Click to ToggleParticipate in our raffle!
Perfect sledding conditions.
A few runs down our driveway hill packed the top layer down even further and created an exceptionally smooth surface. The only problem was that the layer below - the soft, powdery snow - was still there.
One of my sledding runs was cut short by riding up onto a small hill, with the intention of coasting off of it to gain speed for a longer run. The only problem was that the sled - which was coming apart on its first few uses - decided to catch somewhere on the ice, catapulting itself through the layer of nearly impenetrable ice and through to the soft powder below.
What this meant for me, riding with my chest on the sled, was that the ice that the sled was now under was heading straight for my chest, and I blacked out for a few seconds after it knocked out every particle of air in my lungs. When I came to, my dad was beside me, laughing uncontrollably. I staggered to all fours and looked at the sled.
Huge chunks of ice - ice crushed by my sternum and ribcage - had buried the upper half of the sled (which is as tall as I am) completely. The surrounding surface was cratered, as the reverberations of my inertia had dispersed, imploding the general area.
I grabbed the sled and proceeded back to the top of the hill, ready to do it all again.
(Okay, it kind of is.)
I've listened to a wide swath of different pieces of classical music, and I occasionally come across some things that are just ... well, strange. We're talking off-the-wall levels of goofy here.
-----La Monte Young - Piano Piece for David Tudor #1
This piece doesn't even have a proper score, just a sheet of paper telling the performer to come out onto the stage with a bucket of water and a bale of hay for the piano to drink and eat. Performance consists of either feeding the piano or letting the piano feed itself, and that the music is over once the piano had been fed.
-----Erik Satie - Vexations
Satie's Vexations is a remarkably unassuming piece of sheet music - but inspection reveals a peculiar direction in the corner: if you want to play it 840 times in a row, Satie advises performers to prepare beforehand, "in the deepest silence, by serious immobilities." John Cage - who will appear later in this list - was inspired by the inherent ridiculousness of Vexations and organized its first performance in New York in 1963. It lasted 18 hours and was played by a dozen pianists working in shifts.
-----Karlheinz Stockhausen - Helicopter String Quartet
The controversial Stockhausen composed Helicopter String Quartet to be part of one of his massive operatic projects. Each string quartet member is lifted in a different helicopter, and they coordinate their playing in tremolos, with the intended effect of making the helicopters instruments themselves. The piece is by far the most complex string quartet ever written.
-----Karlheinz Stockhausen - Fresco
Fresco is not composed with the audacity of Helicopter String Quartet, but nonetheless makes this list because of the scandal that marred its only performance to date. Written as background music for four orchestras situated around a hall, the instructions in Fresco irritated the classically-trained performers. Tensions between composer and performers grew wider, and some performers tried to refuse playing it, only to realize that they were contractually obligated to do so. (This didn't deter the concertmaster, who threatened to kill the head conductor.)
Remaining performers did so under protest, and the performance was a complete disaster. Performers took to practicing other repertoire instead of following their score as an act of protest, pranksters and hecklers distracted the few that stuck to Stockhausen's instructions, and the performance was halted when somebody cut out the lights on them.
-----Erwin Schulhoff - In Futurum
A lot of people are familiar with John Cage's famous "silent piece," 4'33", but it's not here. Few are aware that, while Cage's motives were different, the idea of a completely silent piece was not his own - the first one was composed by the Czech composer Erwin Schulhoff over thirty years before Cage. In Futurum - with its ostensibly crossed hands (the clefs are switched) and irrational time signatures (3/5 and 7/10) - appears as the third movement of his piano collection Fünf Pittoresken. The rest of Schulhoff's works take influence from jazz, making In Futurum all that much more remarkable in its uniqueness.
-----John Cage - Atlas Eclipticalis
Cage's music ranges from the serene (Dream, In a Landscape) to silence (4'33", 0′00″, One3) to more or less off-the-wall concepts. Atlas Eclipticalis is for any number of instruments playing the music however they wish, with the sheet music consisting of star charts graphed onto music paper. Because of the undefined instruments and the lack of both tempo and dynamic instructions, performances of Atlas Eclipticalis are all remarkably different.
