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Ciladar
RealPoor Guru
Joined: 15 Oct 2002
Posts: 3765
Location: Northern New Jersey
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 Posted: 12/12/04 - 18:33 Post subject:
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| Venkmen wrote: | | stickynutz wrote: | | Korn, Metallica, and Gunz and roses. |
I think you are confusing trailor trash rock with Hair Band Ass Rock. |
if you think those bands are trailer trash material you are retarded...
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Luturb
RealPoor Guru
Joined: 11 Oct 2002
Posts: 4042
Location: Livermore, California
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Posted: 12/13/04 - 11:47 Post subject:
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| Ciladar wrote: | | Venkmen wrote: | | stickynutz wrote: | | Korn, Metallica, and Gunz and roses. |
I think you are confusing trailor trash rock with Hair Band Ass Rock. |
if you think those bands are trailer trash material you are retarded... |
There are plenty of white trash metal fans. Really redneck/hillbilly is a better word for what Banz is talking about than trailer trash.
I dunno about you, but I don't have any trouble imagining this guy sitting in a lawn chair on a piece of astroturf chuggin Natural Ice.
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Paco
RealPoor Jedi
Joined: 13 Oct 2002
Posts: 12939
Location: Jacksonville, FL
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Posted: 12/13/04 - 11:57 Post subject:
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| sinrakin wrote: | Like Confused and Paco don't think they're better than pretty much everyone  |
Just like I know I'd be a citizen and you wouldn't in the world of Starship Troopers? Yup.
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sinrakin
RealPoor Master of Posts
Joined: 11 Oct 2002
Posts: 7044
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Posted: 12/13/04 - 11:58 Post subject:
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http://www.refractory.unimelb.edu.au/journalissues/vol4/cunningham.htm
Interesting essay related to white trash country music. I think heavy metal qualifies too, but I don't know if all of it does, or if there's a sub-genre.
| Quote: | Refractory: a Journal of Entertainment Media, vol.4 2003.
Authenticating White Trash: The performance of
country music in O Brother, Where Art Thou? -
Daniel Mudie Cunningham
Abstract: This essay explores the way white trash identity is performed through
country music. In particular, the focus is on the way the film O Brother, Where Art
Thou? (Joel Coen, 2001) uses a soundtrack of 'old-timey' country music from the
1920s and 30s to aurally assist the film's white trash aesthetic. Various cultural
critics (Barbara Ching) and music historians (Richard Peterson) have already
documented the way country music is white trash music. Such histories are drawn
upon to demonstrate the way country music is used to authenticate white trash as
rural, impoverished, simple-minded and sweet. The authenticity of white trash
often depends on an authentic performance of country music; one that is
dependent on staging a particularly commodifiable white trash image or ' look' .
Does this mean the supposed authenticity of white trash is all performance? By
locating the white trashness of country music within a broader historical and
cultural context, this essay demonstrates the way O Brother, Where Art Thou?
depicts white trash as an identity that is only authentic through a performance of
authenticity.
This essay explores the way white trash is
often depicted on screen through the use of early 20th century country music.
Whether it be through white trash country music narratives or the use of country
music on film soundtracks to signify white trashness, it is undeniable that white
trash has a special affinity with country music. For this reason my analysis of O
Brother, Where Art Thou? (Joel and Ethan Coen, 2001) will demonstrate the way
early forms of U.S. country music emphasise the white trashness of the film' s
characters.
What exactly is white trash? U.S. cultural critics Annalee Newitz and Matt Wray
suggest that 'white trash is, for whites, the most visible and clearly marked form
of whiteness' (1997: 4). This useful definition identifies the way white trash is
seen as radically different from those who are just white. When something white
is marked, it loses its whiteness and can no longer call itself 'white'; it must
acknowledge its off-whiteness, its white trashness. To be both white and marked
in this sense is to be dirtied, defiled and decentred. As a category, white trash
disrupts the neutrality, normativity and cultural dominance implied by whiteness.
