School and I are having ISSUES.
Mar. 31st, 2003 05:13 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
tammaiyaI've written my English oral. I've almost finished writing my history oral.I'm totally screwed on my IT assignment. I will probably fail my jap test tomorrow.
I have a feeling of impending doom.
Oh well. I have decided I no longer care about UAI or ranking or whatever. Being at Girls' Grammar means that even if I only do average on everything I should still get around 85. This is a GOOD thing.
Besides, I know I'm smart. I also know that I'm lazy as sin. At the same time, I don't know HOW smart I am and I don't want to know either. Suspecting I'm not as intelligent as my brother and knowing it for sure are two entirely different matters. So this way, I don't find out, I don't die from unnatural levels of work, and I do okay. Fine by me. (In theory. In reality, I'd probably hate myself for all eternity if I got less than 90. I would definitely consider repeating.)
On another note... quizzes. Yes, they're back.
Dammit, I don't like that one! It called me BORING. I wanted wrist-slitting. *pout*
Naresha - You live in breathe inspiration that
comes from the Divines... You are a Muse that
also enjoys helping other writers in need. But
altogether... you have a tendacy to live in a
dream world. Your slogan is: "Unleash the
creative beast within..."
****What is YOUR Inner Personality?****
brought to you by Quizilla
Well, if it says so. Cool, anyway.
Oh, yes. When doing my History oral, I ended up looking up stuff about the Teenage Mutant Ninja Turtles. Mainly because I'm sad. Try having a conversation that involves Raphael the angel, the turtle and the painter. It is CONFUSING, man. But as I was saying. I went back to actual History, (dear gods. The apocalypse is nigh) and I found an article that mentioned the Turtles. Weird, huh? Anyway, it was actually about the painters the turtles were based on. It made me love my oral. I take back anything I said about hating it. *grin*
Who Were The Real Teenage Ninja Turtles?By Adib Rashad(RashadM@aol.com)Writers Note:This article was published in two magazines about eight years ago; however, the writer believes that the content is still very much relevant and timely today.There is an important historical and philosophical current that runs through the Ninja Turtle films. Before I address this aspect of the article, I am impelled to point out that fiction usually concerns itself with symbolism, and the author(s) of fiction can manipulate those symbols in a positive or negative manner depending, of course, on his or her ideology or philosophy. Furthermore, fiction almost always reflects the moral and political climate of the society from which it emerges. As a lie needs to distort truth for its entry, fiction needs aspects of historical truth for its thematic development. Fictional literature or cinematic fiction can skillfully present images that the reader or viewer might emotionally or psychologically identify with. Thus it is not surprising why so many young children (across racial, class, and religious lines) readily identified with the Ninja Turtles.In a society whose leaders and heroes are emotionally fragile, spiritually inane and morally bankrupt, it is reasonably clear why cartoon characters such as the turtles were successful. The fact that the turtles were heroes that were devoid of human form is a crystal clear indictment of American society.The turtles had names of four historical figures: Michelangelo, Leonardo Da Vinci, Raphael and Donatello. All four of these individuals were Italian Renaissance artists.Let me briefly discuss the Renaissance period which produced these personalities.The Renaissance was, for the most part, dialectical in structure. It arrived in the wake of a series of unmitigated diasters and thrived in the midst of continuous upheaval. With the Renaissance, however, human life seemed to hold an immediate inherent value, an excitement and existential quality, that balanced or even displaced the medieval focus on an otherworldly spiritual destiny. Europeans no longer appeared so inconsequential relative to God, the Catholic Church, or nature.The medieval Christian ideal in which personal identity was largely absorbed in the collective Christian body of souls faded in favor of the more pagan heroic mode--the individual man as genius, rebel, and adventurer. Self realization was no longer achieved through monasticism, but through a life directed at and guided by strenuous action in the service of the city-state, in scholarly and artistic activity, in commercial enterprise and social intercourse. The dialectics of this situation was comprehended by way of a synthesis: activity in the world as well as contemplation of eternal truths; devotion to state, family, and self as well as to God and church, physical pleasure as well as spiritual happiness; prosperity as well as virtue.Europeans during the Renaissance embraced the enrichments of life afforded by, personal wealth, and humanist scholars and