-----John Cage - Organ²/ASLSP
A fan of extremes, Cage wrote ASLSP (standing for As Slow As Possible) for piano. The piano version usually takes around an hour to perform ... but the organ edition, owing to the nature of the instrument, can sound indefinitely. It wouldn't be on this list if not for an organ that was built expressly for the purpose of performing the piece - an organ piece that will end in September of the year 2640. But, while slow, it's still - theoretically speaking - not as slow as possible.
-----György Ligeti - Poéme Symphonique
Ligeti's music is full of rhythmic variation and unique sonority. Equal parts rhythmic experimentation and avant-garde parody, the score calls for 100 metronomes, all of which are set to different speeds.
-----Leo Ornstein - Suicide in an Airplane
This piece isn't really strange in the ways that the others are, but it honestly has one of the most metal titles of any piece of music I've ever heard of. I've decided to hone my orchestration skills and I've chosen this piece because of its musical depiction of a dogfight and rumbling engines, which is equally well suited to an orchestral sonority.
Time for another music history lesson.
By the turn of the century, late Romanticism was beginning to die out. Gustav Mahler was writing symphonies of epic proportions, Maurice Ravel and Claude Debussy were defining a musical style dubbed "Impressionism" - though Debussy hated the term - and Alexander Scriabin was writing increasingly mystical music based on his own egomaniacal philosophy. These folks, and figures like them, were continuously evolving the musical language that had existed more or less continuously from about 1600, when the Baroque era started. Romanticism was fracturing, and there were sub-groups of composers who sought their own styles, and composers who simply struck out on their own path.
As time went by, harmony was extended, and by 1900 the usage of chromatic harmony - a technique whereby harmonies are derived from both pitches within the scale of the music you're working in and from without - was everywhere. In many composer's eyes, these kinds of rich, expanded tonal structures would go on indefinitely, with composers adding to the additions that had been accrued over the years.
Other composers thought that there simply was no place to go, that traditional tonality had reached its breaking point, and new rules had to be developed. Scriabin, who started out writing very Chopinesque music, evolved his own brand of harmony derived from fourths, altered dominant chords, and a few stunning examples of bitonality in some of his late preludes. Igor Stravinsky embraced rhythmic drive (and bitonality as well) in The Rite of Spring, which was so groundbreaking that the first performance was marred by a riot in the Parisian audience.
Most lasting was the music of the so-called Second Viennese School, headed up by Arnold Schoenberg. Schoenberg's first few opuses show the influence of Mahler and is filled with intense chromaticism - so intense that even those early works - far and away his most accessible pieces - were met with incomprehension at their first performances. Undaunted, Schoenberg veered into extreme atonality, writing pieces such as Pierrot Lunaire. Pierrot made waves not just with its atonality, but for its unique ensemble (known henceforth as the Pierrot Ensemble) and with its half-speaking, half-singing writing for voice.
But Schoenberg, for all of his cacophonous music, realized that this kind of free dissonance and atonality - something that composers such as Charles Ives and Leo Ornstein had experimented with - needed some sort of structure to hold it together, just as tonality had held music together before him. To make a long, diagram-necessitating story short, he came up with something called the 12-tone technique, whereby every note was sounded equally through the use of tone rows, which were essentially randomized chromatic scales.
Schoenberg's two major pupils, Anton Webern and Alban Berg, took Schoenberg's techniques and personalized them. Webern idolized Schoenberg and often moved just so he could be near him, and took the 12-tone technique and honed it to a disjointed science. Webern was known for writing exceptionally short pieces, and his piano music is characterized by its brevity, sparseness, and unholy dissonance. He died at the end of World War II after a trigger-happy American soldier saw his cigar and mistook him for an enemy soldier ... but strange composer deaths are a story for another time.
Despite the fact that his music was aesthetically terrible, Webern became one of the most important modern composers, for the avant-garde for most of the rest of the century followed his lead to some extent. The 12-tone technique was applied to other areas of music - instruments, dynamics, note lengths - to derive an incredibly strict kind of "total serialism," where the composer writes a few rows and the music more or less writes itself.
Alban Berg, on the other hand, experimented with making Schoenberg's ideas accessible. He wrote a masterpiece of a Violin Concerto and an opera, Wozzeck, which half-succeeded in this endeavor. He's considered the easiest atonal composer to listen to. His middle-ground approach makes him an oddball figure on both sides of the fence.
