four the one I listened to most was the Doors probably because it was most familiar and accessible to me having grown up in an environment most like those guys and knowing and respecting acid but consuming those implicit messages as much through literature or observingn the downfall of social constructs 20 years after Woodstock. JA was kind of dated and flash in the pan by comparison. Soundtrack music for acid trips.

While I think the Who are ok the most influential of the bunch is the Stones hands down. I resist efforts to detract from the Beatles influence which I think is now undermined by their own popularity, the perception that they were too populist. Thats BA because they were popular because they were great at exprwssing all of these things i mention. They spanned all of these paradigms cited, and less controversially, which is actually harder in some ways. Safer? Maybe. But they were also under a microscope. In the end the Stones come off as a bit cooler and far darker and less commercialized because they weren't so accessible, because they were less concerned with being perceived as unthreatening and wanted to be seen as counterculture. The Who had a real underlying message, just one that seemed a bit obvious and trite to my ears 20 years later, mostly because it was that far down the road after their impact. Sadly for all their talent JA I see as a cool band but basically an wra specific rock pop act that epitomize a halcyon moment of hallucinagenic culture, something to listen to and laugh at on acid, and musically valid for opening up some new turf, but nowhere near the other three in terms of historic import, even if the acid trip is a big fn step off which it is, was and forever will be. If I actually had to pick a band to go with the other three I'd have picked Hendrix because his musical talent was more innovative and transformative than any other act of that period... He literally introduced new distorted sounds that had never been considere before and expanded the aural lexicon. But it's your paper, not mine, or it was lol.... though please feel free to use any pf this as your own if it helps.

Night.
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Old 12-05-2012, 12:42 AM   #284162
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Same thing.
That's the joke!

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Old 12-05-2012, 12:42 AM   #284163
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Like 10 pages.

2k words for english, 1500 for sociology

I've got one english essay due thursday, and 2 group presentations and 2 other essays due on the 13th

Fun times will be had
Oh that's adorable.
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Old 12-05-2012, 12:44 AM   #284164
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Debating music or any kind if art is wholly subjective but as someone who has wasted countless hours of their life doing so...

I'd say it's less how they influenced changing youth culture than how they represented changing mores as expressed (atypically by yputh culture) during perhaps the most transitory period of popular culture yet recorded given changes in technology, worldpolitik and perhaps most the presence of mass communication in society (which has now been superseded by the Internet revolution, which is still somewhat
nascent itself). To me these four represent the two distinct movements I paraphrased before:

Stones/Who: the youth of the uk in rejection of the "all hail the queen" culture of prideful perseverance without questioning the lack if potential socioeconomic mobility post ww2 (a result of a people relieved not to be under the rule of Nazi Germany and happy to rebuild their country eventually getting past that moment two decades later and saying wtf do we get out of this, nothing but hand to mouth and smokestack lightning). Yet, in different ways. The Stones
From the get go we're decidedly counterculture, they wanted to be fn Muddy Waters and Robert Johnson and adopted the very sound and language of one of, if not the most vocal groups of disenfranchised people on Earth at the time (largely because they were American and had the right to be so), that of the Southern black post emancipation society. They of course helped evolve the sound that became rock as much as anyone else save perhaps the Beatles, but in a far darker and more serious fashion. They were the working class English who much as the Southern black mourned, why work all my life away when there's nothing in this for me?

The Who to me are much more optimistic more oriented toward the perseverance of the personals and human spirit amid the confines of society. Less angry and more overt in challenging the status quo, and that it could be defeated through refusal to accept what's handed to you, the impending outcome of the teenage wasteland. They're way less bluesy and one if the first real arena bands by no coincidence. Whereas the Stones sad f you I'm not plying your game or anyone else's but my own, the Who was more, we represent the coming change and we can all make this happen.

Keith Richards is stoned on H making love to his guitar, his only real pursuit, Pete Townsend is smashing his to bits every night to a frothing mass. Rejection and disassociation vs rebuke and resolve to change.