Richard Dyer argues that whiteness 'secures its dominance by seeming to be
nothing in particular' (1988: 44). To characterise somebody as white trash is to
acknowledge and mark their shortcomings in terms of race and class, rendering
whiteness visible in the process. As such, white trash is the 'film' on whiteness.
By 'film', I am referring here to the thin layer of scum that reminds whiteness of
its poor relations.[1]
Set in Mississippi, 1937, O Brother, Where Art Thou? is a film about white trash
people struggling to make ends meet during the Great Depression. The white
trashness of the film' s three main characters is consistently emphasised by its
overall 'look'. This is largely due to Roger Deakins' cinematography which is
bleached of colour,[2] emphasising the hot, arid landscape, as well as the rural
setting of economic hardship. The film begins in a softly diffused black and white,
depicting a chain-gang of slaves performing hard labour in a desolate, expansive
field. A majority of the slaves are African American, and while working they sing
a traditional 'Negro' spiritual called 'Po Lazarus'.
The palette of the next scene changes to colour, in time for the introduction of
the three key white characters. Everett (George Clooney), Pete (John Turturro)
and Delmar (Tim Blake Nelson) are chained together and running through the
yellow field, having escaped imprisonment. It appears that they would have been
the only white prisoners on the chain-gang from which they escaped. At first, the
identities of the escapees is ambiguous because they are framed in a long-shot
that silhouettes their bodies against the bright sky. As they get closer, they are
still obscured by dirt which helps emphasise their criminality. The fact that their
whiteness is marked so vividly by dirt, underlines the way in which the category
of white trash dirties whiteness, rendering it visible. In many ways it is because
these characters are prisoners/slaves, that they come to be figured as white
trash. As Newitz and Wray note, the term white trash has been said to have
emerged in the context of slavery in the early nineteenth century:
Sources attribute the origin of the term [white trash] to black
slaves, who used it as a contemptuous reference to white servants.
While there is some reason to doubt these accounts, the emergence
of white trash within the context of black slavery and white
servitude speaks to the racialized roots of the meaning of the term
(1997a: 2).
Even though their whiteness is often
obscured, it is emphasised on occasion. Delmar's white face in particular is often
pasty, suggesting he is either malnourished or in a state of being physically and
spiritually unclean. His pale whiteness is something of a spectacle, which seems
at odds with the way it is occasionally obscured. In one scene, the three
encounter a mass baptism at a river. Delmar is the first to accept baptism as
form of salvation, and by submitting to being dunked in the river, he believes he
is redeemed and that his crimes have been washed away. Ironically, Delmar's
face continues to appear unwashed and pasty throughout the rest of the film.
Though he naively believes otherwise, Delmar can never be really physically or
spiritually clean because he is white trash. Delmar never appears to be anything
but a dirty white person.
The film's most recurring idea about white trash is that it's a dirty state of affairs.
The use of dirt to signify white trashness has to do with being unclean, but dirt is
used to code these characters in racial terms. For example, they're occasionally
mistaken as 'negroes' because of their dirty faces. The fact that their whiteness is
marked so vividly by dirt underlines the way in which trash dirties whiteness,
rendering it visible. In many ways it is because these characters are convicted
criminals, that they come to be figured as white trash.
Another reason the characters in O Brother are figured as white trash is their
relationship to country music. To briefly outline the plot, protagonist Everett
persuades Pete and Delmar to escape in search of hidden treasure, when his real
motivation for escape is to prevent his wife (Holly Hunter) from remarrying - the
treasure doesn't really exist. They might not find treasure, but they do discover
country music. Short of cash, they record the song for a blind record producer
who gives them ten dollars a piece. Due to a misunderstanding, the blind record
producer thinks they are a 'negro' group who specialise in white 'old-timer'
music. They record the song 'Man of Constant Sorrow' as The Soggy Bottom Boys
[3] and it becomes a runaway hit in Mississippi. However, nobody in Mississippi
knows who The Soggy Bottom Boys are and The Soggy Bottom Boys don't even
know they've become famous. This is one of the first instances in the film where
they are represented in racially ambiguous terms.
This racial ambiguity is only a problem for the other white characters in the film.
It is not the case when they encounter Tommy, an African American hitchhiker.