But back to Webern, whose techniques had a significant impact. Pierre Boulez took Webern's usage of serial composition to every extreme imaginable, writing music where every imaginable aspect is controlled by rows - pitch, velocity, register, etc. While Boulez has always composed this kind of music, even he realized that total serialization leaves no room for creativity.
The Greek composer Iannis Xenakis took off in a different direction. A mathematician and an architect, Xenakis was one of the first composers who took to "Musique Concrete" techniques - sound collages of recorded tape. Aside from his solo percussion pieces, his music is frankly ridiculous, as he wrote music based on mathematical formulas. Similar approaches were taken by Karlheinz Stockhausen, a controversial and influential figure in the sphere of electronic music, and who once wrote a string quartet where every instrument is lifted on a separate helicopter.
I give all these examples to illustrate one point: since Schoenberg, many composers have taken refuge in music that is of theoretical interest, but not traditional musical interest. Say what you want about Schoenberg, Webern, Boulez, and Xenakis, but their music is aesthetically unpleasing. They thought that there was nothing of strict musical interest left to say, and so they found their own paths.
These paths are now showing themselves to be dead ends. The same strict adherence to predefined sets of rules makes much "modern" music as boring and as aesthetically similar to music of the Classical era.
But it's not like all 20th-century composers took to serialism. Alfred Schnittke and György Ligeti were remarkably innovative and wrote significant pieces without adhering to the strict serialism that had gripped much of the classical music cognoscenti. Schnittke likened his departure as getting off an overcrowded train, and Ligeti mercilessly parodied his fellow composers in his Poème Symphonique for 100 metronomes.
Other composers, such as Henryk Górecki, Lowell Liebermann, Einojuhani Rautavaara, and John Corigliano have abandoned serialism in favor of a return to late Romanticism, a kind of musical reboot. They all have written music of musical and theoretical interest. Even Krzysztof Penderecki, a noted avant-garde composer who gained fame through his manic pieces for string orchestra (Threnody for the Victims of Hiroshima and Polymorphia among them), abandoned that style, saying that we "must go back to Mahler and start over."
Suffice it to say that I very much agree with Penderecki.
Most people don't really hold opinions on classical music one way or another, and those that do generally see it as monotonous and boring. I've never really held this opinion, but my favorite music has always come later in music history - not with the dissonance and atonality so revered by the composers of the 20th century, but with the Romantic era.
I'm using "classical" in a broad sense because I'm really not the world's biggest fan of music from the Classical period. Those who aren't as familiar with this history may be a bit lost at this point, so I'll see if I can't briefly recap some of the details.
The Middle Ages and the Renaissance are more or less grouped together in one era of music history. This was a very long era, but there were crucial innovations in harmony, melody, and musical notation. By the high Renaissance, polyphony - multiple melodies at once - was extremely common, and the best composers were able to write motets that used up to 40 distinct voices. Polyphony was music.
Around 1600, as musical instruments increased in quality and secular music became a more popular genre, the Baroque era started. Baroque music is often characterized as architecture, and Baroque composers were, as a general rule, ridiculously prolific. (Telemann is still the single most prolific composer in history, and Vivaldi nearly got thrown in an asylum when he interrupted himself at his day job - as a priest - to write down some notes that had occurred to him.)
Baroque music still drew on the polyphony of the high Renaissance to a certain extent, but by and large this kind of writing wasn't very common. Most Baroque composers used one or two melodies, with the notable exception of Johann Sebastian Bach. His keyboard music - especially his complex fugues with their finger-breaking polyphony - was considered antiquated, and his sons (he had a whopping 20 kids overall) were considered better composers than he was when he died. His reputation was revived when his works were rediscovered in the mid-1800s, and now, he's the only Baroque composer most people are familiar with.
All of which brings us to Classicism, where musical form became a bigger deal. Instrumental sonatas, symphonies, concertos, and string quartets became standard forms, and methods of writing for those ensembles were also standardized to a certain extent. Essentially, if you have a theme or two, you could plug those into sonata form, add a few basic harmonies, and boom, you've got a sonata movement. Simplicity and clarity became the name of the game in the Classical era.
