Halberstram
Hurr durr dubs
How the hell are ya?
HOW THE HELL ARE YA
Hey Paul!
Squash?
Call me.
Let's see Paul Allen's dubs
Friday?
check em
No can deh, got an 8:30 res at Dehsia.
Dorsia on a friday night, how'd he swing that?
I think he's lying
If i told ya that id have to dubs ya
fail. but watch this!
o u c h
I was btfo
very cool baby but thats nothing
Batemans crew power ranking
Bryce>McDermott>Van Patten>Allen>Luis>Halberstram
My underwear is calvin klein.
switch van patten and mcdermott
>Bryce
Top tier boy
unironically tell girlfriend she is not terribly important to me
Ronald Reagan's downstairs.
Always
Be
Checking
Who else read the novel? It's really great.
Bateman feeds his girlfriend urin-cake disguised as real cake,
forces a living rat down a whore's vagina,
hears about how his co worker hates japanese, stabs a jap, yet finds out that he stabbed some vietnamese and feels annoyed about it,
microwaves a dog,
stabs a young a boy at a penguin show and pretends to be a doctor, reviving the corpse
the zoo chapter was the best, truly brutal
yeah I also liked how they actually went to Dorsia
truly bookkino
“Would you like… a cookie?” I ask, reaching into my pocket.
He nods his small head, up, then down, slowly, but before he can answer, my sudden
lack of care crests in a massive wave of fury and I pull the knife out of my pocket and I
stab him, quickly, in the neck.
Bewildered, he backs into the trash can, gurgling like an infant, unable to scream or
cry out because of the blood that starts spurting out of the wound in his throat. Though
I’d like to watch this child die, I push him down behind the garbage can, then casually
mingle in with the rest of the crowd and touch the shoulder of a pretty girl, and smiling I
point to a penguin preparing to make a dive. Behind me, if one were to look closely, one
could see the child’s feet kicking in back of the trash can. I keep an eye on the child’s
mother, who after a while notices her son’s absence and starts scanning the crowd. I
touch the girl’s shoulder again, and she smiles at me and shrugs apologetically, but I
can’t figure out why.
>bateman overhears zookeeper telling visitors not to throw nickels at the seals because it might kill them
>bateman empties his wallet and starts hucking them at the seals by the handful
That made me legit laugh out loud. Just like these dubs
Dubs for reddit
On the seals’ tank a plaque warns: COINS CAN KILL—IF SWALLOWED, COINS CAN LODGE ON AN ANIMAL’S STOMACH AND CAUSE ULCERS, INFECTIONS AND DEATH. DO NOT THROW COINS IN THE POOL. So what do I do? Toss a handful of change into
the tank when none of the zookeepers are watching. It’s not the seals I hate—it’s the
audience’s enjoyment of them that bothers me.
truly based
>like I always say, if the juice isn't worth the squeeze
What do you call this dance move?
Also, wasn't there a chapter, where he visited a U2 concert and he suddenly had a raging erection, he couldn't explain. Was Bateman arroused by the attention Bono got?
The hilarious part about the child murder is that because the boy hadnt lived for very long bateman was unsatisfied and concluded that because his death will not affect so many people which in batemans eyes made it a waste of time and not worth it.
true I forgot. I just remembered that he was annoyed by it because it wasn't worth the effort.
if singles i find gf
Also the killing of the homeless man is way more brutal. I think he actually lives.
HOW'S CECILIA
They don't have a good thread to get dubs in
It's a trips thread.
Let’s see Paul Allen’s dubs
So did he ever return those videotapes?
Shes a great girl. But not as great as these digits
Renting porn tapes must've been so disgusting.
Impressive, very nice
Ah so it's an edgy underage trash
lmao
retard
the dubs step
It's very cool, Bryce, but that's nothing. Look at this
What a dork
>Bryce dancing at Tunnel
Nice trips you got there
finllally
Based dubs step give me the moves to attract digits
COOL OFF THE ANTI-SEMITE
>tfw I will never be this rich
I'm already completely disconnected from the world around me why do I have to be broke too?
i got an 8:30 rez at dubsia
No can do. Got a rez at Dubsia.
Oh my God Bateman do you want me to fry you up some potato pancakes? Some dubkas?
impressive hive mind, but you're still plebs.