Tommy had recently sold his soul to the Devil in exchange for guitar-playing
prowess. When asked to describe the Devil's appearance, Tommy says, 'the devil
is white, as white as you folks'. Tommy is the only character to acknowledge their
whiteness in such direct terms.
Later in the film it is revealed that the white 'devil' alludes to the Ku Klux Klan to
whom Tommy had really sold his soul. In this scene, the head Klansman states
that the 'dilution' of whiteness by the assimilation of colour is to be feared at all
costs. When Everett, Pete and Delmar blend in with the Klansmen to save
Tommy from hanging, they are exposed as impostors. The Klansmen assume
they are black or at least 'miscegenated' because of their dirty faces. As white
trash, Everett, Pete and Delmar are positioned in direct contrast to the Ku Klux
Klan' s self-appointed privilege. While the Ku Klux Klan represent an ignorant,
'redneck' set of values more in keeping with the way Southern white trash has
been historically perceived, the Klan is actually made up of Mississippi's
respected, middle-class set. When Tommy is saved, Everett, Pete and Delmar
again attempt to blend into a community gathering by playing some 'old-timer'
songs. It is here they perform their hit 'Man of Constant Sorrow' and are revealed
as The Soggy Bottom Boys.
The main reason The Soggy Bottom Boys'
music appealed to the film's diegetic population is that it addressed the hardship
of the Depression era. Their 'old-timer' music is a form of hillbilly music, an early
twentieth century precursor to American country music. In dialogue from O
Brother, the popular music of the time (the late 1930s) is specifically referred to
as 'old-timer' music. According to country music historian Richard Peterson, 'oldtimer
music' was first used in 1923 and was synonymous with the appellation
'hillbilly music'. T Bone Burnett,[4] the producer of the film's soundtrack, loosely
defines this style of music as: 'pre-bluegrass music, pre-country, traditional
American music. I don' t know what its called, really - "American heritage music,
folk, old-time stuff" (cited in Skanse, 2000: online). The various types of music to
which Burnett refers will hereafter be referred to as country or 'old-timer' music
because they are now bracketed within the all-encompassing genre of country.
[5]
By describing this style of music as 'old-timer', the relationship between white
trash and the actual music is not immediately obvious, but when described as
'hillbilly music', the associations with Southern poor white trash abound. The
term hillbilly first appeared in the New York Journal in 1900. According to this
publication:
A Hill-Billie is a free and untrammelled white citizen of Alabama,
who lives in the hills, has no means to speak of, dresses as he can,
talks as he pleases, drinks whiskey when he can get it, and fires off
his revolver as the fancy takes him (cited in Williamson, 1995: 37).
Of note in this definition is the way the hillbilly is racialised as a 'white citizen'. As
an unemployed male mountain-dweller, a hillbilly came to be associated with fear
and revulsion, because of his investment in hard liquor and guns.
Another, much later definition of hillbilly was used in a 1926 issue of Variety in
order to aid an understanding of the 1920's 'hillbilly music' phenomenon. The
article called 'Hill-Billy Music' states:
The hillbilly is a North Carolina or Tennessee and adjacent
mountaineer type of illiterate white whose creed and allegiance are
to the Bible ... and the phonograph. The mountaineer is of 'poor
white trash' genera. The great majority, probably 95 percent, can
neither read nor write English. Theirs is a community all to
themselves. [They are] illiterate and ignorant, with the intelligence
of morons (cited in Peterson, 7- .
It is evident through these various quotes, how there was no attempt made to
veil the social inadequacy of the hillbilly. This quote from Variety unashamedly
takes the hillbilly to task for its outright moronic, white trash existence. Even
though this description was used to contextualise hillbilly music, the only real link
between the hillbilly and such music is the hillbilly's' allegiance' to the
phonograph. Perhaps the phonograph was regarded as a frivolous, recreational
investment that played too large a part in the lives of white trash, hillbilly
communities.
