This part of Superman Returns was just asking for a remix.
I almost never hear anything when people sing. It’s all Charlie-Brown’s-Teacher noises until the song ends. Wa wama wa wa. But with some songs, it’s worse than others, to the point that I start to suspect that they’re doing it deliberately.
Let me clarify. I’m not talking about Mondegreens. I’m not talking about Fuck It’s an Owl. I’m not talking about “Good King Wenceslas Lost his Crown”. I’m talking about cases where I don’t just mishear words. When I don’t hear anything. And I secretly suspect that’s because, with most of these, there aren’t actually any words.
When we set up our new ads, I set them as NSFW. Porn, see, isn’t allowed on our advertising network, and by NSFW, they basically mean, anything your grandma wouldn’t want to see. Clunkline definitely qualifies. But, having tagged ourselves as NSFW, we are now getting ads for dildos and erotica read aloud by a sultry, lusty female. Inspired by our foxy new advertisers, MesmericKiwi, me, and the ironically-named Senator Bongledongle decided that now was the opportune time to ruin our future careers in politics.
Just FYI, this is pretty horrible and you should not listen to it.
The best kind of cake since Bukkake!
Public Access TV will always be known as the proto-YouTube for people who cared about their idiotic obsessions enough to apply to have them broadcast, but not enough to put any time or thought into them. Sometimes the results were abominable. Sometimes they were just merely atrocious. And sometimes… they were ineffable.
Take, for instance, this fellow on the Hurdy-Gurdy:
Chicago is busy constructing a school for the victims of bullying. That’s great—they should build more schools like this, for my amusement. Because you see, in every social circle imaginable, someone will be picked on. I have fun imagining the guy who’s a big enough loser to get picked on at THIS school.
Tanzmetall (the obvious emperor of Clunkline), Grabass Champion, and myself have written and often times still write music. I’m not really sure about the other two, but my composition writing has evolved out of clicking in a bunch of notes in Sibelius 2.0 and simply saving them as midis. Yes, I now have two really nice keyboards, which I use to play out most of the tracks in my songs, a friend who is quite eloquent on the guitar, and the means to get live recordings of just about any wind instrument I can think of within reason. Recently, I’ve written a new strain of songs for a would-be soundtrack to a graphic novel I am writing and hope to publish someday, and the thought occurred to me that one of Tanzmetall’s original compositions from back in the day would make a splendid theme for one of the villains (a continent-sized magma serpent that dwells under the Earth’s mantle). That song is called FLIGHT FROM EMSARIA, and though everything we write today is vastly superior in almost every way to what we used to write while we were in high school, nothing has ever struck a satisfying chord quite like this song has. At least that’s what I think. But what is it about FLIGHT FROM EMSARIA that is so… so… terrifying (in a good way)?
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