Hi! I'm ghostDunk! I did the majority of the programming for the PC/Mac Pesterchum client, as well as a little bit of code for the HTML5 Homestuck flash updates.
I also make fan Homestuck music! MY MUSIC TAG
Click to browse this blog without all the reblogged tumblr crap
Make sure to check out my cosplay group: DANCE CREW 5AM!
Pixel Family:

23rd April 2014

Post reblogged from John snepai pls frick me gentley with 854 notes



*kermit voice* carlos theeeee scientist here

everything is exciting! particularly EXISTENCE YAAAAAYYY


Source: fashiondisastercecil

23rd April 2014

Photoset reblogged from The Man Has Arrived with 36,110 notes



John Scalzi gets it.

right on the fucking nail

Source: i-come-by-it-honestly

23rd April 2014

Quote reblogged from Like a Drum, Baby Don't Stop Beating with 243,333 notes

Male privilege is “I have a boyfriend” being the only thing that can actually stop someone from hitting on you because they respect another man more than they respect your rejection/lack of interest.

The Sociological Cinema

There was actually research that was done that found that women who used an “I have a boyfriend/husband” excuse to reject unwanted sexual attention and harassment by their bosses were more likely to be left alone than those who used any other excuse (including “I’m not interested”)

Because men respect another man’s property (and that’s how they see us) than a woman’s autonomy.

(via stanhowse)

Source: queerintersectional

23rd April 2014

Photoset reblogged from KEEP THAT HAND IN YOUR PANTS! with 6 notes


I’ve been working on Vector Images of myself & friends for school!
I’m thinking about starting up commissions for others who are interested in icons or something!
If anyone would be interested I’d love to know & get some feedback from  others! 

23rd April 2014

Photoset reblogged from KEEP THAT HAND IN YOUR PANTS! with 11,989 notes

How dare they do FIVE for Tokyo and only 3 for Kansai. KANSAI REPRESENT

Here’s some more to-dos:

  • Visit Himeiji Castle
  • Eat kushikatsu in Osaka
  • See the huge Gundam in Den-Den Town in Osaka
  • Go see an all-female revue at Takarazuka
  • Eat fresh mochi on the way up to Kiyomizu-dera
  • Go to any of Kyoto’s other temples; there’s a shit ton of them
  • Visit Kyoto Castle, one of the oldest buildings in Japan, see the “Nightingale Floor”
  • Go to Kobe’s Chinatown
  • It said Osaka Castle already, but if you can go during the ume (Japanese plum) blossom season, it is magnificent
  • Eat alongside the Kamo River in Kyoto
  • See the Daibutsu (huge Buddha) in Nara
  • Feed the tame wild deer in Nara
  • See the Peace Park in Hiroshima
  • Eat Hiroshima style okonomiyaki and ramen
  • Go to Miyajima (Itsukushima) and see the ocean shrine and wild monkeys and eat maple leaf pastries
  • (Anywhere) Go to a matsuri and eat matsuri food!

Out of all these, I have to recommend the Hiroshima Peace Park the most. That was probably the most transformative location I visited; I was not the same person when I walked out of there.

Tagged: fuck kantokansai 4 lyfekansai

Source: littlemisspaintbrush

23rd April 2014

Post reblogged from 2 Glam 2 Give a Damn with 36,406 notes



avril lavignes hello kitty video was deleted from youtube and then billboard posted this 


I am so glad I was able to witness the monstrosity before it left us

Source: lindsaychrist

22nd April 2014

Question reblogged from Badcrabdad Thwomper with 28 notes

divisio asked: Aradia and Jake as archaeologists with conflicting methods


"Listen, I get that you’re all ‘guns blazing’, but could you PLEASE wait to fire them until AFTER we get attacked by bandits?!"

"That’s sassafras you consummate noob; every real archaeologist worth their pepper sauce knows that you shoot first and demand answers later!"