artists flourished in the new cultural climate subsidized, by the Italian commercial and aristocratic elite. I would be remiss by not pointing out that the Renaissance was also the beginning of modern capitalism.Despite the secularism of the age, in a quite tangible sense the Roman Catholic Church remained and even ascended to glory in the Renaissance. Saint Peter's Basilica, the Sistine Chapel, the Stanza della Segnatura in the Vatican all stand as testaments to the Catholic Church's undisputed sovereign of European culture.Consummate artists like Bramante, Michaelangelo, and Raphael painted, sculpted, designed and constructed works of art to celebrate the Catholic vision. Thus the Renaissance represented a synthesis of opposites that became the matrix of European culture: Christian and pagan, secular and sacred, Judaism and Greek Hellenism, poetry and politics, and Platonism and Aristotelianism.Undoubtedly, it was the art of the Renaissance that best expressed the era's contradictions and unity. In the early Quattrocento, only one in twenty paintings could be found with a nonreligious subject. A century later there were five times as many. Interestingly, paintings of nudes and pagan deities faced those of the Madonna and Jesus.Utilizing the Greek concept of materialism, the Renaissance artists celebrated the human body in its beauty, harmony, and proportion. Moreover, it was their paintings particularly, Raphael that merged paganism with Christianity. It must be added with emphasis that these painters were responsible for physicalizing and depicting Jesus and Mary in European form.It was this foundation upon which the Renaissance artists stood and claimed their artistic glory. European art, particularly Italian Renaissance art, was replete with sexual themes. Professor Camille Paglia asserts that the Renaissance liberated the Western eye, repressed by the Christian Middle Ages. In that eye, sex and aggression are amorally fused.Nicole di Betti Donato (Donatello) was engaged to carve a David for the cathedral; it was only the first of many Davids made by him. His finest work is the bronze David ordered by Cosino, which was cast in 1430,and set up in the courtyard of the Medici palace. This sculpture was the personification of Greco-Roman idealization of the Adonis fixation.David stands victorious over the head of Goliath, which acts as a political symbol of Florentine resistance to tyranny. Donatello synthesized Western male aggression with Western homoerotic passivity. Paglia aptly points out that the passive, androgynous boy is homosexuality's greatest contributions to Western culture. He is repeated in a thousand-forms in Renaissance painting and sculpture.Donatello's youthful sculptures and paintings are always sexually ambiguous. These figures manifest the sexually confused mindset of Europeans who were desperately trying to liberate themselves from the repressive, hypocritical yoke of the church. Donatello's David heightened the Western perception of sex and power. In other words, David is the androgynous boy as destroyer, triumphing over his enemies. He is Western armored ego as sex object, projecting freedom because he is separate from religious fetters. Undoubtedly, Donatello like Raphael gravitated toward their pagan interests. It must be pointed out here that the Greeks were inclined toward the practice of pederesty(now pedophilia), which the rest of the West inherited.Raffaello Sanzio (Raphael) was beset with reconciling paganism with Christianity. He painted the Madonna del Graduca, and for the Church of St. Francis he painted a Coronation of the Virgin, which is in the Vatican today. On the other hand, the pagan concerns of Raphael would manifest themselves to the point that he would paint rosy nudes in the bathroom of a cardinal, and place Greek philosophers beside Christian saints in the chambers of the Vatican. What is interesting and worth noting is that Raphael, unlike Leonardo and Michelangelo, who were solemn homosexuals, was a voluptuary who painted the Virgin Mary according to the contour of his women.Furthermore, Raphael deviated from the homoerotic obsession of the Renaissance artists and gravitated toward the procreative female. He removed the sexual ambiguity and psychological conflict out of Leonardo and Michelangelo.Raphael produced several Madonnas, which have become psychologically etched in the minds of Christians all over the world. The Madonna della Casa Alba, the Madonna di Foligno and the Madonna del la Pesce. What can be deduced from these portraits of the Virgin Mary and Jesus is that Raphael is cleansing and purifying the female anatomy; thus making the maternal a blessing rather than a curse. It was this turn toward women and maternal bliss that prefigured the sexual shift of late Renaissance art.Leonardo Da Vinci was the consummate artist; in fact, history accords him with the successful undertaking of painting the Virgin of the Rocks, The Last Supper, The Virgin Child and St. Anne, and the world renown Mona Lisa. His other lesser