No explanation necessary. Enjoy.
A giant turkey sandwich balanced between two prostitutes on a giant building that's been evicted by the city.
The most beautiful man in the world strolled into the dry cafe, wafting his long hair around in elliptical, bringing out the boners in every straight male around the block.
A tree scorched by injustice, caving in to the squalor of ineptitude, tasting the nastiest portions of a chicken sandwich that's vomited out by a rabid squirrel.
Wheels spinning out of control, driving away the skin of several pedestrians and only one leper.
A bear with tiny claws ripping apart the package that landed nearby.
The rape to end all rapes.
A bulging pulse that broke into the book depository, breaking every window, floor, and law of physics in one clean swipe.
Mega Man blasted away at the all the robot, tearing them apart bolt by nut, dismantling them each without every lifting a finger.
A tongue infected with disease, bulging out from the lips like someone with their pants around their legs, skipping along with their briefs sticking onto the legs, dignity sapping away from a villain's evil exercise machine.
Big old flopping penis, smacking around the legs in rhythm like the most coordinated ballet dancers, ticking along in a hypnotizing pendulum swing meant to intimidate any suitors like the horniest chrysanthemum that would pollinate it to death.
Earmuffs that powdered your nose at the same time, the gray cloud emitting its own weather patterns like the Coriolis effect, managing the movement of the hemispheres like Galileo on his day off.
A laminated license plate that would trick all but the most incompetent police people, gleaming in the suns with more irritating reflections than a bully's watch directed at the chalkboard of hell, where every teacher who molested their students would go to.
Words of pleasure that had to be defined since Caleb would get the wrong message regarding the word pleasure, always assuming that it was referring to something kinky and hot like a volcano's fishnet legs.
The wimpiest baseball glove, rotting in the dugout scene, the autographed gloves laughing at it with their rough and salty hacks with eyeballs emitting from every cough.
A smashed hood dancing like a newlywed couple at the beach, bodies vibrating at dangerous frequencies, like the most potent nitroglycerin.
Pills sitting on the shelf for days, waiting for the suicidal newspaper writer to chug down at an instant, forgetting the appropriate dosage amount, collapsing to the floor, tongue sticking out, body writhing on the floor.
A gorgeous straw hat placed gently on top of her head, each strand of her hair tying knots into every opening, a red and green ensemble that appealed to the color blind people, whistling obscenities to her at every direction she went.
"Shut up!" said Louis CK, his wonderful bald head exuberating brilliance at every turn, direction, and inconsequential stripper mall, the newest implementation by Larry Flynt to expand his horny enterprise that was surprisingly run by nothing by women since they knew what superficially appealed to men more quickly, leading very prominently to the collapse of the economy due to the amount of surplus being delivered to the stripper malls.
A video game designed by conservatives who aren't against gay marriage where players will have to sit in at every congressional meeting held at the senate so that the young people could understand how difficult it is to maintain your sanity for that many years doing the same mundane tasks and being blamed for holding America back from progress.
A barrel roll to impress other barrel rolls for centuries, the stunt others would have to look up to aspire to if they wanted to aspire to greatness.
A distracting amount of beeps and boops simulating the legendary brown note, paralyzing every driver in the tri-state area who crashes into the nearby gay bars.
A match to determine who would the intercontinental heavyweight undisputed champion, a battle of wits between a table and an plastic chair, the crowd waiting to see who would rust first since they weren't educated enough to know that plastic doesn't rust.
A man complaining about how pathetic his life was to the optimistic woman who just got a promotion in her job, the man's sweat beating from every orifice and landing into her own pores, bewildering her but at the same time calming the man down, allowing him to make the proposal, causing her to weep uncontrollably and die from a stroke.
Oh. That's a bummer, man.
This is an unofficial endorsement of 750 Words. 750words.com is a place where you can write whatever you wish like a perverted fantasy you have always wanted to fulfill in word form. The site's very simplistic yet inviting format allows you to focus on your writing without distractions until you reach 750 words. It's been a very useful tool for me, especially when I get into debilitating writer's block that prevents me from updating the site (sorry about that). If you are an aspiring writer/screenwriter/...poet, please try out 750 Words. You can start out with a free trial for 30 days, after which you only have to pay $5 a month to continue. If you do try it out, don't tell them I sent you. They'd be embarrassed.
Wednesday, August 21, 2013
Tuesday, July 23, 2013
Random Chatterings [Ep. 5] - Brotherly Moments
A recording made three years ago is resurrected in the troubled year of 2013 to remind the hosts when life was simpler and easier. In the first segment, the brothers fool around talking about an embarrassing CD made by Arlill's 5th grade choir. In the second segment, things take a sentimental turn when the brothers remember their second rabbit they had, who, shortly before the recording, had ran away (Spoiler alert: the bunny was found...then ran away again).
We are constantly tweaking the podcast format so if you have any suggestions or questions, feel free to post them in the comments.