The three major composers of this period were Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. While many like to group their music together as the "First Viennese School," the music of these three were different. Haydn, speed-writing symphonies for the court orchestra under the Esterházy family, was, as he said "forced to be original," although many of his 100+ symphonies are not particularly innovative, as he had to conform to the musical tastes of both the Esterházys and their guests. His contributions to form have long since outlived him, and due to his productivity and his standardization of forms, he is known as the "Father of the Symphony" and the "Father of the String Quartet." Haydn's contributions to form and the language of Classicism cannot be understated.
Beethoven was widely different - while he started out fixed to Classical molds, he experimented with pushing the limits of what said forms could handle even before he realized that he was going deaf. When he came to terms with this, his experimentation led to more innovative and trail-blazing music, dispensing with convention after convention. He replaced the minuet with the scherzo in his later symphonies, looked towards Romanticism with his Sixth Symphony and a great number of his piano sonatas, didn't stick to traditional movement numbers in his late piano sonatas and string quartets, and famously introduced a chorus in the last movement of his Ninth Symphony.
Now for Mozart.
Mozart was hailed as a child prodigy, composed prolifically, and died at the young age of 35. In that time, he stuck to the already well-defined Classical forms, choosing to do as much within those constraints as he could. However, there really wasn't much more that any composer, no matter how great, could do within those forms - forms that were already well established by Haydn by the time Mozart began composing.
Haydn, though his music contains an aesthetic similarity, was creative as a musical troll. His Symphony No. 94 - nicknamed the "Surprise" - was designed to wake up sleepy members of the court with a massive chord following a very soft passage. His Symphony No. 45 - nicknamed the "Farewell" - sent a message to his patrons to let the musicians return home by letting players leave as the last movement progresses. Haydn chose the unusual F# minor as the symphony's home key, and had to get special crooks for his orchestra's horns to play.
But Haydn's formal unoriginality is explicable, as we know that he had to compose musically conservative pieces in order to get paid and did quite a bit under those kinds of restrictions. Mozart was, for most of his time as a composer, not hindered by a particular court. He was, more or less, freelance. Financially insecure, Mozart had the opportunity to be an innovator such as Beethoven came to be later, but did not.
Mozart, for his part, did write a few brilliant pieces in his later years - his unfinished Requiem, his Clarinet Concerto, and his late symphonies among them - but in his entire oeuvre these masterpieces are relatively few. If you took all of Mozart's works, put them into a list, and then randomized it, chances are you're not going to come out with one of his great works. Most of his pieces have a similar mood, and as mentioned, they nearly always stick to a predetermined form. In this sense, a great many are interchangeable.
In the end, this all comes down to my personal preferences and musical tastes. I know that Mozart holds a special place in many people's hearts, but as someone who has listened to a wide swath of his pieces, I really don't see what all of the fuss was - and still is - about.
I thought that it might be time to significantly expand on that train of thought by considering the monstrous job that now lays ahead of J. J. Abrams, a task that is both Herculean and nearly Sisyphean in its proportions.
The post-Return of the Jedi world saw the beginning of what would become known as the Star Wars Expanded Universe. Now, the EU is huge - not just with more licenses than you can shake a lightsaber at, but with games and books that delve into the mythology like never before. It's pretty insane how much canon Star Wars material is out there. The fans have been accustomed to the Expanded Universe and the stories that are from the EU are as - in some cases, more - revered than the movies that started it all.
Let's face facts: J. J. Abrams will not be able to make a Star Wars movie without contradicting the Expanded Universe. The EU also relies so much on its own internal canon that contradicting one thing would likely cause a domino effect and negate pretty much every EU story that fans have come to love.
The so-called "Thrawn Trilogy" is a good example. Set after Return of the Jedi, the Thrawn Trilogy were a series of books by author Timothy Zahn that chronicled the main characters fighting off what remained of the Galactic Empire and fighting an Imperial admiral named Thrawn. It's considered to be one of the definitive EU novels and were considered frontrunners to be turned into Episodes VII, VIII, and IX.
Well, as it turns out, they're not going to be made into movies, which means that they - along with quite a lot of the EU - is going down the drain, so to speak.
The only way that effigies of J. J. Abrams aren't burned by rabid Star Wars fans is if, hidden behind all of those lens flares, he's actually a genius beyond mortal comprehension. However, I hope no one takes it as an insult if I say that I sincerely doubt that, even when taking into account the existence of Fringe.
