The Point, although created as a family film possesses many existentialist concepts. A young boy, Oblio is banished from his home because he lacked a visible point (on the top of his head). Throughout Oblio and Arrow’s (ref: previous nodes) journey from The Land of Point to The Pointed Forest they meet quite a few characters, namely The Rock Man. The Rock Man presents to Oblio and Arrow the idea that, simply because one does not have an apparent/visible point (on the top of their head) they are not in fact pointless, per the reason they were kicked out of The Land of Point.
The Rock Man explains the relationship between the physical point and the theoretical point. As Oblio and Arrow return to The Land of Point after their journey to The Pointed Forest they come to the realization that maybe Oblio’s theoretical point is to infact be, pointless.
In conclusion,
the point of The Point is that everything has a point, even if that point is to be, pointless.
“Violence never solved anything” — One of those “feel good” phrases bandied about by various idiots. Of course, we all saw in Starship Troopers the deconstruction of the myth, but it is amazing how it persists. Violence solves a bunch of problems, of course. Not random acts of violence or senseless violence, but judicious use of violence and the threat of violence can have splendid benefits.
It was with violence that the fathers/grand fathers of this generation fought against Hitler and the Axis Powers. I think that by completely avoiding violence, we don’t teach people how to properly use violence. Without guidance, and left to their own devices, kids will do all kinds of crazy stuff.
Confusion Pump Panel Reconstruction Mix New Order Blade Soundtrack
Rave In The Forest James L Venable Samurai Jack Soundtrack
Latte & Macaron Towa Tei
I Go Hard I Go Home Ascii Disko Remix The Presets
Rykketid Trentmoller
Summer Of 98 Crookers Remix Secret Handshake
Propane Nightmares Van She Tech Pendulum
I’m Too Fat To Be A Hipster OH SNAP
Ladyflash The Go! Team
Murphy’s Laws of Dance
A transformation of the famous Murphy’s Laws ( It’s listed at the end of the article ) to a setting easily recognized by DJs and rave kids alike.
If a pickup can jump, it will.
A monitor won’t.
The number of DJ groupies available are NOT proportional to the average R of your 12″ records.
Fixed playing schedules aren’t.
The main attraction of the line-up will leave early, or arrive late.
Noone cares about #5, since he always tears the roof off of the place anyway.
The product of R and C is inversed proportionally to A. (Snickars’ Law of Rarity)
The number of DJ mixers > The number of earphones > The number of small-to-large-DIN-plug adapters. (Lif’s General Number Assumption)
As P goes towards infinity, C goes towards zero. (Greiff’s Law of Credibility)
The size of the DJ booth is always one half of the size needed for all the stuff people try to “leave there for a minute”.
R = Rarability of the record
C = Credibility of the DJ/record
A = Availability of the record
P = Playability of the record
”
Murphy’s Laws:
If anything can go wrong, it will
If there is a possibility of several things going wrong, the one that will cause the most damage will be the one to go wrong
If anything just cannot go wrong, it will anyway
If you perceive that there are four possible ways in which something can go wrong, and circumvent these, then a fifth way, unprepared for, will promptly develop
Corollary: It will be impossible to fix the fifth fault, without breaking the fix on one or more of the others
Left to themselves, things tend to go from bad to worse
If everything seems to be going well, you have obviously overlooked something
Are we a now a generation of mother-less bastards?
It has been theorized that human response to music is rooted in an affinity we develop towards our mother’s heartbeats during early infancy. Does much modern dance music, with its pounding beats, not resemble the rhythms of our mother’s hearts?
Could this be the reason we retreat to the darkness of the city night clubs and raves? Do we feel that we lack the intimacy of our earth-bound mothers? Does a 125 BPM heart not soothe our loneliness and bring us closer to the bosom of our collective mother? Does the dark and warm dancefloor, pulsating with the rhythms of an amplified heart, not resemble the womb from which we were all violently expelled from at birth? Does this yearning for our mother and return to the womb mean we refuse to “grow up?”
OK, so I was ellipticizing myself the other day when the Hercules Club Mix version of “Blind” by Hercules & Love Affair popped up on my ipod and it inspired a couple of thoughts.
First I thought, why are these club versions so dang long? I like the song but I don’t necessarily want to hear it for seven or eight minutes straight, you know what I’m saying? But then I started analyzing it and it began to make sense.
The way I see it, the first 30 to 45 seconds of a club track consist of deep, pounding beats that act like a clarion call from a distant place, urgently calling to you, Come on, come on, let’s go! So if you were at a club you’d feel a distinct pull toward the dance floor. The next 30 seconds or so are when you’d negotiate for some prime space on the floor, hopefully placing yourself near some hottie you had your eye on and you’d like to meet. Then you get into the meat of the song, which can last anywhere from two to four minutes, after which it calms down a bit and gives you a chance to breathe before kicking back into high gear. Following that brief respite, you have about two minutes wherein to decide whether your heart is beating as hard as it is because you’re desperately out of shape or desperately lusting after the person you’re dancing with. Then you have about a minute to strategize how you’re going to either disconnect from said person or entice your newfound friend to hang around and dance with you some more. Apparently you need every second of the song to accomplish all these things!
some orange!united all remixxes tracks: (click the play button left of the link)