Four hundred thousand dollars worth of artifacts were destroyed by ricocheted bullets, and Aradia left Jake stranded by taking the helicopter after convincing him that his shoes were untied (they were velcro).

Source: phrawger

21st April 2014

Chat reblogged from dunk and blurds review some music with 13 notes


  • BLURDS: Hey, my name Blurds. Ghostdunk and I were college enemies but somehow time happened and we're friends now. We wrote a bunch of music reviews together back in the day, and we're starting up that project again. Hey, dunk, why are we doing this?
  • DUNK: i think music criticism in general needs more of telling the reader: will they like it, what should they expect when listening to it, and what interesting things should they look out for. when i read most pitchfork stuff i get a fantastic sense of what the critic felt while listening to it, but a lot of times i dont feel like i get any extra context outside of journalistic context (band bio, etc)
  • BLURDS: Yeah. Reading a music review is basically like trying to bore into the skull of the person writing it and trying to suss out if you're even listening through the same kind of ears as they are. So we, by virtue of being two very different people reviewing the same albums at the same time, are gonna try to drill into, y'know. The real music-y part of the proceedings.
  • DUNK: also we want to write more.
  • BLURDS: It's funny how little has changed in terms of the way our styles of reviewing are distinct
  • DUNK: haha definitely
  • that was the first thing i noticed
  • im sometimes surprised at how much of a scientist i am
  • BLURDS: yeah
  • actually let's lay that out now, talk about how the styles complement each other
  • I feel like what you bring to the table is that you are an honest-to-god gigging musician and composer who is completely checked out of the contemporary indie scene
  • so you pay way more attention to the music
  • DUNK: i read yours and i thought "Ah theres the jazz" -- i enjoy how you bring so much of your own opinion into it, because that brings a lot of character and you usually have pretty interesting opinions
  • like theres a really clear voice in your review and that is super interesting and important
  • BLURDS: but on the other hand I have a tendency to do the early Pitchfork thing and forget to actually talk about the album
  • DUNK: i saw where you caught yourself in this one though
  • BLURDS: yeah. I'ma try to incorporate more of your rigor. It's all about trying to remember how to be a good writer, in public, with contentious opinions that people will probably disagree with a lot of the time
  • DUNK: *nod* what i remember happening from last time is taking cues from you and attempting to put in a dash of that in -- sometimes awkwardly, but it was fun to try
  • BLURDS: yeah. The adventure here will be to see if we get any better at this as we go on
  • DUNK: i like how energized you seem about stuff in general, a band, theater trucks etc
  • BLURDS: thanks
  • I just have a pathological need to be patted on the head for everything I do
  • DUNK: god do i know that
  • BLURDS: Anyways If you don't mind I'll take this convo and edit it into a kind of intro post
  • anything by way of general introduction you want to add
  • DUNK: oh sure
  • uhhh
  • BLURDS: gold
  • DUNK: print it ship it

21st April 2014

Post reblogged from dunk and blurds review some music with 2 notes



Back in the day, when Dunk and I were first writing music reviews together, I cared about where music was going, as if music was a thing that went.  I found trends alarming, because I was worried that songs as a whole were going to pack up and go somewhere I couldn’t access, a place filled with Scandinavians, a place where there was nothing to eat but coke rap and nothing to drink but minimalist techno.  I liked guitars and I didn’t like the fact that nobody seemed to be using them anymore.

I am a little bit older now, and I know that there will always be a new guitar band, and that it might not actually be the best thing for me if the music I like is in vogue.  Fame and attention and money and praise aren’t actually very good for the miserable people whose work I enjoy.  Desperate weirdos intentionally doing something that went out of style years ago - that’s my jam. 

So with that in mind I’m going to lay both the critical buzz around Perfect Pussy and the mid-Atlantic punk revival that they seem to represent aside and concentrate on that other thing - the music. And what it sounds like is, maybe, if Sleigh Bells were better at writing songs, or if Bikini Kill and Dashboard Confessional put their resentments aside for long enough to get together and have a kid, and then released a recording of the subsequent divorce.