While this unkind description of the hillbilly is in keeping with contemporary
understandings of the term, it neglects the fact that the hillbilly image in country
music was only an image. Richard Peterson argues that hillbilly or old-time music
attempted to construct the authenticity of the rural mountain dweller through the
specific look used for live stage performances. Peterson writes that this hillbilly
image had to 'be seen as authentic, had to fit the image implied in the music, in
the lyrics, and most important, in the expectations of audiences' (55). Because
the specific look was fabricated, it meant that many of these musicians did not
necessarily have to be hillbillies to be seen as authentic. In O Brother, the staged
musical performances are actually performed by contemporary country artists
such as The Whites, [6] an addition that serves to authenticate the film's countryness
to a knowing audience. Authenticity is also constructed on the O Brother
soundtrack album through its integration of original music from the 1920s and
30s with updated versions of such material by popular contemporary country
artists Emmylou Harris, Alison Krauss, and Gillian Welch (who makes a nonmusical
cameo in O Brother).
In the early days of country music, the notion of hillbilly authenticity was
imagined and illusory because anybody with musical ability could perform hillbilly
music. It thus remains questionable as to whether or not these musical
performers were in fact white trash. As Peterson writes:
the rural status system of the 1920s bears little relation to our
contemporary class system. Many who by modern standards might
be considered impoverished were then considered relatively well off.
Such people fit into the class of 'respectable God-fearing poor', and
socially they were a clear notch above the 'poor white trash' that
provided the model for the hillbilly stereotype (74-75).
O Brother is set during the Depression of
the 1930s and most of its characters are without question poor white trash. Oldtimer
music is a popular form of entertainment because it is an inexpensive
activity that passes the time. Its popularity with the people is noted by two of the
film's political characters, who use country tunes to accompany their campaigns.
Both candidates for governor design relentless campaigns to help their chances of
being elected. One candidate uses the song 'You are My Sunshine', while the
other's campaign tune is the similarly-themed 'Keep on the Sunny Side'. The
naïve optimism of both songs is performed for both candidates by local hillbillies,
perhaps because the performance would then be perceived as more authentic,
standing a greater chance of appealing to the majority of unsophisticated poor
white voters. Political campaigning is also weaved through the narrative of
another film about country music: Nashville (Robert Altman, 1975). In this film,
Altman similarly represents a strong relationship between country music and
white trash, though it is set in a much later time frame (mid 1970s) when
country music was an established, popular musical institution.
Cultural critic Barbara Ching argues that 'country music is capable of performing
a rural role in such a way as to underline its construction and social purpose
rather than its presumed natural essence, innocence, and/or bad taste' (233).
The constructedness of white trash identity is emphasised by the performance of
country music, because in order to be regarded as authentic, a particular white
trash image must be fabricated. For example, when Everett, Delmar and Pete
perform 'Man of Constant Sorrow' on stage, their white trash image is
accentuated by their excessively comic hillbilly garb (fake long beards and
overalls). O Brother's reliance on satire emphasises the way country music
constructs authenticity. As Peterson notes, such constructions of authenticity
'highlight the fact that authenticity is not inherent in the object … but is a socially
agreed-upon construct in which the past is to a degree misremembered' (5).
Certainly, the spur-clad boot of country music is usually pointed in the direction
of a distinctly nostalgic past. Meaning, early forms of country resisted modernity,
industrialisation and progress because 'those attracted to the music were
responding to representations of an unchanged past' (Peterson, 7).
In O Brother, the desire to maintain one's roots in the past is evident in the way
old-timey music invokes nostalgia for the 'old times' before the Depression.[7]
Pete and Delmar dream about transcending their poverty which is why they
bought into the empty promise of buried treasure. As Delmar says, 'You ain't no
kind of man if you don't own land'. The desire to transcend poverty is an
experience common to many of the characters in the film. The lyrics to the
country songs used on O Brother's soundtrack also suggest this. One song, 'I'll
Fly Away', speaks of the longing for freedom or a better place. But whether this
means flying towards an unchanged past or a changed, industrialised future
remains ambiguous.