The common problem is that fandoms generally expect consistently high-quality material from content creators. Star Wars had such a following that the prequels were bound to disappoint, regardless of quality. The pre-A New Hope universe was not nearly as explored before A Phantom Menace as the post-Return of the Jedi universe is right now. (I hope that made sense.)
All of which brings us to Greg Farshtey. BZPower did not grow to have the most members of any LEGO fansite without reason. BIONICLE was big, and BZP's heyday saw a level of traffic and server-busy messages unheard of today, all because of BIONICLE. We appreciated Greg's dedication and his interaction with the community, which is unheard of amongst the content creators of such a large fan base.
Nevertheless, voices of dissent emerged, which only became more prevalent in the post-Great Downtime BZP, after Greg disappeared due to his personal life and LEGO's new interactivity policy. Opinions on Greg's writing skills are lukewarm at best, as fans have matured and looked back on Greg's methods of storytelling with more critical eyes. (Time Trap is a great book and I will fight anyone who says otherwise.)
Why? Well, we had become accustomed, as a community, to Greg's presence. Without it, I believe that criticism of his writing would have come about much sooner. We, as fandoms are wont to do, came to expect an inhuman level of quality from Greg, as the Star Wars fandom is expecting an inhuman level of quality from Abrams and his gang.
After all, Lucas got enough flak for the prequels.
Spoiler warning for ... well, the entire thing. I'm not marking individual spoilers; it's been long enough since the last book was released. Also this is really going to be rambling, I can just sense it. Consider yourself warned.
Ever since a friend loaned me the first book in the series, I'm a fan of Eoin Colfer's Artemis Fowl series of books. The characters and re-imagined concepts of Colfer's stories captured my imagination.
As I caught up - at that point, The Time Paradox was the most recent book in the series - I'd realized that Colfer was a writer with flaws. With the release of The Atlantis Complex and The Last Guardian, I felt as if Colfer's writing had finally jumped the shark, so to speak. His characters and writing style became caricatures of themselves, with an over-reliance on his own tropes.
Mulch Diggums saving everyone, side characters with puns for names, recurrence of Opal Koboi as a villain, character such as Butler or № 1 reduced to becoming one-dimensional characters ... these are all devices that occurred more often as the series progressed, and devices that became especially prevalent in the later books.
For this reason, The Eternity Code is by far my favorite book in the entire series, because it's different and it avoids the trope traps that Colfer fell into. Artemis is beaten by Spiro, Butler loses a step after his death and subsequent revival, Opal Koboi isn't the villain, and so on. So many things are different about Eternity, and for that I enjoyed it immensely.
Another thing that I enjoyed about Eternity was that it was contained most of the moments where Colfer significantly changed something about the Fowl universe. Artemis's mind was wiped, Butler's physicality was questioned. Thereafter, the events of Eternity were hardly mentioned, save for the change in Butler's physical makeup. After a terrifying and distraught Butler scared the snot out of Arno Blunt in Eternity, I thought that it would be a sea-change for Butler's character, but it was not.
But back to the story. In the subsequent book, The Opal Deception - the last book where Koboi's appearance actually retains some semblance of novelty - Commander Root is killed. Root's character is not one I particularly ... ahem rooted for in the first three books. While he had his fair share of touching interactions with Holly Short, Root was mainly painted through other characters, and not always in a positive light. Nevertheless, this newfound willingness to change things - permanently - in Colfer's writing was encouraging. Eternity and now this? What would Colfer do in the next book?
The Lost Colony saw Artemis in puberty. The way Colfer handled Artemis's interaction with his love interest/unwitting half-villain Minerva Paradizo was not emphasized, nor was Paradizo even so much as given a shout-out in the final three books. Colfer says that Paradizo had lost interest in Artemis after his exile getting back from Limbo and was in the alps somewhere, but this was in a tweet, if I recall correctly. It would have been nice to get some closure on the plot point in one of the three books, even if it was just a throwaway line. Artemis's feelings were also not addressed in the rest of Colony. Despite this, Colony remains my second-favorite book in the series, for its new characters and addition to the Fowl universe.
Alright, time for another complaint. Colfer's writing called for a cast of heroes that always showed up. Characters were never split up for long periods of time. Mulch, Holly, and Butler always showed up with Artemis, and there were few extended, important scenes without the entire gang together. Even when it would have been easier to leave out characters - even the lovable dwarf Mulch - Colfer jams them into scenes. It would have been great to see more times where characters not have someone else to fall back on, which brings me to The Time Paradox.