DOWNLOAD [33:10]
Technical info:
Recorded and edited with Garageband '11 by Arlill and Gary Rodriguez
Random Chatterings Theme Song (piano and orchestrated versions) by Sergiy Turchyn
"2 Player VS" from Dr. Robotnik's Mean Bean Machine composed by Tate Norio
"Mystic Cave Zone (2P)" from Sonic 2 composed by Masato Nakamura
2010, 2013
EPISODE 4 EPISODE 6
Thursday, June 20, 2013
Security in The Exorcist: A Disruption of the Domestic Ideal
Video from user ryy79
Originally written on March 7, 2013.Before we begin, I should mention that the previous essay on Early Summer was a similar assignment in format and content. Basically, we had to examine a continuous 3-5 minute scene and, using the film as evidence, formulate an argument about the entire film that the scene represents. I took a class on the Horror Film, hence why the trailer above is for The Exorcist, the "scariest film of all time." Before watching this movie, I did hesitate in watching it (again and again) for the purposes of a paper, mostly because of the infamous maze game (not the actual video) that rewarded its players with an extreme closeup of the possessed child. To me, The Exorcist was basically this image for 75 minutes. After finally watching the film, I found it to be one of the more forgiving horror films I've seen. Let me explain. Unlike the original 1974 release of the Texas Chain Saw Massacre, which from beginning to end, induced a relentless mood of dread and grotesqueness, The Exorcist frightened you for one minute then had 5 minutes of exposition, allowing the viewer to process the previous scenes more easily. During the brainstorming process for this essay, I thought about interpreting the film as a metaphor for puberty, but upon realizing how little I know about pre-teen girls in that age, I thought about how the film relegates the "monster"(Linda Blair), if we wish to call her that, into a single location that the other characters, specifically the mother (Ellen Bursytn), has to constantly return to throughout the film, making me consider the film's subtle critique about the security of the household. Without a doubt, however, The Exorcist is one of the most disturbing films ever made and if you can look beyond that creepy face, you might enjoy this horror classic.
The Exorcist (William Friedkin, 1973) in the guise of being a typical horror film, is also a reinterpretation of the creature, established in early horror cinema, as a contained beast. In the film, a young 12-year old girl suddenly becomes more aggressive, violent and profane much to the concern of her distressed mother. The film introduces a conflicting dynamic with the mother locking her daughter in her room, always coming to her daughter's aid when she desperately needs it but becoming more and more horrified at what her daughter is becoming. The issue of security in the household is demonstrated in The Exorcist via from the film's display of the safe home.
The scene [10:27-12:25] opens with an extreme long shot of the city of Georgetown and the sound of a plane flying overhead. The camera zooms in to one of the many buildings in Georgetown as we hear car honks and kids playing nearby. We then cut to Chris's room where she has turned on her lamp and hears a noise. Chris puts on her orange robe over her white nightgown and walks to the banister. She hears the noise again, and a low angle shot shows Chris assuming the noise is from the attic. She opens the door to her daughter Regan's room and from a POV shot, we see Regan sleeping and the window open. The camera then slowly tracks Chris as she closes the window, approaches Regan's bed, and kisses her daughter on the forehead, telling Regan that she loves her.
The film presents the ideal of a secure community and establishes the risks present in giving too much confidence in it. In the establishing shot of Georgetown [10:27-10:50] we are introduced to a more pleasant and familiar setting of houses rounding out the block. With this brief glimpse, we get the feeling of how diverse and historical the city is with large mansions peeking out in the background and a tall clock tower that is barely visible from the hazy sky. We also see the cars are traveling at just the right speed, almost as though the drivers were coordinated and in less of a hurry, a casual drive across the way. As the camera zooms in and tracks Chris' apartment, we hear many of the noises associated with urban life: an airplane zooming, cars honking, buses hissing, and children playing nearby. With the camera zooming in as slowly as possible, it lures the viewer into the peaceful nature of the city and assures us that there is nothing wrong. When Chris goes to her daughter's room, [11:40-11:50], she notices that Regan, wearing a bright yellow pajama, sleeps without the covers on her and tightly holds the pillow close to her, unaware that her room is getting colder. With the window open, we get reminded of the noises of the city, but also notice that they are much louder than before. The city noises are a brief reminder of the numerous threats that exists from outside of the window and outside of the home. Regan is left vulnerable to any potential threat and in turn, reminds us of the possibility of intrusion into our own homes. To further validate the idea of false security, Chris, after brushing Regan's hair, appreciatively says, "I sure do love you" and kisses her on the forehead. It is a parental instinct to kiss our loved ones when they get injured or scratched and is an effective placebo although nothing actually changes; the child still has the scratches and the brief trauma of their injury.