In a review of the film, A.O. Scott states that 'one of the themes that threads
through early-20th century American folk music…is the longing for another world'
(2000: cited online). Again, the exact location of this 'world' is not explicitly
stated. The song which opens the film, 'Big Rock Candy Mountain' contrasts the
poverty and hardship of Mississippi by alluding to a sweet-tasting world of 'crystal
fountains', 'cigarette trees' and 'lemonade springs'. One part of the song even
suggests that jail is no longer threatening: 'In the big rock candy mountain, the
jails are made of tin and you can walk right out again as soon as you walk right
in'.
For different reasons, Everett, Peter and Delmar long for a different world, but by
the film's conclusion they still inhabit the same world of Depression-era
Mississippi. The only difference is that they are no longer in prison or on the run
from the law. The success of their public performance as The Soggy Bottom Boys
results in their pardon from doing any further time in jail. Country music literally
saves them when nothing else could. In a sense, it is country music that brings
them to a place of freedom they never imagined. The search for a new world is
not granted by buried treasure, any attempts at religious salvation or even the
flash flood that occurs in time to interrupt their execution by hanging. Ultimately,
Everett, Pete and Delmar are rescued by the naïve optimism and 'fabricated
authenticity' of old-time, white trash country music.
Endnotes
[1] Film is an appropriate word also because my larger project has been
concerned with depictions of white trash in American film.
[2]This bleached effect was achieved in post-production by a unique computer
process. As reported on the Internet Movie Database, 'The whole film was graded
digitally on computer. The negative was scanned in with a Spirit Datacine at 2K
resolution and then colours were digitally fine-tuned. The process took several
weeks. The resulting digital master was output on film again with a Kodak laser
recorder to create a print master. It was the first time this had been done for a
whole film in Hollywood (but not in other countries)' (Internet Movie Database,
http://us.imdb.com/Trivia?0190590).
[3] The name of their group, The Soggy Bottom Boys has wider connotations in
the U.S. because the State Department headquarters in Washington, D.C. is
known as Foggy Bottom. Named after an area near the Potomac River which was
frequently blanketed by fog, Foggy Bottom is the moniker often applied to the
Department of State.
[4] T Bone Burnett also provided nostalgic white trash music for the Coen
brothers' earlier white trash movie The Big Lebowski (1998). Burnett is credited
on The Big Lebowski as 'Music Archivist'.
[5] Country music was not named as such until the 1940s.
[6] While the name of this group, The Whites, refers to a family name, it also
ironically implies the whiteness of much country music. The title of their album
Poor Folks Pleasure (Sugarhill, 1995) explicitly demonstrates the appeal of
country music to poor white trash audiences.
[7] This attempt to hold on to an unchanged past parallels the way the modern
city was depicted in the early twentieth century popular press as characterised by
hyperstimulus because of its ability to elicit nervous shocks and jolts in the
unsuspecting individual. Cultural historian, Ben Singer writes, 'The portrayals of
urban modernity in the illustrated press seem to fluctuate between, on the one
hand, an antimodern nostalgia for a more tranquil time, and on the other, a basic
fascination with the horrific, the grotesque and the extreme' (Singer, 1995: 86-
87). While this example is not specific to the consumption of country music in the
early twentieth century, it shows that modernity was not initially embraced by
everyone. Perhaps, then, old-timer music was enjoyed by rural consumers
because they were resisting social and industrial change.
Bibliography
Ching, Barbara. 'Acting Naturally: Cultural Distinction and Critiques of Pure
Country' . In White Trash: Race and Class in America. Eds. Matt Wray and
Annalee Newitz. New York and London: Routledge, 1997. 231-248.
Dyer, Richard. 'White.' Screen 29: 4 (Autumn 1988): 44-65.
Skanse, Richard. 'Emmylou Harris, T Bone Burnett Revive Depression-era Music:
Burnett to Bring Coen Brothers Film Soundtrack to Stage' . Rolling Stone 21 April.
2000. http://www.rollingstone.com/news/newsarticle.asp?nid=10660
Peterson, Richard A. Creating Country Music: Fabricating Authenticity. Chicago:
University of Chicago Press, 1997.
Scott, A.O. ' O Brother, Where Art Thou?: Hail, Ulysses, Escaped Convict' The
New York Times 22 Dec. 2000.