known project was the painting of the Apostles. He searched throughout Milan for heads and faces that might serve him in representing the Apostles. From a countless number of subjects he chose certain physical features of those who would make his work a masterpiece. On and off, during the years 1503-1506,he painted the portrait of Mona Lisa from Madonna Elisbetta, third wife of Francesco del Giocondo, who in 1512 was to be a member of the Signory. A point worth noting is that Mona Lisa is the Renaissance answer to Queen Nefertiti of Egypt. If one would compare the two portraits, one would clearly see the aesthetic similarities. However, Mona Lisa's ambiguous smile, according Paglia, is symbolic of the link between Leonardo's sexual personae and the enshrouding atmosphere. The same smile appears on Leda and both women of The Virgin with St. Anne and even on two male figures, St. John the Baptist and its twin BacchusPsychologically speaking, the smile for Leonardo is androgynous, seductive, depraved, and a sexual hex sign. The same ambiguous smile is beginning to form on the lips of the gesturing angel of the Madonna of the Rocks, a male so feminine that viewers seeing the picture for the first time insist he is a woman.Michelangelo began sculpting and sustained Hellenistic laws in his painting. He was commissioned by the pope to paint Biblical images in the Sistine Chapel. He carved Moses, the Pieta, The Virgin Mary and David. His David reflected the Western apotheosis of the European male body. Donatello's David was a sinewy boy-man, an androgyne who was triumphant in battle, and who had conquered the female mystique through homoerotic assertion. Michelangelo's David, on the other hand, is awakened western consciousness, and western obsession with male glorification.His Moses was another Hellenized Biblical image. Moses has the perfect body which represents absolute maleness. It completely expunges femaleness. Moses is specifically western in his muscular maleness. As Professor Paglia points out nothing in the art of other cultures resembles it in stature or abundant facial hair. This Hebrew prophet and lawgiver was reduced to a racial paradigm of Greek physical culture.Michelangelo's exaltation of physicalized maleness distorted his depiction's of women. Whenever he painted a woman, there was usually a cross-sexual personae, to use Paglia's term, represented. In other words, there was a blending of male and female body contours. Thus for Michelangelo the male torso was his landscape. Viewing his work requires an understanding of the pagan-Christian era that produced those works. Clearly it manifests the homosexuality of Michelangelo, but it also manifests the ideological or philosophical schism between the Catholic Pope and the Greek philosophers.As I indicated earlier, the Greeks worshipped the human body. All of their gods were depicted in human form; furthermore, they applied a philosophical justification for the practice of homosexuality.The church, on the other hand, considered sex and the human body as an embodiment of sin. Thus, the Renaissance artists were at the center of this dispute; however, they consciously or unconsciously tried to merge that contention in their cross-sexual works.The Renaissance artists ritualistic cultism was a continual manifestation of Greek and Roman paganism. Leonardo and Michelangelo's homosexuality, Donatello's homoeroticism, and Raphael's sexual promiscuity was part of their quest for autonomy of imagination, and intellectual creativity, so the western scholars claim. These artists rebelled against everyone and everything; teachers, rivals, society, nature, religion, and God. In fact, their Christian proclivity was subdued by their pagan desire to conquer, surpass and triumph by force. It should be clear that the western dynamic of conflict and combat evolved conceptually through their art.In conclusion, my purpose for discussing these individuals is to briefly demonstrate the importance for parents to ascertain what their children are mentally consuming. Political theorist, Michael Parenti, points out in his book, Make-believe Media, that the media never gives its audience something that is solely entertainment, or solely political. It is a hybrid that might be called political, and in my view, social entertainment. The entertainment format makes political propaganda all the more insidious. Beliefs and ideology are skillfully woven into the story line and into the characterizations; they are perceived as entertainment rather than as political judgments about the world. Beliefs, attitudes, and values are acceptable and credible to an audience when they are molded and reinforced by characters and program plots than when they are preached to by a newscaster or speaker for a particular cause.With those thoughts in mind, and considering the Renaissance figures after whom the Ninja Turtles were named, the then becomes just what belief or ideology was the turtle films conveying, or did they enhance what was in existence all the time?