The film utilizes the screen space to begin stirring up dubious feelings about the security of the household. The film constantly pairs up scenes that have noticeable size differences to create a startling effect that keeps the viewer alert. One example is how immediately after zooming in to the house, the film cuts to an extreme close up of the lamp pointing away from us. The film also plays around with space, using very stark shapes to orientate the perspective and direction we intend to look at but the following shot contradicts it. This conflict creates a type of unfamiliarity with the space that unbalances the action-taking place. The film, cutting from a less distant shot to a further one [11:17], also emphasizes the distance between Chris and Regan's room. In this case, it makes it appear longer than it really is, increasing the suspense Chris has as she walks toward the noise, and making it clear that there can be doubt and tension from walking a short distance, even from within a familiar place. In the same shot [11:17], the camera is placed right where two bars of the banister, out of focus, enclose Chris within a space until the camera moves up and tracks Chris' movement, giving the impression that Chris is being watched. After hearing the noise again, Chris becomes much more reserved and ties up her robe, anxiously looking in all directions for the source of the noise. Shortly after [12:01-12:04], Chris walks more hastily to her daughter's room where she has a bit of trouble opening the door.
Doors, as a form of security, are shown to be a frightening aspect in the movie when it accomplishes the opposite of its intended purpose. After hearing the noise, we cut to an extreme close up of the doorknob [11:03] then cuts right back to Chris. For a brief moment, the film makes it unclear as to which door the doorknob opens and even creates anxiety when it appears that the doorknob jiggles for a split second before the camera goes back to Chris. This accentuates the uncertainty created from a doorknob delaying the viable danger, as it is made very unclear as to when the doorknob shot was intended for and, in this case, being a literal delay from the film allowing Chris to get up and open the door. The door is the only thing dividing Chris and her daughter after Regan becomes possessed later in the film [44:35]. For Chris, her daughter becoming possessed is no different from discovering a burglar has broken into the room as it is an unexpected breach of her indemnity. The door and the window are both meant to keep the characters safe but the film conditions them as potential hazards.
The window is another example of when security is put into question as to how effective a window can be as a form of protection. The window is meant to protect whoever is inside, but unlike the wooden door, it mostly made of very fragile glass. To the homeowner, the window becomes an illusion of security that is only intended as an aesthetic inclusion that cannot protect the home without reinforcement. In the film, the window is at the opposite side of the door, increasing the tension created from Chris walking across the room to close the window and inspect the room. The moving curtains [12:05] also emphasis another fraudulent form of security as a transparency that appears to make the room more private and disregarding that any stray rock thrown instantly shatters the illusion of a protected house. At the end of the film, Damian, the priest, deliberately dives through the window to stop the devil from possessing him, killing himself in the process [2:01:30-2:02:40].
A horror film is designed to make the viewer dread the unknown or the misunderstood, whether it is a monster or an abandoned cemetery. The Exorcist, however, considers another potential source for fear, the room where your loved one resides, transformed against their own will. As previously mentioned, the door gradually becomes conditioned as a tense hesitation. However, the film also recognizes how an unstable bond or a lack of understanding within the family can also be a horrific element. For any parent in a caring relationship with their child, nothing could be more terrifying than coping with your loved one's sudden transformation without understanding it. Despite Regan's conversion via the devil's possession, a concerned parent would never regard her or their loved one as a "monster", believing wholeheartedly that their child's innocence is still preserved within. The other question is whether it would be better to strictly enforce the house's security by reducing the connection to the outside world to only the front door or believing the illusion of a protected house if only to get a glimpse of something pleasant outside every now and then.
Works cited:
The Exorcist: The Version You've Never Seen. Dir. William Friedken. Perf. Ellen Burstyn, Max Von Sydow, Linda Blair, Lee J. Cobb. Warner Home Video, 1973. DVD.
Monday, June 10, 2013
Random Chatterings [Ep. 4] - Co-Op Mode
In this episode, we are introduced to Arlill's brother and permanent co-host, Gary Rodriguez as they go from the ends of the universe and back in the first segment. In the second segment, they talk about video games, including a very notorious one from their childhood. We are constantly tweaking the podcast format so if you have any suggestions or questions, feel free to post them in the comments.
DOWNLOAD [42:35]
Technical info:
Recorded and edited with Garageband '11 by Arlill and Gary Rodriguez
Random Chatterings Theme Song (piano and orchestrated versions) by Sergiy Turchyn
"Baby Luigi is Saved" from Super Mario World 2: Yoshi's Island composed by Koji Kondo
"Bubsy 1 main theme (Genesis version)" music by Matt Berardo
Douglas Adams article: independent.co.uk/life-style/history/42-the answer-to-life-the-universe-and-everything-2205734.html
2013, 2014
EPISODE 3 EPISODE 5
Wednesday, May 29, 2013
Random Chatterings [Ep. 3] - A Songwriter's Pen Name
This is a bit experimental as I have posted the previous episodes on Tumblr and I will start researching other methods for posting audio.
DOWNLOAD [12:01]
Technical info:
Recorded with a Sansa Fuze, edited with Garageband '11 by Arlill Rodriguez
Random Chatterings Theme Song (piano and orchestrated versions) by Sergiy Turchyn
Baby Don't Go from the album, I Will Be by The Dum Dum Girls: wearedumdumgirls.com
2010-2013
EPISODE 2 EPISODE 4
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