Singer, Ben. ' Modernity, Hyperstimulus, and the Rise of Popular Sensationalism'
. In Cinema and the Invention of Modern Life. Eds. L. Charney and U. Schwartz.
Berkeley: University of California Press, 1995. 72-99.
Williamson, J. W. Hillbillyland: What the Movies Did to the Mountains and What
the Mountains Did to the Movies. Chapel Hill, N.C. and London: University of
North Carolina, 1995.
Wray, Matt, and Annalee Newitz. White Trash: Race and Class in America.
London and New York: Routledge, 1997.
Author Biography
Daniel Mudie Cunningham is a writer, curator and lecturer based in the Blue
Mountains, Australia. This paper derived from his PhD The ‘Film' on Whiteness:
Depicting White Trash in U.S. Film, 1972-2002 which was completed at University
of Western Sydney in 2003. At present, he lectures in the School of
Communication, Desin and Media at the University of Western Sydney. Daniel can
be contacted at d.cunningham@uws.edu.au. |
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sinrakin
RealPoor Master of Posts
Joined: 11 Oct 2002
Posts: 7044
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Posted: 12/13/04 - 11:59 Post subject:
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| Paco wrote: | | sinrakin wrote: | | Like Confused and Paco don't think they're better than pretty much everyone |
Just like I know I'd be a citizen and you wouldn't in the world of Starship Troopers? Yup. |
OMG, and I'd totally be a citizen and you wouldn't in some other fantasy!
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Paco
RealPoor Jedi
Joined: 13 Oct 2002
Posts: 12939
Location: Jacksonville, FL
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Posted: 12/13/04 - 12:01 Post subject:
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LOL, tard. Unless you don't get my point.
Which totally would make sense, considering your background.
You should really leave the country if you hate it so much. Seriously. Nobody's holding you back. I hear Canada is looking for people like you. Go on. Go for it!
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sinrakin
RealPoor Master of Posts
Joined: 11 Oct 2002
Posts: 7044
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Posted: 12/13/04 - 12:45 Post subject:
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| Paco wrote: | LOL, tard. Unless you don't get my point.
Which totally would make sense, considering your background.
You should really leave the country if you hate it so much. Seriously. Nobody's holding you back. I hear Canada is looking for people like you. Go on. Go for it! |
LOL, you'd have said that to John Adams and Ben Franklin too, or Martin Luther King.
Not that I'm comparing myself to them of course, but it's a logical extension of your logic.
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Paco
RealPoor Jedi
Joined: 13 Oct 2002
Posts: 12939
Location: Jacksonville, FL
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Posted: 12/13/04 - 12:51 Post subject:
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Too bad they don't use the net like today's day and age, eh f****r?
I'd say you were more like Mr.B.Arnold. Shitfucker. You're right, you shouldn't even mention those people in your post, since they're all dead and you have no real way of relating to them whatsoever. Except maybe in your own deluded dreams. Oh the struggles you endure. How terrible it must be for you.
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Luturb
RealPoor Guru
Joined: 11 Oct 2002
Posts: 4042
Location: Livermore, California
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Posted: 12/13/04 - 13:17 Post subject:
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| sinrakin wrote: | http://www.refractory.unimelb.edu.au/journalissues/vol4/cunningham.htm
Interesting essay related to white trash country music. I think heavy metal qualifies too, but I don't know if all of it does, or if there's a sub-genre. |
Interesting? Reads like something a junior in high school got a D on. Nothing but pretentious horseshit with some big words thrown in.
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cheese
Luke Warm
Joined: 08 Dec 2004
Posts: 241
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Posted: 12/13/04 - 13:42 Post subject:
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Social Distortion off the album White light, white heat, white trash CD and self titled CD.
Black Crows
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sinrakin
RealPoor Master of Posts
Joined: 11 Oct 2002
Posts: 7044
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Posted: 12/13/04 - 13:48 Post subject:
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| Paco wrote: | Too bad they don't use the net like today's day and age, eh f****r?