*SNORF* Ok, I take it back, this History oral is GREAT. I'm going to check this out... *grin*
...Er, that last bit was from an email I sent Ashie. ^ ^;
And, at the same time, I found the Neil Gaiman blog. He has it in Livejournal too. Guess who's on MY friends list? *smirk* Damn, I'm good at procrastinating. It's an art form, you know?
So, anyway. I should do History or IT or English or Jap now. However, I think I'll go read Colin and Fox livejournals.
Wheeeeeeeeeee.
I have a feeling of impending doom.
Oh well. I have decided I no longer care about UAI or ranking or whatever. Being at Girls' Grammar means that even if I only do average on everything I should still get around 85. This is a GOOD thing.
Besides, I know I'm smart. I also know that I'm lazy as sin. At the same time, I don't know HOW smart I am and I don't want to know either. Suspecting I'm not as intelligent as my brother and knowing it for sure are two entirely different matters. So this way, I don't find out, I don't die from unnatural levels of work, and I do okay. Fine by me. (In theory. In reality, I'd probably hate myself for all eternity if I got less than 90. I would definitely consider repeating.)
On another note... quizzes. Yes, they're back.
| When i kill myself i'll... |
 |
Dammit, I don't like that one! It called me BORING. I wanted wrist-slitting. *pout*
Naresha - You live in breathe inspiration that
comes from the Divines... You are a Muse that
also enjoys helping other writers in need. But
altogether... you have a tendacy to live in a
dream world. Your slogan is: "Unleash the
creative beast within..."
****What is YOUR Inner Personality?****
brought to you by Quizilla
Well, if it says so. Cool, anyway.
Oh, yes. When doing my History oral, I ended up looking up stuff about the Teenage Mutant Ninja Turtles. Mainly because I'm sad. Try having a conversation that involves Raphael the angel, the turtle and the painter. It is CONFUSING, man. But as I was saying. I went back to actual History, (dear gods. The apocalypse is nigh) and I found an article that mentioned the Turtles. Weird, huh? Anyway, it was actually about the painters the turtles were based on. It made me love my oral. I take back anything I said about hating it. *grin*
Who Were The Real Teenage Ninja Turtles?By Adib Rashad(RashadM@aol.com)Writers Note:This article was published in two magazines about eight years ago; however, the writer believes that the content is still very much relevant and timely today.There is an important historical and philosophical current that runs through the Ninja Turtle films. Before I address this aspect of the article, I am impelled to point out that fiction usually concerns itself with symbolism, and the author(s) of fiction can manipulate those symbols in a positive or negative manner depending, of course, on his or her ideology or philosophy. Furthermore, fiction almost always reflects the moral and political climate of the society from which it emerges. As a lie needs to distort truth for its entry, fiction needs aspects of historical truth for its thematic development. Fictional literature or cinematic fiction can skillfully present images that the reader or viewer might emotionally or psychologically identify with. Thus it is not surprising why so many young children (across racial, class, and religious lines) readily identified with the Ninja Turtles.In a society whose leaders and heroes are emotionally fragile, spiritually inane and morally bankrupt, it is reasonably clear why cartoon characters such as the turtles were successful. The fact that the turtles were heroes that were devoid of human form is a crystal clear indictment of American society.The turtles had names of four historical figures: Michelangelo, Leonardo Da Vinci, Raphael and Donatello. All four of these individuals were Italian Renaissance artists.Let me briefly discuss the Renaissance period which produced these personalities.The Renaissance was, for the most part, dialectical in structure. It arrived in the wake of a series of unmitigated diasters and thrived in the midst of continuous upheaval. With the Renaissance, however, human life seemed to hold an immediate inherent value, an excitement and existential quality, that balanced or even displaced the