With the American groups its the other side of the coin. The troops come home to fanfare and tract housing and a car in every driveway and a sense of global manifest destiny but, whoops, that's all easier envisioned than executed. Behind the populist cloak of the American dream is a generation or 50 of seriously damaged people, the building of the great nation and savior of global freedom wears a shining exterior skin but the inside is rotten with every issue you can think of, from segregation, patriarchal home life, PTSD from ww1 and 2 and Korea and it all comes together at once to explode in the late 1960s. The rise of bands like the Doors and Jefferson Airplane may seem resultant of the immediate combination of Owsley acid and Vietnam anti-imperialism (internally re the draft and externally the larger war/anti communist effort) but the seeds were being sown as far back as the transcendentalists if a hundred years prior. As far back as the Civil War. What's good for the country or the family or the projected American persona, well, it doesn't seem to feed the soul of the individual... Or something like that.

The Doors were so much bigger than JA in my mind. They were musically far more significant and they openly mocked the hegemony in both lyrics and sound. Protest lyrics and creepy horror movie soundtrack confusion that fell in over itself. Sometimes extremely visceral (touch me baby, light my fire!) and at others extremely abstract (riders on the storm, peace frog) and a lot about guilt free sex (love her madly, la woman). Compared to JA they were about (like Morrison himself) slapping people in the face and saying "wake up from this stupid silly mundane suburban american dream and live now!" Morrison wanted to be and thought of himself as a pied piper, but I don't think beyond feeling alive they proposed any answers.

Jefferson Airplane was the guidebook to the transformation The Doors beseeched. They were for when you had already agreed to this compact (either deliberately over time or suddenly through the ingestion and mind altering affect of LSD, or both) and you were looking for the words to express the psychological journey. Again, in typical youthful fashion they offer no answer to the abandonment of the pre LSD world, but they clearly define how perceptions are to be reconsidered in a wholesale fashion... Once you look closer and see the same things you always see from a different perspective, nothing will ever be the same or mean the same to you again. The rules are not concrete, they are rubber, or more truly fluid.

I think your thesis works, each was at the tip of the spear of these elements and points of changing youth culture... I guess I see them more as a whole, as a larger mechanism of youth culture, forever beforehand kept under the control of the ring adult class, finally having the ability to unite and say, f that, if anything is going to be changed it has to be by us now before we're too weighted down by this fd up world and prevailing patriarchal mindset to resist - and we can force the revolution through the ground up through, the radio, and television, which leveled the playing field considerably by allowing youth to influence programming and the outbound message through buying and requesting records to be played.

This was of course the culmination of generations of efforts to forward a more egalitarian and less proscriptive form of society which goes back before Christ to the begging of time. But, the greed of record executive, radio station owners, advertisers... That finally gave that voice a vehicle that literally couldn't be tuned out and ignored.

Ask the journalist and the answer will always be about the role if mass communication in society... But really it's the combination of many things including science, theology, politics, art, even economics and impending globalization.

Of the four the one I listened to was the Doors probably because it waspst accessible to me having grown up in an environment most like those guys and knowing and respecting acid but consuming those implicit messages as much through literature or the downfall of constructs 20 years after Woodstock. JA was kind of dated and flash in the pan by comparison.

Whole I think the Who are ok the most influential of the bunch is the Stones hands down. I resist efforts to detract from the Beatles influence which I think was larger based sweetly on their popularity, they spanned all of these paradigms cited. In the end the Stones come off as a bit cooler and far darker and less commercialized because they weren't so accessible, because they were less concerned with being perceived as unthreatening and wanted to be seen as counterculture. The Who had a real underlying message, just one that seemed a bit obvious and trite to
My ears 20 years later, mostly because it was. Sadly for all their talent JA I see as a cool band but basically a rock pop act that epitomize a halcyon moment of hallucinagenic culture, something to listen to and laugh at on acid, and musically valid for opening up some new turf, but nowhere near the other three I terms if historic import. If I actually had to pick a band to go with the other three I'd have picked Hendrix because his musical talent was more innovative and transformative than any other act of that period... But it's your paper, not mine, though please feel free to use any if this as your own.

Night.
Sweet baby jebus

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Old 12-05-2012, 12:44 AM   #284165
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tl;dr lots of words

Night.
Night


I've been meaning to ask, whats up with your beef with mango?
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Old 12-05-2012, 12:52 AM   #284166
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wow, that was a lot of typing...
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Old 12-05-2012, 12:59 AM   #284167
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Agreed cliffnotes?
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Old 12-05-2012, 01:01 AM   #284168
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Agreed cliffnotes?
Something about music from before my time, and how it affects "youth," which I can't really relate to because most people in my youth weren't affected by music from 40 years ago.
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Old 12-05-2012, 01:05 AM   #284169
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Night


