Friday, May 25, 2007

What the fuck is that?

Alabama Boy Kills 1,051-Pound Monster Pig, Bigger Than 'Hogzilla'

"It feels really good," Jamison, of Pickensville, said in a telephone interview with The Associated Press. "It's a good accomplishment. I probably won't ever kill anything else that big."

Mike Stone is having sausage made from the rest of the animal. "We'll probably get 500 to 700 pounds," he said.

Monday, May 21, 2007

this is an unedited freestyle

Callin out Kevin Minor,
gotta go slow when i'm doin html
else my coding go to hell
and show all up in dat mov
like im disrespecting

but really i h adn't seen that guy
for a while
thought i'd hit that nigga up
see whats up get all up in his cup2 mug
no di didn't bein meanin 2 press 2 right after cup
but that's whats up bnuts


(ps where is that guy?)

Saturday, May 19, 2007

Friday, May 04, 2007

Wednesday, May 02, 2007


I dunno if I totally agree with the vigorousness of intellectual splendor of all of this, but it is an interesting listen, like atonal classical guitar music:

THE SECESSIONIST METHOD OF COMPOSITION is a system of thought that was instigated by the precepts promulgated by the Kaluza-Klein, Superstring, Supergravity and M-Theories. It is fueled by the principle that all the dimensions that hold up music can be factorized down to three parent dimensions: the Cognitive Dimension, the Oscillatory Dimension and the Spatial Dimension. To arrive at the conclusions that affirm Secessionism, a deductive technique that incorporates art theory, philosophy and science was employed to mathematically intervene all three dimensions in order to formulate a doctrine that was able to scientifically prove that the primal powers of every preponderant theoretical proposition in music could be sustained within a common space-time, while retaining a plausible aesthetic inference. Its main propeller: The Secessionist Manifesto, labels these interventions (Abstract Tonality, Abstract Bitonality, Polysuspension and Dodecametrics) as the supreme solvents in which the limits of non-improvisation and the withdrawal from planned intention (the secessionist discourse) may be manifested. The Secessionist Method of Composition was schemed by Antonio Quijano by coherently interlocking a series of philosophical and scientific precepts (Suprematism, Fredkin’s Paradox, Heisenberg’s Uncertainty Principle, and Gödel’s Theorem) in order to attain a logical description of the mechanisms that define an art form which borders the ceilings of human aural perception.