medieval focus on an otherworldly spiritual destiny. Europeans no longer appeared so inconsequential relative to God, the Catholic Church, or nature.The medieval Christian ideal in which personal identity was largely absorbed in the collective Christian body of souls faded in favor of the more pagan heroic mode--the individual man as genius, rebel, and adventurer. Self realization was no longer achieved through monasticism, but through a life directed at and guided by strenuous action in the service of the city-state, in scholarly and artistic activity, in commercial enterprise and social intercourse. The dialectics of this situation was comprehended by way of a synthesis: activity in the world as well as contemplation of eternal truths; devotion to state, family, and self as well as to God and church, physical pleasure as well as spiritual happiness; prosperity as well as virtue.Europeans during the Renaissance embraced the enrichments of life afforded by, personal wealth, and humanist scholars and artists flourished in the new cultural climate subsidized, by the Italian commercial and aristocratic elite. I would be remiss by not pointing out that the Renaissance was also the beginning of modern capitalism.Despite the secularism of the age, in a quite tangible sense the Roman Catholic Church remained and even ascended to glory in the Renaissance. Saint Peter's Basilica, the Sistine Chapel, the Stanza della Segnatura in the Vatican all stand as testaments to the Catholic Church's undisputed sovereign of European culture.Consummate artists like Bramante, Michaelangelo, and Raphael painted, sculpted, designed and constructed works of art to celebrate the Catholic vision. Thus the Renaissance represented a synthesis of opposites that became the matrix of European culture: Christian and pagan, secular and sacred, Judaism and Greek Hellenism, poetry and politics, and Platonism and Aristotelianism.Undoubtedly, it was the art of the Renaissance that best expressed the era's contradictions and unity. In the early Quattrocento, only one in twenty paintings could be found with a nonreligious subject. A century later there were five times as many. Interestingly, paintings of nudes and pagan deities faced those of the Madonna and Jesus.Utilizing the Greek concept of materialism, the Renaissance artists celebrated the human body in its beauty, harmony, and proportion. Moreover, it was their paintings particularly, Raphael that merged paganism with Christianity. It must be added with emphasis that these painters were responsible for physicalizing and depicting Jesus and Mary in European form.It was this foundation upon which the Renaissance artists stood and claimed their artistic glory. European art, particularly Italian Renaissance art, was replete with sexual themes. Professor Camille Paglia asserts that the Renaissance liberated the Western eye, repressed by the Christian Middle Ages. In that eye, sex and aggression are amorally fused.Nicole di Betti Donato (Donatello) was engaged to carve a David for the cathedral; it was only the first of many Davids made by him. His finest work is the bronze David ordered by Cosino, which was cast in 1430,and set up in the courtyard of the Medici palace. This sculpture was the personification of Greco-Roman idealization of the Adonis fixation.David stands victorious over the head of Goliath, which acts as a political symbol of Florentine resistance to tyranny. Donatello synthesized Western male aggression with Western homoerotic passivity. Paglia aptly points out that the passive, androgynous boy is homosexuality's greatest contributions to Western culture. He is repeated in a thousand-forms in Renaissance painting and sculpture.Donatello's youthful sculptures and paintings are always sexually ambiguous. These figures manifest the sexually confused mindset of Europeans who were desperately trying to liberate themselves from the repressive, hypocritical yoke of the church. Donatello's David heightened the Western perception of sex and power. In other words, David is the androgynous boy as destroyer, triumphing over his enemies. He is Western armored ego as sex object, projecting freedom because he is separate from religious fetters. Undoubtedly, Donatello like Raphael gravitated