I've been meaning to ask, whats up with your beef with mango?
He's condescending and gets his rocks off by insulting other people's intellect and tastes. He thinks his way is the only way, which is never true, and he's a tattletale who runs to the teacher when anyone calls him out to his face. He offers a wealth of information but not in selflessness as he contends, but for personal validation. I'm really ok with any of it except the condescending part. I think it's fine to say you don't like someone's style or mindset, or you would do things differently but don't preach to me why your ultra conservative approach is completely defensible and therefore the word of law and unassailable. By the book ain't the only valid approach. Which book? Who wrote it? I guess I just don't like his tone. Anyone who calls me stupid to my face is welcome to do so, just be prepared to defend your reasoning and be challenged. I am woefully and completely stupid sometimes, for sure re issues automotive, but, I do my homework too and his interpretation of the data is not the only one as he sometimes purports it to be. He thinks he's an intellectual bully but, really he's just a wannabe knowitall masquerading as the real thing. And he's petty, which is ghey and lame as shite.
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Old 12-05-2012, 01:13 AM   #284170
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Something about music from before my time, and how it affects "youth," which I can't really relate to because most people in my youth weren't affected by music from 40 years ago.
This is because you're an engineer not an artist-type. I have not the lexicon for being the latter myself but the same progressions and transitions could be made via examples of say industrial design, computing language... Battle robots even. I think the Japanese in you makes you something of an absurdist yet less base than any Per Ubu type of character but you love to challenge convention which is what that music is all about. You're so influenced by it, it's impact is now so engrained, you know not where it comes from but it's there. In fact, you're actually a lot more like an old man than older men in some ways...

The solitary emo youth gene in you is strong but we are all products of our history, we simply get to choose which streams of knowledge we consume. You choose math and science over music and fiction.

I'd still bang your sister. Lol J/k no offense I hope... Though I would.
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Old 12-05-2012, 01:14 AM   #284171
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Quote:
Originally Posted by hizhinezz View Post
Debating music or any kind if art is wholly subjective but as someone who has wasted countless hours of their life doing so...

I'd say it's less how they influenced changing youth culture than how they represented changing mores as expressed (atypically by youth culture) during perhaps the most transitory period of popular culture yet recorded given changes in technology, worldpolitik and perhaps most the presence of mass communication in society (which has now been superseded by the Internet revolution, which is still somewhat nascent itself). To me these four represent the two distinct movements I paraphrased before:

Stones/Who: the youth of the uk in rejection of the "all hail the queen" culture of prideful perseverance without questioning the lack of potential socioeconomic mobility post ww2 (rhe result of a people relieved not to be under the rule of Nazi Germany and happy to rebuild their country eventually getting past that moment two decades later and saying wtf do we get out of this, nothing but hand to mouth and smokestack lightning). Yet, in different ways.

The Stones from the get go were decidedly counterculture, they wanted to be fn Muddy Waters and Robert Johnson and adopted the very sound and language of one of, if not the most, vocal groups of disenfranchised people on Earth at the time (largely because they were American and had the right to be so), that of the Southern black post emancipation society. They of course helped evolve the sound that became rock as much as anyone else save perhaps the Beatles, but in a far darker and more serious fashion. They were the working class English who much as the Southern black mourned, why work all my life away when there's nothing in this for me?

The Who to me are much more optimistic more oriented toward the perseverance of the personal and human spirit amid the confines of society. Less angry and more overt in challenging the status quo, and that it could be defeated through refusal to accept what's handed to you, the impending outcome of the teenage wasteland. They're way less bluesy and one if the first real arena bands by no coincidence. Whereas the Stones sad f you I'm not playing your game or anyone else's but my own, the Who was more, we represent the coming change and we can all make this happen.

Keith Richards is stoned on H making love to his guitar, his only real pursuit, oblivious to his surroundings. Pete Townsend is smashing his to bits every night to a frothing mass as they scream in solidarity. Rejection and disassociation vs rebuke and resolve to change.