(That doesn’t actually communicate anything, you say?  Fuck off.  This is how music criticism is done: a hurricane fence of allusion between the writer and the reader.  How else am I supposed to maintain my authority?   If I didn’t have decades of mostly terrible songs under my listening belt, you’d be just as qualified as I am to say whether songs sound good or not.  AND I WILL NOT ALLOW YOU TO FORGET THAT YOU AREN’T)

Anyway, this is some fast, melodic punk rock.  The vocals are mostly covered in distortion and are hard to understand, but quick snatches penetrate - tee hee - and those seem mostly to be about LIFE and YOUTH and SEX and DESPERATE BRAIN SITUATIONS.  That goes pretty well with the songs themselves, which burn bright and collapse quickly.  I caught one of their shows, and they played for 20 minutes and acted like every second of it was actively painful, which it may have been, given how fucking loud everything was.  The album is similarly brief, and only about three quarters of it is actually comprised of song, with the last couple of tracks consumed by seemingly-improvised ambient synth freakouts.   It’s a band so determined to pack as much intensity as possible into every square-inch of music that they can’t keep it up for too long without exploding all over everything and passing out.  ”Try thinking about baseball”, I want to tell them.  They wouldn’t listen.  The young never do.

And that’s in the end what’s so fun about this thing: the youth factor.  It’s primal and overstuffed and ecstatic.  It’s got that art-damaged punk band mainstay, the unhinged keyboard player who just makes noise all over everything, and the keening treble harmonics he smears on these songs give the whole thing a soaring prayerfulness.  (I mean, that’s what I think.  And as I mentioned before, whether that’s a true thing or not is completely up to me, because I know who the Silver Apples are.)   The songs are carefully and tightly written - there are some complicated chord progressions under all the noise - and that gives the band a solid base to push off from, ensuring that they don’t just float away in a cloud of noise.  It’s like someone attached electrodes to Built to Spill’s genitals.  

We’re going to have to invent a new scale for these reviews: I suggest REALLY LIKE, LIKE, EH, DON’T LIKE, and REALLY DON’T LIKE, with super-special categories OBSESSED WITH and INFURIATED BY for extreme cases.  This album gets a REALLY LIKE, because I really like it.

21st April 2014

Post reblogged from dunk and blurds review some music with 2 notes

Perfect Pussy - Say Yes To Love - ghostdunk

I’m hopping on an old horse and writing music criticism with my old college pal! Check it out at dunknblurds.tumblr.com


The last time I took the time to write about music was about 7 years ago, while I was still living in Japan, and doing it with my friend blurds. At the time I was writing about music from ten years ago — specifically, reviewing the Pitchfork Top 50 Albums of 2004. I managed to get through all of it, and into some of 2005 before blurds and I (mostly me) gave it up. Spending time reviewing those albums actually had a pretty significant impact on my music habits: I listened to those albums more than most other music.

Now in 2014, the thing I’m most surprised about is how little the music has changed. Maybe it’s nostalgia goggles, or the time-compressing nature of growing older, or maybe it’s that pop music isn’t in its infancy anymore, or we’ve run out of ideas, or we’re really in some kind of postmodern age where anything goes. Whatever. blurds easily talked me into taking up writing about music again, and I agreed because I want to write more, and because I want to get more into music.

The album reviews I did were also full of embarassing writing. Time to embarass myself again. 

Perfect Pussy - Say Yes To Love

Perfect Pussy wants to get your attention. There aren’t many reasons a band will name themselves something so provocative; it’s usually to make a point or to get cheap attention or just piss people off. The field of indie bands is so saturated, it’s very difficult to get anyone’s attention, and step 1 might as well be a memorable name. But it’s not just the name: the entire album is structured to get your attention.