toward their pagan interests. It must be pointed out here that the Greeks were inclined toward the practice of pederesty(now pedophilia), which the rest of the West inherited.Raffaello Sanzio (Raphael) was beset with reconciling paganism with Christianity. He painted the Madonna del Graduca, and for the Church of St. Francis he painted a Coronation of the Virgin, which is in the Vatican today. On the other hand, the pagan concerns of Raphael would manifest themselves to the point that he would paint rosy nudes in the bathroom of a cardinal, and place Greek philosophers beside Christian saints in the chambers of the Vatican. What is interesting and worth noting is that Raphael, unlike Leonardo and Michelangelo, who were solemn homosexuals, was a voluptuary who painted the Virgin Mary according to the contour of his women.Furthermore, Raphael deviated from the homoerotic obsession of the Renaissance artists and gravitated toward the procreative female. He removed the sexual ambiguity and psychological conflict out of Leonardo and Michelangelo.Raphael produced several Madonnas, which have become psychologically etched in the minds of Christians all over the world. The Madonna della Casa Alba, the Madonna di Foligno and the Madonna del la Pesce. What can be deduced from these portraits of the Virgin Mary and Jesus is that Raphael is cleansing and purifying the female anatomy; thus making the maternal a blessing rather than a curse. It was this turn toward women and maternal bliss that prefigured the sexual shift of late Renaissance art.Leonardo Da Vinci was the consummate artist; in fact, history accords him with the successful undertaking of painting the Virgin of the Rocks, The Last Supper, The Virgin Child and St. Anne, and the world renown Mona Lisa. His other lesser known project was the painting of the Apostles. He searched throughout Milan for heads and faces that might serve him in representing the Apostles. From a countless number of subjects he chose certain physical features of those who would make his work a masterpiece. On and off, during the years 1503-1506,he painted the portrait of Mona Lisa from Madonna Elisbetta, third wife of Francesco del Giocondo, who in 1512 was to be a member of the Signory. A point worth noting is that Mona Lisa is the Renaissance answer to Queen Nefertiti of Egypt. If one would compare the two portraits, one would clearly see the aesthetic similarities. However, Mona Lisa's ambiguous smile, according Paglia, is symbolic of the link between Leonardo's sexual personae and the enshrouding atmosphere. The same smile appears on Leda and both women of The Virgin with St. Anne and even on two male figures, St. John the Baptist and its twin BacchusPsychologically speaking, the smile for Leonardo is androgynous, seductive, depraved, and a sexual hex sign. The same ambiguous smile is beginning to form on the lips of the gesturing angel of the Madonna of the Rocks, a male so feminine that viewers seeing the picture for the first time insist he is a woman.Michelangelo began sculpting and sustained Hellenistic laws in his painting. He was commissioned by the pope to paint Biblical images in the Sistine Chapel. He carved Moses, the Pieta, The Virgin Mary and David. His David reflected the Western apotheosis of the European male body. Donatello's David was a sinewy boy-man, an androgyne who was triumphant in battle, and who had conquered the female mystique through homoerotic assertion. Michelangelo's David, on the other hand, is awakened western consciousness, and western obsession with male glorification.His Moses was another Hellenized Biblical image. Moses has the perfect body which represents absolute maleness. It completely expunges femaleness. Moses is specifically western in his muscular maleness. As Professor Paglia points out nothing in the art of other cultures resembles it in stature or abundant facial hair. This Hebrew prophet and lawgiver was reduced to a racial paradigm of Greek physical culture.Michelangelo's exaltation of physicalized maleness distorted his depiction's of women. Whenever he painted a woman, there was usually a cross-sexual personae, to use Paglia's term, represented. In other words, there was a blending of male and female body contours. Thus