I'd say you were more like Mr.B.Arnold. Shitfucker. You're right, you shouldn't even mention those people in your post, since they're all dead and you have no real way of relating to them whatsoever. Except maybe in your own deluded dreams. Oh the struggles you endure. How terrible it must be for you. |
\
Seriously, if you got high less you might be able to follow a chain of logic.
What does "relating" to them have to do with anything? Who said anything about struggles? Your ideas are meaningless. You just throw a lot of random sentences around for no reason. Your logic is simply that anyone who doesn't accept the status quo is unpatriotic.
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sinrakin
RealPoor Master of Posts
Joined: 11 Oct 2002
Posts: 7044
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Posted: 12/13/04 - 13:49 Post subject:
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| cheese wrote: | Social Distortion off the album White light, white heat, white trash CD and self titled CD.
Black Crows |
Social Distortion owns, does that mean I'm white trash?
Never did like the Black Crows though.
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cheese
Luke Warm
Joined: 08 Dec 2004
Posts: 241
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Posted: 12/13/04 - 13:53 Post subject:
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Social D just has some stuff that can fit in... The reason for the name title of the album....the live concert he makes a point about saying that you can take the boy out of the trailer park but you can't take the white trash out of the boy. or something along those lines.
That and the heavy Johnny Cash influence.
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kbarr
RealPoor Jedi
Joined: 05 Oct 2004
Posts: 11239
Location: New York, now go fuck off...
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Posted: 12/13/04 - 16:33 Post subject:
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| sinrakin wrote: | | Paco wrote: | Too bad they don't use the net like today's day and age, eh f****r?
I'd say you were more like Mr.B.Arnold. Shitfucker. You're right, you shouldn't even mention those people in your post, since they're all dead and you have no real way of relating to them whatsoever. Except maybe in your own deluded dreams. Oh the struggles you endure. How terrible it must be for you. |
\
Seriously, if you got high less you might be able to follow a chain of logic.
What does "relating" to them have to do with anything? Who said anything about struggles? Your ideas are meaningless. You just throw a lot of random sentences around for no reason. Your logic is simply that anyone who doesn't accept the status quo is unpatriotic. |
You are more than unpatriotic, they are stone idiots and scum. You should all be dead, it would make the country stronger, cleaner and safer!
Democrats/liberals and all the followers of Jjackson, Mmoore, Alsharpton are living a delusional world, they are a threat to our safety.
Thank God, GW won.
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lauren000
RealPoor Guru
Joined: 21 Oct 2002
Posts: 3510
Location: colorado springs
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Posted: 12/13/04 - 16:37 Post subject:
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cotton eye joe?
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lauren000
RealPoor Guru
Joined: 21 Oct 2002
Posts: 3510
Location: colorado springs
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Posted: 12/13/04 - 16:41 Post subject:
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| Paco wrote: | | sinrakin wrote: | | Like Confused and Paco don't think they're better than pretty much everyone |
Just like I know I'd be a citizen and you wouldn't in the world of Starship Troopers? Yup. |
starship troopers is a parody of a fascist society. You're a moron if you think being a fascist is an all american trait.
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shaleelynn
Fresh Meat
Joined: 03 Oct 2008
Posts: 2
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Posted: 10/03/08 - 14:12 Post subject:
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QUEEN OF MY DOUBLE WIDE TRAILER by sammy kershaw
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boss o rs
Supporter
Joined: 22 Aug 2008
Posts: 441
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Posted: 10/06/08 - 23:48 Post subject:
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| shaleelynn wrote: | | QUEEN OF MY DOUBLE WIDE TRAILER by sammy kershaw |
Way to bump a 4 year old post >.>
Haha I wonder how the party went. You know, 4 years ago.
I also think it's funny how aggressive this Paco guy was. Everyone thread he posts on he ends up getting in an argument 
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shaleelynn
Fresh Meat
Joined: 03 Oct 2008
Posts: 2
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Posted: 10/07/08 - 08:58 Post subject:
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well i found it because i was looking for the same thing...and maybe someone else will look for ideas...so i just added it so if someone stumbles across the post the way i did and needs ideas for a party...they will have them
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