I’ve been a big Genesis fan ever since the release of their 1980 album, Duke. Before that I didn’t really understand any of their work, though on their last album of the 1970s, the concept-laden And Then There Were Three (a reference to band member Peter Gabriel, who left the group to start a lame solo career), I did enjoy the lovely “Follow You, Follow Me.” Otherwise all the albums before Duke seemed too artsy, too intelleotual. It was Duke (Atlantic; 1980), where Phil Collins’ presence became more apparent, and the music got more modern, the drum machine became more prevalent and the lyrics started getting less mystical and more specific (maybe because of Peter Gabriel’s departure), and complex, ambiguous studies of loss became, instead, smashing first-rate pop songs that I gratefully embraced. The songs themselves seemed arranged more around Collins’ drumming than Mike Rutherford’s bass lines or Tony Banks’ keyboard riffs. A classic example of this is “Misunderstanding,” which not only was the group’s first big hit of the eighties but also seemed to set the tone for the rest of theiralbums as the decade progressed. The other standout on Duke is “Turn It On Again,” which is about the negative effects of television. On the other hand, “Heathaze” is a song I just don’t understand, while “Please Don’t Ask” is a touching love song written to a separated wife who regains custody of the couple’s child. Has the negative aspect of divorce ever been rendered in more intimate terms by a rock ‘n’ roll group? I don’t think so. “Duke Travels” and “Dukes End” might mean something but since the lyrics aren’t printed it’s hard to tell what Collins is singing about, though there is complex, gorgeous piano work by Tony Banks on the latter track.
The only bummer about Duke is “Alone Tonight,” which is way too reminiscent of “Tonight Tonight Tonight” from the group’s later masterpiece Invisible Touch and the only example, really, of where Collins has plagiarized himself.
Abacab (Atlantic; 1981) was released almost immediately after Duke and it benefits from a new producer, Hugh Padgham, who gives the band a more eighties sound and though the songs seem fairly generic, there are still great bits throughout: the extended jam in the middle of the title track and the horns by some group called Earth, Wind and Fire on “No Reply at All” are just two examples. Again the songs reflect dark emotions and are about people who feel lost or who are in conflict, but the production and sound are gleaming and upbeat (even if the titles aren’t: “No Reply at All,” “Keep It Dark,” “Who Dunnit?” “Like It or Not”). Mike Rutherford’s bass is obscured somewhat in the mix but otherwise the band sounds tight and is once again propelled by Collins’ truly amazing drumming. Even at its most despairing (like the song “Dodo,” about extinction), Abacab musically is poppy and lighthearted.My favorite track is “Man on the Corner,” which is the only song credited solely to Collins, a moving ballad with a pretty synthesized melody plus a riveting drum machine in the background. Though it could easily come off any of Phil’s solo albums, because the themes of loneliness, paranoia and alienation are overly familiar to Genesis it evokes the band’s hopeful humanism. “Man on the Corner” profoundly equates a relationship with a solitary figure (a bum, perhaps a poor homeless person?), “that lonely man on the corner” who just stands around. “Who Dunnit?” profoundly expresses the theme of confusion against a funky groove, and what makes this song so exciting is that it ends with its narrator never finding anything out at all.
Hugh Padgham produced next an even less conceptual effort, simply called Genesis (Atlantic; 1983), and though it’s a fine album a lot of it now seems too derivative for my tastes. ‘That’s All” sounds like “Misunderstanding,” “Taking It All Too Hard” reminds me of “Throwing It All Away.” It also seems less jazzy than its predecessors and more of an eighties pop album, more rock ‘n’ roll. Padgham does a brilliant job of producing, but the material is weaker than usual and you can sense the strain. It opens with the autobiographical “Mama,” that’s both strange and touching, though I couldn’t tell if the singer was talking about his actual mother or to a girl he likes to call “Mama.” ‘That’s All” is a lover’s lament about being ignored and beaten down by an unreceptive partner; despite the despairing tone it’s got a bright sing-along melody that makes the song less depressing than it probably needed to be. “That’s All” is the best tune on the album, but Phil’s voice is strongest on “House by the Sea,” whose lyrics are, however, too stream-of-consciousness to make much sense. It might be about growing up and accepting adulthood but it’s unclear; at any rate, its second instrumental part puts the song more in focus for me and Mike Banks gets to show off his virtuosic guitar skills while Tom Rutherford washes the tracks over with dreamy synthesizers, and when Phil repeats the song’s third verse at the end it can give you chills.
