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More Exciting Videos Than Bunny Girls.part2.rar !!TOP!!

The reasons for that are clear, upon revisiting: unlike the vast, vast, vast majority of folk-punk artists, Pat could write a fuckin\u2019 song. I don\u2019t just mean in the simple sense that he could write verse-chorus-verse ditties with catchy hooks\u2014 I mean that he could actually write compelling, memorable lyrics and deliver them in compelling, memorable vocal patterns. Have all of his lyrics aged well? Absolutely not; my friend Ivan DMed me recently to say that they heard a Pat the Bunny song come up on shuffle and thought it was the literal worst song they\u2019d ever heard in their life, and my only reply was \u201CWell, you\u2019re not in middle school anymore, so that\u2019s to be expected.\u201D I once showed a few Pat songs to a couple friends in college and their response was basically \u201CWhat the fuck is this?\u201D (Those same friends also made fun of \u201CSugar Bear\u201D by the Bananas though, so they\u2019re perhaps not to be trusted.) But if you, like me, spent a lot of your time between the ages of 10 to 13 obsessively reading Mitch Clem\u2019s Nothing Nice to Say, Pat the Bunny fell snugly into a lineage of punk songwriters who wrote about punk in ways both incisive and communal, exciting and exhausting. (In this way I would almost say that he was a direct descendant of Lance Hahn of J Church\u2014RIP\u2014 but that might not be fair since Lance was one of the most talented songwriters of his generation.)

More exciting videos than bunny girls.part2.rar


Pat\u2019s voice was really his secret weapon; it\u2019s abrasive and nasally in the great folk-punk tradition, but he has just enough of a hint of melodic sensibility that it\u2019s still listenable. Although he was certainly capable of long, crackling screams, which he usually used to punctuate his points, he more often than not sang in a rhythmic fashion that accentuated the hip-hop influence in his lyrics (I know this sounds like a joke, but if you listen to his music with that influence in mind it\u2019s impossible to un-hear, and if you\u2019ve ever listened to the Playtime Posse album\u2014 the rap project he put together with a few of his friends in 2010\u2014 even though he\u2019s not exactly Nas he\u2019s still by far the most accomplished rapper on the project), and complemented the way that he played guitar\u2014 again, more rhythmic than melodic, strummed hard and fast with occasional bursts of dead air to emphasize what he was yelling.

This is perhaps best demonstrated in another EP released during this period, Easter Sunday Hangover, which features one of the most underrated Johnny Hobo songs, \u201CNot My Revolution.\u201D Pat clearly knew enough about theory to namecheck authors, but outright references were mostly used to scoff at those who spent more time talking than doing (\u201CWho can talk feminism the best to get into girls\u2019 pants/and who can quote Emma Goldman the most without having to dance\u201D), despite the fact that he also didn\u2019t really seem to be doing much of anything. In fact, Pat\u2019s future disillusionment with anarchy was already being telegraphed with lines like \u201CJust because I\u2019m an anarchist doesn\u2019t mean that I won\u2019t burn a black flag\u201D and sentiments like \u201CYou\u2019re fighting for a world covered again in fields and forests/I\u2019m thinking of a world without bricks and it just seems so boring.\u201D While he would go on to develop a more cohesive worldview in later projects, his approach here is indicative of many weekend-warriors\u2019 thoughts about revolution: the revolution itself was more of a goal than anything that came afterward, and even then, they weren\u2019t really sure what a \u201Crevolution\u201D entailed beyond doing what they want. As Pat would remark later, \u201CWell, don\u2019t I gotta want something?\u201D 041b061a72


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