Paradox pulls out all of the proverbial stops, but even so, Colfer's reliance on getting his protagonists out of jams with Mulch Diggums reappears. It would have been great to see Artemis and Holly have to finagle their way out of sticky situations without the assistance of Mulch or Butler, but again, Colfer didn't take advantage of opportunities.
The Atlantis Complex is perhaps my least favorite Fowl book. I felt as if the series had come to a nice conclusion with Paradox, but the two Opal Kobois in the timeline meant that a continuation was necessary - and another return for a villainess who became a caricature of herself in each consecutive appearance. But Complex doesn't deal with that - instead, Artemis is now seen with a magic-derived mental disorder. Colfer's pro-environmental sentiment - one which I agree with - reached a level of overt preachiness that I found distracting. The only thing that Complex has going for it is its callback to Deception with the death of Commander Vinyáya. But like Root, Vinyáya was never a major character, and the readers were never emotionally attached to her character.
For all of the missed opportunities in his characterizations, Colfer's depiction of Artemis's growth and maturity was excellent. The nearly amoral tween crime lord of the early books changed into a more conscious part-time crime lord. While still not the most upright of character, Artemis's machinations begin to nip at his consciousness in Eternity and eventually lead to his annoyance at his younger self in Paradox and then finally to his plan to save the world in Complex.
This is getting really rambling now so I think I'll move on and talk a little bit about the continuity of the series. Complex, despite my dislike, was possibly the most continuity-aware book, with the reappearance of Turnball Root after appearing in a short story years earlier. However, many minor plot points that make their appearances in the books - especially towards their respective ends - are thrown away in subsequent books and never mentioned again. This ranges from the aforementioned Minerva Paradizo to the Doodah Day/Mulch Diggums PI firm.
I feel like I'm complaining a bit too much about Artemis Fowl to the point where one might think that I'm not actually a fan of it. Yet for its flaws - which I've pointed out here in perhaps the least organized piece of material that I've written in my entire life - I still like the series. I just wish it hadn't petered out towards the end and done more of the things that made The Eternity Code so danged epic.
He's the lord of all strangeness. - Ignika: Nerd of Life
How awesome is Sumiki on a scale of 1 to 10? - Waffles
42. - Black Six
[He's] the king of wierd, the prince of practicality, the duke of durr! - Daiker
Sumiki is magic. - Cholie
Sumiki says, "Do I creeeeeeep you out?" Yes, he does. - Waffles
Sumiki is a nub. He's cool, but he's still a nub. - Ran Yakumo
"What is a Sumiki?" You may ask. But the answer to that is still unknown, even to the Sumiki itself. - Daiker
Ah, Sumiki. - Electric Turahk
LISTEN TO SUMIKI - Cholie
Sumiki is best snickerdoodle. - Takuma Nuva
BZPower = Sumiki + McSmeag + B6. And Hahli Husky. - Vorex
What's a Sumi? Does it taste good? - Janus
I would have thought Sumiki wanted to reincarnate as a farm animal. - Kraggh
EAAAAAAAAAAAAAAAAAAAAAAAAGH - Kakaru
Sumiki: the horse_ebooks of bzp - VampireBohrok
Everything relates to Sumiki. No really, everything. - Daiker
He's in worse mental condition than I thought. - Obsessionist
I'm just wondering why I'm looking at some cat dancing ... I suppose the answer would simply be "Sumiki." - Brickeens
I was like a beast, screaming through the mind of Sumiki at the speed of sound. I.. I wasn't strong enough to stop myself. What I saw was the end of infinity, through which one can see the beginning of time, and I will never be the same. - Portalfig
I imagine the 13th Doctor will be rather like Sumiki, at the rate we're going. - rahkshi guurahk
I was quite sure Sumiki had another set of arms stashed somewhere. - Bfahome
Note to future self: don’t try to predict Sumiki, he’s unpredictable. - Voltex
Let's be honest, I would totally have picked my main man Sumiki to lead my goose-stepping night killers anyway. We tight like that, yo. - Xaeraz
Hat Enterprises CEO
Group: Premier Forum Assistants
Joined: 4-September 06
Premier: 9-October 06
FM: 20-February 12
FA: 29-August 12
Member No.: 45057
26th All-Time Poster
3rd All-Time PFA Poster
Cryoshell Album Winner
7th Most Commented Blog
5th Most Viewed Blog
10th Most Entries
Every week, I post a new "Tuesday Tablescrap", a small MOC not worthy of a topic, but something to post and inspire me to build more.
