I want one

Oh, look, a puppyOH GOD NO SWEET JESUS WHY GOD WHY
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Ceek
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I want one

Post by Ceek » July 29, 2005, 9:54 am

What did you say taxi driver?
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During the last six decades, Cliff Richard has charted many hit singles, and holds the record (along with Elvis Presley) as the only act to make the UK singles charts in all of its active decades (1950s–2000s). According to his website, he has sold 250 million records over the course of his career.

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Post by PORL » July 29, 2005, 1:00 pm

that thing is fucking awesome

i wonder what kind of mileage that guy gets out of it though DX

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Post by Stiff Cliff » July 29, 2005, 1:44 pm

mmm....could do with a slight lowering, throw in some dvd screens, Rockford Fosgate sound, spinners on the wheels, obviously chromed. Chrome the engine, slap a turbo on......then i would like it.

and does it come in red?

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Post by Tenacious B » July 29, 2005, 2:31 pm

what they don't tell you is that the guy in the photo is only 3 foot 7.

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Post by PORL » July 29, 2005, 3:03 pm

:gonk:

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Post by Dannah » July 29, 2005, 9:52 pm

there's really no meaning for this. or maybe there is. . .

I really just wanted to show off my new icon.
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- Computer games don't affect kids; I mean if Pac-Man affected us as kids, we'd all be running around in darkened rooms, munching on magic pills and listening to repetitive electronic music -

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Post by PORL » July 29, 2005, 9:59 pm

'douchebag' reminds me of kelly osbourne DX

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Post by Tenacious B » August 1, 2005, 9:06 am

i was just talking to my dad and we both agree that they should start producing the batmmobile in large quantities for military use.

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Post by Ceek » August 1, 2005, 9:16 am

Tell your dad that batman is 'just a movie'
During the last six decades, Cliff Richard has charted many hit singles, and holds the record (along with Elvis Presley) as the only act to make the UK singles charts in all of its active decades (1950s–2000s). According to his website, he has sold 250 million records over the course of his career.

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Post by Tenacious B » August 1, 2005, 9:18 am

yeah but didn't you see the thread about how they really made the batmobile?

LAUNCH TORPEDO GO

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Post by Ceek » August 1, 2005, 9:42 am

No i didn't see that thread. I also haven't soon batman. I am really wondering why i am posting about this ;).
During the last six decades, Cliff Richard has charted many hit singles, and holds the record (along with Elvis Presley) as the only act to make the UK singles charts in all of its active decades (1950s–2000s). According to his website, he has sold 250 million records over the course of his career.

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Post by Tenacious B » August 1, 2005, 9:52 am

you should watch batman dude it's fucking hot.

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Post by Stiff Cliff » August 1, 2005, 4:56 pm

batman is definitely hot.

leather n all.

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Batman and Miller

Post by keepinitneal » August 1, 2005, 6:42 pm

This is what one of my favourite bloggers had to say about Batman, Chris. Give it a read, though i warn you: it's long and hard.

Shades of white: fear and justice in Christopher Nolan's Gotham

Batman Begins is, without question, the best Batman film yet.

The competition isn't as fierce as it appears. Batman and Robin and Batman Forever are famously appalling, but Burton's two films do not live up to their vastly over-inflated reputations either. If you doubt that, just remember dweeby Michael Keaton's chin-rubbing Bruce Wayne... Jack Nicholson as the Joker, a performance of stupendous self-indulgence and sneering smugness even by his standards (his every gesture saying, look, folks, I'm way too good for this shit) ... and autistically wooden Kim Basinger as Vikki Vale ....

Danny Baker has rightly observed that 'dark' is now the laziest and most cliched term of approbation in contemporary cultural appreciation. Frank Miller is, as no-one can fail to know, the writer most often credited for turning comics 'dark', and it is Miller's whisky-soured version of Batman, not the Rauschenbergian Pop Art 1960s model, that is now the cliche that must be overcome.



Miller's legacy has been ambivalent at best. Reflect on the fact that his rise, like that of Alan Moore, coincides with the total failure of comics to produce any new characters with mythic resonance. Miller and Moore's 'maturity' corresponds with comics' depressive and introspective adolescence, and for them, as for all adolescents, the worst sin is exuberance. Hence their style is deflationary, taciturn: consider all those portentous pages, stripped of dialogue, in which barely anything happens, and contrast them with the crazed effervescence of the typical Marvel page in the 60s. Miller's pages have all the brooding silence of a moody fifteen-year old boy. Don't be in any doubt, people: the silence signifies.

M and M traded on a lack of confidence that had begun to cloud the medium and on a disingenuous male adolescent desire to both have comics and to feel superior to them. But their demythologization, inevitably, produced only a new mythology, one that poses as more sophisticated than the one it has displaced but is in fact an utterly predictable world of 'moral ambivalence' in which 'there are only shades of grey'. Read all those puff pieces on Sin City and weep. If I have to read ONE MORE Sin City review that starts like this: 'Thought comics were only about square-jawed super-types who wear their underwear outside their tights? Think again...' No, no, no: thanks to Miller and his ilk, when we think of comics now the associations that come to mind are raddled alcoholics, corrupt cops and crack whores. It's about time that Miller stopped being congratulated for bringing into comics a noir-lite cartoon nihilist bleakness that has long been a cliche in films and books. The 'darkness' of this vision is in fact curiously reassuring and comforting, and not only because of the sentimentality it can never extiripate. (Miller's 'hard-bitten' world reminds me not so much of noir, but of the simulation of noir in Potter's Singing Detective, the daydream-fantasies of a cheap hack, thick with misognyny and misanthropy and cooked in intense self-loathing.)