The songs are raucous, distorted, oversaturated indie rock sprints led by a defiant female vocalist using her voice more like percussion than melody. Not a single song on this album is longer than 3 minutes (depsite tracks being longer), and most clock in around the 2 minute mark. The songs are all meat, no fat, that fact almost guarantees that you’ll listen to the whole song. Many of the songs are separated by long periods of very quiet ambient noise/fucking around that performs three functions: 1) when the next barrage comes at you, the downtime ensures it’ll have more impact than just putting the songs right next to each other; 2) it allows the band to set a mood (and context) for the album as a whole (a noise like a whirring projector at the beginning suggests a location); and 3) it calibrates the dynamic range of the entire album.

This is an album that is meant to be heard loud. What I mean by “calibrate” is that in those moments of near silence, to hear these parts, you have to turn up your stereo. And that not only means the next song is going to be loud, it’s a message that it is meant to be loud. I’m sure there are plenty of reviews talking about what a “loud” album this is, but the point here is that it’s not because of the production of the songs, which are all slammed to hell; the dynamic range squashed out of it. Dynamics are what make something loud, and Perfect Pussy has it both ways: the breaks mean songs can be at 11 the whole time, and the spaces keep the listener from getting fatigued. It almost mimics the cadence of a live show: crowd murmur during pauses to tune guitars, drink water, and so on.

What’s more is that there isn’t a moment of silence in the songs themselves: when the lead singer starts, she sings through a mic that sounds like it’s plugged into an amp with the volume and gain cranked as high as it can go, meaning that whenever she stops singing, the amp feeds back immediately. Rests have been completely replaced by feedback. That’s not to say that this is some kind of noise album, either. 

The vocals are matched by some really great guitar work and composition. There’s a lot of standard guitar work here, but combined together in a way that is fresh. There are a lot of slightly dissonant but pleasant chords, often building up into some really great harmonies (the song “Big Stars” does this well). The songs very rarely follow a “traditional” song structure, and the song feels as though that the rhythm section is being lead by the vocals, and not the other way around. There are a lot of changes packed into each song, considering how short they are. “Bells” is particularly good at this, packing about 4 or 5 different sections into 1:42, and the A section is repeated in the middle of the song, not the end like one might expect. It’s not just walloping on chords, either. On “Interference Fits”, the thrashing is replaced by arpeggios, and none of the intensity is really lost, and a lot of that is because of the intensity of the vocals.

The only issue I have with this album is that I don’t know what the fuck is being said. I know normally people say they can’t understand the lyrics, but I really tried. Perfect Pussy has convinced me that they’ve got something to say. I just don’t know what it is. The vocal technique is really engaging as a sound, but it’s disappointing not to get what’s being said. If they pulled back on saturating the vocals so thoroughly, I think the content of the lyrics would have come through and fit the album just as well. I want the content of what she’s saying to grab my attention every bit as much as I want the ass-kicking to. What’s more is that I can’t find the damn things online anywhere, which makes me wonder if you’re supposed to be able to understand them at all, and if you are, who the people are that do. 

Maybe I’m just too damn old.

Even a name like Perfect Pussy, though, makes me think that they’ve got something to say. It’s not just a crass name; why else would “Perfect” be in it? My first instinct is based on a British documentary I saw of a similar (or the same?) name based on women undergoing plastic vaginal surgery in order to get — you guessed it. It’s a pretty damning symptom of how obsessed society is with female perfection, and how ridiculously high that pressure has gotten on women. That would be a pretty provocative way of putting an important and meaningful concept. And even if it’s not, it sure gives the listener a lot to think about once they realize the name isn’t a lark. And that is a pretty bold move to make.

That shows why this album succeeds. It’s not because it has depth. What sets this album apart is the techniques employed aren’t just gimmicks to get your attention, like one might think at first glance — it’s that the album completely commits to those techniques and has taken the pain and effort to make sure everything gels together into a tight, perfect package.

Rating system? Idk. We’ll figure that out. For now, I RECOMMEND this piece, especially if the phrases “noise”, “punk”, and “noise punk” excites you, but even if it doesn’t and you don’t mind loud music.