With the American groups it's the other side of the coin. The troops come home to fanfare and tract housing and a car in every driveway and a sense of global manifest destiny but, whoops, that's all easier envisioned than executed. Behind the populist cloak of the American dream is a generation or 50 of seriously damaged people, the building of the great nation and savior of global freedom wears a shining exterior skin but the inside is rotten with every issue you can think of, from segregation, patriarchal home life, PTSD from ww1 and 2 and Korea and it all comes together at once to explode in the late 1960s. The rise of bands like the Doors and Jefferson Airplane may seem resultant of the immediate combination of Owsley acid and Vietnam anti-imperialism (internally re the draft and externally the larger war/anti communist effort) but the seeds were being sown as far back as the transcendentalists of a hundred years prior. As far back as the Civil War. What's good for the country or the family or the projected American persona, well, it doesn't seem to feed the soul of the individual... Or something like that.

The Doors were so much bigger than JA in my mind. They were musically far more significant and they openly mocked the hegemony in both lyrics and sound. Protest lyrics and creepy horror movie soundtrack confusion that fell in over itself. Sometimes extremely visceral (touch me baby, light my fire!) and at others extremely abstract (riders on the storm, peace frog) and a lot about guilt free sex (love her madly, la woman). Compared to JA they were about (like Morrison himself) slapping people in the face and saying "wake up from this stupid silly mundane suburban american dream and live now!" Morrison wanted to be and thought of himself as a pied piper, but I don't think beyond feeling alive they proposed any answers.they wanted to be a wakeup call.

Jefferson Airplane was the periodoc guide book to the philosophical transformation The Doors beseeched. They were for when you had already agreed to this compact (either deliberately over time or suddenly through the ingestion and mind altering affect of LSD, or both) and you were looking for the words to express the psychological journey. Again, in typical youthful fashion they offer no answer to the abandonment of the pre LSD/traditionally structured world, but they clearly define how perceptions are to be reconsidered in a wholesale fashion... Once you look closer and see the same things you always see from a different perspective, nothing will ever be the same or mean the same to you again. The rules are not concrete, they are rubber, or more truly fluid.

I think your thesis works, each was at the tip of the spear of these elements and points of changing youth culture... I guess I see them more as a whole, as a larger mechanism of youth culture, forever beforehand kept under the control of the ruling adult class, finally having the ability to unite and say, f that, if anything is going to be changed it has to be by us now before we're too weighted down by this fd up world and prevailing patriarchal mindset to resist - and we can force the revolution through the ground up using the radio, and television, which leveled the playing field considerably by allowing youth to influence programming and the outbound message through buying and requesting records to be played.

This was of course the culmination of generations of efforts to forward a more egalitarian and less proscriptive form of society which goes back before Christ to the begining of time. But, the greed of record executive, radio station owners, advertisers... That finally gave that yourh voice a vehicle that literally couldn't be tuned out and ignored.

Ask the journalist and the answer will always be about the role of mass communication in society... But really it's the combination of many things including science, theology, politics, art, even economics and impending globalization.

Of the four the one I listened to most was the Doors probably because it was most familiar and accessible to me having grown up in an environment most like those guys and knowing and respecting acid but consuming those implicit messages as much through literature or observingn the downfall of social constructs 20 years after Woodstock. JA was kind of dated and flash in the pan by comparison. Soundtrack music for acid trips.

While I think the Who are ok the most influential of the bunch is the Stones hands down. I resist efforts to detract from the Beatles influence which I think is now undermined by their own popularity, the perception that they were too populist. Thats BA because they were popular because they were great at exprwssing all of these things i mention. They spanned all of these paradigms cited, and less controversially, which is actually harder in some ways. Safer? Maybe. But they were also under a microscope. In the end the Stones come off as a bit cooler and far darker and less commercialized because they weren't so accessible, because they were less concerned with being perceived as unthreatening and wanted to be seen as counterculture. The Who had a real underlying message, just one that seemed a bit obvious and trite to my ears 20 years later, mostly because it was that far down the road after their impact. Sadly for all their talent JA I see as a cool band but basically an wra specific rock pop act that epitomize a halcyon moment of hallucinagenic culture, something to listen to and laugh at on acid, and musically valid for opening up some new turf, but nowhere near the other three in terms of historic import, even if the acid trip is a big fn step off which it is, was and forever will be. If I actually had to pick a band to go with the other three I'd have picked Hendrix because his musical talent was more innovative and transformative than any other act of that period... He literally introduced new distorted sounds that had never been considere before and expanded the aural lexicon. But it's your paper, not mine, or it was lol.... though please feel free to use any pf this as your own if it helps.