The idea that there is no Good is one of the central assumptions of what we might call Capitalist Realism. Capitalist Realism insists on the irredeemability of human beings, the impossibility of Justice, the inevitability of corruption ... It's hardly surprising that this model of realism came to the fore in comics at the time when Reaganomics and Thatcherism were presenting themselves as the only solutions to America and Britain's ills.

So it is gratifying that Batman Begins is not about 'shades of grey' at all, but rather shades of white. It is a film not about amorality and Evil, but Good. In many ways, it is the film that Zizek wanted Revenge of the Sith to be: a film, that is to say, which dares to hypothesize that Evil might result from an excess of Good.

Nolan has dispensed with Burton's psychotherapeutic Soap Oprahisms (Joker falls in a vat of acid, so immediately wants to take over zeee vooorld) in favour of a modern psychoanalysis that might have come out of the pages of Zupancic's Ethics of the Real.

There's just enough of the American Psycho in Bale's troubled performance as Bruce Wayne to give it a slightly disturbing quality. Wayne is haunted by an superfluity of fathers (and a near absence of mothers: I don't think that his mother says a word). First, there is Thomas Wayne, a rose-tinted, soft focus moral paragon, the very personification of philanthropic Capital, the 'man who built Gotham' (but not without building his own sim-Brit aristocratic pile outside the city limits too). The structural delusion here (and it is a delusion shared by our own glorious leaders) concerns the separating out of rampant crime from Capital, as if there were no causal link between the former and the latter.



In keeping with the Batman myth established in the 30's comics, Wayne Senior is killed in a random street robbery, surviving only as a moral wraith tormenting the conscience of his orphaned son. Second, there is R'as Al Ghul, Wayne's hyperstitional mentor-guru. The young Wayne is convinced that his father's death is his fault, but Al Gool tries to convince him that his parents' death is his father's responsibility, because Wayne Pere did not know how to Act.... Wayne is not acting out a Hamlet-like version of the Oedipus complex, so much as he is tormented by the oscilation between two Oedipus complexes: the first in which the mighty Father is a moral exemplar who must be avenged but who cannot be equalled; the second in which the father is a weak-willed failure, 'the old man at the crossroads'. He is aided in this conflict by Michael Caine's Alfred, the 'maternal' father figure who offers the young Bruce unconditional love.

The struggle between Fathers plays out as a conflict between Fear and Justice. Fear, as wielded by the Miller-invented crime boss Falcone and the superbly chilling Scarecrow with his - get this - 'weaponized hallucinogens' (the scenes in which Scarecrow tries these little tricks out are creepily, vertiginously psychotic), and Justice, which, as the young Wayne learns, is something more than revenge. The question R'as Al Ghul poses to Wayne is: are you, with your conscience, your respect for life, too weak-willed, too frightened to do what is Necessary? Can you Act? Wayne is forced to decide: is Al Ghul what he claims to be, the ice cold instrument of impersonal Justice, or its grotesque parody? The ultimate Evil in the film turns out to originate from Ghul's excessive zeal, not from some hoaky diabolism.

Fear and Trembling, indeed. As with Russell T Davies' Dr Who (Rose in the last episode: 'he showed another way to live, a better way'), Batman Begins restores to the hero an existentialist drama that finally puts to flight the niggling, knowing sprites of PoMo that have sucked his blood for way too long. Suddenly, Decision, not citation is central. Katie Holmes (who, it has to be said, has a television rather than a cinema face) might not be wholly convincing as the DA's assistant-cum-Wayne love interest, but she gets the film's best existentialist slogan: 'It's not who you are inside that counts, it's what you DO that makes you what you are.' (A sentiment that couldn't be less in step with US therapy-hegemony.)



From the start, the Batman mythos has been about the switching of Gothic Fear into heroic Justice. As Kim Newman establishes in an informative piece in this month's Sight and Sound, Batman has always been a Gothic hero. Batman is deeply rooted in the pyschogeography of an American Gothic steeped in Expressionist Europe: Wayne Manor is a clear echo of Poe's rambling aristocratic mansions, while Wayne's conviction that he must 'become a creature of the night' is, as Newman says, a reference to both Bela Lugosi's Dracula and to The Cabinet of Dr Caligari ('you must become Caligari!')

Nolan's revisiting of Batman is not a re-invention but a reclaiming of the myth, a grand syncresis that draws upon the whole history of the character. It is serious without being portentous, possessed by a lightness that doesn't come close to flirting with postmodern knowingness (the few, very few, one-line quips are notable for the way they do not fit with the overall tone at all). Even Gary Oldman is - no word of a lie - understated.

All this, and, at the end of the film, the Arkham Asylum inmates are still on the loose...
"All youth, as stirring as the promise may be, is always also the youth of a young cretin" -Alain Badiou

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Post by theonetheonly » August 1, 2005, 9:47 pm

AWESOME post!!!!!
:jig:

I concur.
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Post by Tenacious B » August 2, 2005, 8:51 am

great post, but a) thanks for not linking to the fucking actual site and b) it is impossible for neal to read anything that doesn't include reference to zizek or bideau (sp?).

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Post by Ceek » August 2, 2005, 9:26 am

Sorry i never learnt to read so i can't see what you are all saying.
During the last six decades, Cliff Richard has charted many hit singles, and holds the record (along with Elvis Presley) as the only act to make the UK singles charts in all of its active decades (1950s–2000s). According to his website, he has sold 250 million records over the course of his career.

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Post by Michelle » August 2, 2005, 10:07 am

That car kinda looks like a TATA, bigger but still does

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Post by MacDaddy » August 2, 2005, 10:26 am

Too long. Attention span too short.

Liked Batman though.
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