for Michelangelo the male torso was his landscape. Viewing his work requires an understanding of the pagan-Christian era that produced those works. Clearly it manifests the homosexuality of Michelangelo, but it also manifests the ideological or philosophical schism between the Catholic Pope and the Greek philosophers.As I indicated earlier, the Greeks worshipped the human body. All of their gods were depicted in human form; furthermore, they applied a philosophical justification for the practice of homosexuality.The church, on the other hand, considered sex and the human body as an embodiment of sin. Thus, the Renaissance artists were at the center of this dispute; however, they consciously or unconsciously tried to merge that contention in their cross-sexual works.The Renaissance artists ritualistic cultism was a continual manifestation of Greek and Roman paganism. Leonardo and Michelangelo's homosexuality, Donatello's homoeroticism, and Raphael's sexual promiscuity was part of their quest for autonomy of imagination, and intellectual creativity, so the western scholars claim. These artists rebelled against everyone and everything; teachers, rivals, society, nature, religion, and God. In fact, their Christian proclivity was subdued by their pagan desire to conquer, surpass and triumph by force. It should be clear that the western dynamic of conflict and combat evolved conceptually through their art.In conclusion, my purpose for discussing these individuals is to briefly demonstrate the importance for parents to ascertain what their children are mentally consuming. Political theorist, Michael Parenti, points out in his book, Make-believe Media, that the media never gives its audience something that is solely entertainment, or solely political. It is a hybrid that might be called political, and in my view, social entertainment. The entertainment format makes political propaganda all the more insidious. Beliefs and ideology are skillfully woven into the story line and into the characterizations; they are perceived as entertainment rather than as political judgments about the world. Beliefs, attitudes, and values are acceptable and credible to an audience when they are molded and reinforced by characters and program plots than when they are preached to by a newscaster or speaker for a particular cause.With those thoughts in mind, and considering the Renaissance figures after whom the Ninja Turtles were named, the then becomes just what belief or ideology was the turtle films conveying, or did they enhance what was in existence all the time?
*SNORF* Ok, I take it back, this History oral is GREAT. I'm going to check this out... *grin*
...Er, that last bit was from an email I sent Ashie. ^ ^;
And, at the same time, I found the Neil Gaiman blog. He has it in Livejournal too. Guess who's on MY friends list? *smirk* Damn, I'm good at procrastinating. It's an art form, you know?
So, anyway. I should do History or IT or English or Jap now. However, I think I'll go read Colin and Fox livejournals.
Wheeeeeeeeeee.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: 2003-03-31 03:05 am (UTC)Were you a fan of the cartoon or the real life one?
Re:
Date: 2003-03-31 03:17 am (UTC)Anyway... I actually did start slashing them.
^ ^; It annoys me how much bestial turtle/human het there is, when there is like, NO turtle slash! *pout*
It sounds bad when you put it like that. *considers this fact and shrugs*
no subject
Date: 2003-03-31 03:47 am (UTC)Re:
Date: 2003-03-31 04:08 am (UTC)Anyway:
Leonardo was the oldest; he was blue; he fought with twin katana. He was the bossy, serious, focused one.
Donatello was the purple one who was, in all essence, the non-violent nerd. He was quiet, gentle and fought with a big stick. (I always remember the stick. I think it was my favourite weapon, as a child.)
Raphael was red, and as I said, he was the bad-boy. He fought with sais- I think they're little dagger things.
Michelangelo was orange, the youngest, and the jokey one. He used the nun chucks. They were COOL.
Oh, and they all ate pizza. *grin*
no subject
Date: 2003-04-01 04:30 am (UTC)damn, i missed posting it for your catdog horror, but i feel it must be said:
"if only they weren't brothers. and if ONLY THEY WEREN'T BEAVERS.'