Night.
Too long; still read. Nice analysis.
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Old 12-05-2012, 01:15 AM   #284172
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He's condescending and gets his rocks off by insulting other people's intellect and tastes. He thinks his way is the only way, which is never true, and he's a tattletale who runs to the teacher when anyone calls him out to his face. He offers a wealth of information but not in selflessness as he contends, but for personal validation. I'm really ok with any of it except the condescending part. I think it's fine to say you don't like someone's style or mindset, or you would do things differentky but don't preach to me why your ultra conservative approach is completely defensible and therefore unassailable. By the book ain't the only valid approach. I guess I just don't like his tone. Anyone who calls me stupid to my face is welcome to do so, just be prepared to defend your reasoning and be challenged. I am woefully and completely stupid sometimes, for sure re issues automotive, but, I do my homework too and his interpretation of the data is not the only one as he sometimes purports it to be. He thinks he's an intellectual bully but, really he's just a wannabe knowitall masquerading as the real thing. And he's petty, which is ghey and lame as shite.
You mad.
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i'd rather be gapless with no bulge
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Old 12-05-2012, 01:15 AM   #284173
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Old 12-05-2012, 01:16 AM   #284174
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Quote:
Originally Posted by hizhinezz View Post
This is because you're an engineer not an artist-type. I have not the lexicon for being the latter myself but the same progressions and transitions could be made via examples of say industrial design, computing language... Battle robots even. Inthinknthe Japanese in you makes you something of an absurdist yet less base Per Ubu type of character. In fact, you're actually a lot more like an old man than older men in some ways...

The solitary emo youth gene in you is strong but we are all products of our history, we simply get to choose which streams of knowledge we consume. You choose math and science over music and fiction.

I'd still bang your sister. Lol J/k no offense I hope... Though I would.
Consume ALL THE STREAMS!
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i'd rather be gapless with no bulge
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Old 12-05-2012, 01:22 AM   #284175
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Originally Posted by cyberkaa View Post
Too long; still read. Nice analysis.
Generally the review of anything I've ever written, but thanks.
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Old 12-05-2012, 01:24 AM   #284176
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Quote:
Originally Posted by hizhinezz View Post
He's condescending and gets his rocks off by insulting other people's intellect and tastes. He thinks his way is the only way, which is never true, and he's a tattletale who runs to the teacher when anyone calls him out to his face. He offers a wealth of information but not in selflessness as he contends, but for personal validation. I'm really ok with any of it except the condescending part. I think it's fine to say you don't like someone's style or mindset, or you would do things differently but don't preach to me why your ultra conservative approach is completely defensible and therefore the word of law and unassailable. By the book ain't the only valid approach. Which book? Who wrote it? I guess I just don't like his tone. Anyone who calls me stupid to my face is welcome to do so, just be prepared to defend your reasoning and be challenged. I am woefully and completely stupid sometimes, for sure re issues automotive, but, I do my homework too and his interpretation of the data is not the only one as he sometimes purports it to be. He thinks he's an intellectual bully but, really he's just a wannabe knowitall masquerading as the real thing. And he's petty, which is ghey and lame as shite.
He used to not be so bad, but then he did a few things that the average forum newbie thought was cool, he got a really big ego, his cooling system thread got sticked, and then he just became a tool.

And yes, he really thinks that his logic is infallible.
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Old 12-05-2012, 01:26 AM   #284177
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Kenpeng 2.0?
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Old 12-05-2012, 01:26 AM   #284178
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I read you analysis, pretty damn good
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Old 12-05-2012, 01:31 AM   #284179
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Originally Posted by cyberkaa View Post
You mad.
Not in the least, I've had really smart people call me stupid which actually hurts. And anyone observing me could call me out for playing a somewhat similar intellectual chess game, but arguing the side of a more varied approach (yet in a very narrow minded manner, lol).

Look, you could do what he does. You know an f-load about these machines and could pick on people more, but, you're bigger than that, even by making fun of people subtly (cough cough ahem) instead of trying to belittle them by reciting a bunch of stuff you read somewhere else. You might laugh at someone but you don't validate yourself to yourself by trying to make them look stupid and towering over people in this arena. He's a douche. I bet he is a mama's boy. The smartest people around know there's always a way they haven't considered or someone smarter... His will to be the final word is rather pathetic and transparent, I kind of feel bad for him.
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Old 12-05-2012, 01:32 AM   #284180
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Quote:
Originally Posted by hizhinezz View Post
Generally the review of anything I've ever written, but thanks.
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i'd rather be gapless with no bulge
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