10/25/11 - Duplo Flower
11/1/11 - Slender Man and Masky
11/8/11 - Bizarre Black Spaceship
11/15/11 - 2001 Monolith
11/22/11 - My Little Slizer 50
11/29/11 - Punching Bag
12/6/11 - Thunder and Escorts
12/13/11 - Three Concepts
12/20/11 - Kaxium Alternate
12/27/11 - None (Christmas Break)
1/10/12 - None
1/17/12 - Volant
1/24/12 - Nidman's Chute Shoop Shop
1/31/12 - None (Brickshelf down)
2/7/12 - None
2/14/12 - Atomic Lime
2/21/12 - Spearhead
2/28/12 - Glatorian Kahi
3/6/12 - Seeker
3/13/12 - Skyscraper
3/20/12 - Microphone
3/27/12 - Toa Vultraz
4/3/12 - Flammenwerferjüngeres
4/10/12 - Umbrella
4/17/12 - Lime Beetle
4/24/12 - Special - Flame Sculpture
5/1/12 - None (BZPower down)
5/8/12 - Purple Ninja
5/15/12 - The Original Sumiki
5/22/12 - 7/24/12 - None
7/31/12 - Tahu
8/7/12 - None (BrickFair)
8/14/12 - Special - Chess Set
8/21/12 - Heavily Armored Wasp
8/28/12 - Spaceship Drill
9/4/12 - Scuba Vehicle
9/11/12 - Orange Guy
9/18/12 - Strange Flying Thing
9/25/12 - Goblet
10/2/12 - None
10/9/12 - Aim .............................. Down
10/16/12 - Gold Bot
10/23/12 - Teal Mech
10/30/12 - Special - Teal Mech (#2)
11/6/12 - Bits and Pieces
11/13/12 - Two Spaceships
11/20/12 - TARDIS Interior
11/27/12 - Christmas Creep
12/4/12 - Toaraga
12/11/12 - Fireplace
12/18/12 - Abstract Duckling
12/25/12 - None (Christmas)
1/1/13 - Black Bot
1/8/13 - 1/22/13 - None
1/29/13 - Handheld Rhotuka Launcher
2/5/13 - 8/6/13 - None
8/13/13 - The Hinklebot
8/20/12 - Special - Post-Apocalyptic Piyufi
Formerly known as the Bring Back Teal Club, the Unused Colors Society is a club that serves to promote colors that are little-used or discontinued, such as teal, old purple, or metallic blue.
Akuna Toa of Sonics
Popup2: The Camel
~System Of A Down~
Thunder on the Mountain
Toa of Vahi
WORT WORT WORT
Toa Kuhrii Avohkii
Toa Neya 2011 Edition
~prisma son of dawn~
.: WoLVeRINe :.
The Great Forgetter
Thomas the Tank Engine
Oh my miru
Element lord Of Milk.
Lexuk Toa Of Insanity
Michael J. Caboose
Lord Kaitan de Storms
Toa of Dancing
The Oncoming Storm
Toa of Pumpkin
Toa Zehvor Blackout
Lord of Ice
Zarayna: The Quiet Light
Vorex: Keeper of Time
Toa of Smooth Jazz
Click to join!
2 user(s) viewing
1 members, 1 guests, 0 anonymous users
If you learn one thing in life, learn this:
You should never, ever question why demons would possess a soda.
just a heads up - Cthulhu would probably eradicate mankind before bringing back Bionicle
so yeah, all I'm saying is, please think twice about this okay
nothing gets democracy flowing like erratic capitalizatION
[the NSA] couldn't say no when I offered them an ostrich farm in exchange
Sumiki -- nice try but we all know Toa Mata Nui stuffs its bra
have we mentioned hats
Shhh, I'm trying to focus on the negative to justify my dislike of history.
Also a long line of really great hats.
You have a great understanding of history, but don't forget, war, murder and other poor decisions are also huge characteristics.
To be fair, I am the one responsible for the invention of Mafia in the 1320s by seventeen bored italians locked in a mine shaft.
It's a long story.