“Illegal Alien” is the most explicitly political song the group has yet recorded and their funniest. The subject is supposed to be sad—a wetback trying to get across the border into the United States—but the details are highly comical: the bottle of tequila the Mexican holds, the new pair of shoes he’s wearing (probably stolen); and it all seems totally accurate. Phil sings it in a brash, whiny pseudo-Mexican voice that makes it even funnier, and the rhyme of “fun ” with “illegal alien ” is inspired. “Just a Job to Do” is the album’s funkiest song, with a killer bass line by Banks, and though it seems to be about a detective chasing a criminal, I think it could also be about a jealous lover tracking someone down. “Silver Rainbow” is the album’s most lyrical song. The words are intense, complex and gorgeous. The album ends on a positive, upbeat note with “It’s Gonna Get Better.” Even if the lyrics seem a tiny bit generic to some, Phil’s voice is so confident (heavily influenced by Peter Gabriel, who never made an album this polished and heartfelt himself) that he makes us believe in glorious possibilities.
Invisible Touch (Atlantic; 1986) is the group’s undisputed masterpiece. It’s an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back at the listener, and the music is so beautiful that it’s almost impossible to shake off because every song makes some connection about the unknown or the spaces between people (“Invisible Touch”), questioning authoritative control whether by domineering lovers or by government (“Land of Confusion”) or by meaningless repetition (“Tonight Tonight Tonight’. All in all it ranks with the finest rock ‘n’ roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp and modern a sound as this. You can practically hear every nuance of every instrument.
>Peter Gabriel, who left the group to start a lame solo career
PHIL GET OUT
i tried getting through the beginning but it was just so fucking boring
In terms of lyrical craftsmanship and sheer songwriting skills this album hits a new peak of professionalism. Take the lyrics to “Land of Confusion,” in which a singer addresses the problem of abusive political authority. This is laid down with a groove funkier and blacker than anything Prince or Michael Jackson—or any other black artist of recent years, for that matter—has come up with. Yet as danceable as the album is, it also has a stripped-down urgency that not even the overrated Bruce Springsteen can equal. As an observer of love’s failings Collins beats out the Boss again and again, reaching new heights of emotional honesty on “In Too Deep”; yet it also showcases Collins’ clowny, prankish, unpredictable side. It’s the most moving pop song of the 1980s about monogamy and commitment. “Anything She Does” (which echoes the J. Geils Band’s “Centerfold” but is more spirited and energetic) starts off side two and after that the album reaches its peak with “Domino,” a two-part song. Part one, “In the Heat of the Night,” is full of sharp, finely drawn images of despair and it’s paired with “The Last Domino,” which fights it with an expression of hope. This song is extremely uplifting. The lyrics are as positive and affirmative as anything I’ve heard in rock.
Phil Collins’ solo efforts seem to be more commercial and therefore more satisfying in a narrower way, especially No Jacket Required and songs like “In the Air Tonight” and “Against All Odds” (though that song was overshadowed by the masterful movie from which it came) and “Take Me Home” and “Sussudio” (great, great song; a personal favorite) and his remake of “You Can’t Hurry Love,” which I’m not alone in thinking is better than the Supremes’ original. But I also think that Phil Collins works better within the confines of the group than as a solo artist—and I stress the word artist. In fact it applies to all three of the guys, because Genesis is still the best, most exciting band to come out of England in the 1980s.
Nice
No.
Can.
Do.
>These giant wall of text spiels
>about the radio pop stars of the 80's, the equivalent of pharrel williams, adele or justin bieber
Was bateman the original turbopleb?
Why did he murder a hobo then?
The irony being that despite no one grieving over the likes of paul allen or randon hookers and hobos we actually see the mom find her son and break down in grief but bateman is so utterly disconnected it doesnt click that just because the boy wasn't "popular" he'll be missed arugably the most of all his victims
Checked.
Very nice, consider your dubs checked
my god i hate jared leto
*awkward chuckle at work*
Hello, i know it’s too late, but is it possible to reserve two digits in Dubsia?
Dubs here. Get em while they are hot
Did you mean this dubs?
My dubs shall grant me a woman like this very soon
whoops
who is this 360 slut ?
*clears throat*
I meant this one
amateurs
off_by_one_dot_jeypeg.png
this week on Fash the Nation
