Pergunta!!!
Se o Diabo (segundo as crónicas intemporais) era um anjo que depois teve lá alta tripe por causa de ciúmes, porque é que todos os outros anjos têm a cara da Giselle Bundchen e o Diabo tem cornos e cauda?
Eu digo que isto é pura propaganda!!!
5.31.2006
from "O Problema do Álcool"
Isto chegou às minhas mãos por mail, no emprego. Obrigado Ricardo Pessoa. Leiam, é de génio...
Em Portugal, a única maneira de combater a droga é com vinho. Um
bêbado é sempre mais social que um heroinómano. Dá trabalho a mais
pessoas. O dinheiro, em vez de ir parar às mãos do vil traficante,
regressa às caves do bom Abel Pereira da Fonseca. Um bêbado diverte as
pessoas tristes que precisam, do alto das suas janelas, no tédio
nocturno das vielas, de um motivo de escárnio, distracção ou opróbio.
Os bêbados dão bons sketches de cinema. Os bêbados fazem parte da
nossa cultura.
A heroína não tem nada a ver connosco. A cocaína é um hábito
sul-americano que, de qualquer modo, é demasiado seventies para os
dias de hoje. O LSD é um devaneio é um devaneio ianque para músicos
pretendidos. O haxixe é uma mistela de Mouros. A liamba é uma friquice
de Luanda. Os comprimidos são para matronas inglesas à beira do
suicídio e do supermercado. Português é o vinho e todos os seus
derivados. Cada um com o seu efeito especial. Uma pedrada de jeropiga
é diferente de uma pedrada de tinto Ferreirinha 1980. Há maior
variedade de álcool do que drogas rascas e caras.
(...)
As drogas pesadas só entraram nos países latinos por descuido.
Repare-se que, em todos os casos, são originárias de países onde não
há um vinho decente. Sem essa bênção, esses pobres estrangeiros, desde
os Tibetanos aos Bolivianos, tiveram de inventar alternativas. Jamais
se invemtaria o ópio em Borba. não faz sentido cultivar papoilas no
Alto Douro. Em Saint-Emilion, ninguém se lembra de fumar um charro -
até porque altera o sabor do vinho.
(O escritor português Miguel Esteves Cardoso, em "O Problema do Álcool")
Próximo sábado já sabem ppl, toca a entornar!
Em Portugal, a única maneira de combater a droga é com vinho. Um
bêbado é sempre mais social que um heroinómano. Dá trabalho a mais
pessoas. O dinheiro, em vez de ir parar às mãos do vil traficante,
regressa às caves do bom Abel Pereira da Fonseca. Um bêbado diverte as
pessoas tristes que precisam, do alto das suas janelas, no tédio
nocturno das vielas, de um motivo de escárnio, distracção ou opróbio.
Os bêbados dão bons sketches de cinema. Os bêbados fazem parte da
nossa cultura.
A heroína não tem nada a ver connosco. A cocaína é um hábito
sul-americano que, de qualquer modo, é demasiado seventies para os
dias de hoje. O LSD é um devaneio é um devaneio ianque para músicos
pretendidos. O haxixe é uma mistela de Mouros. A liamba é uma friquice
de Luanda. Os comprimidos são para matronas inglesas à beira do
suicídio e do supermercado. Português é o vinho e todos os seus
derivados. Cada um com o seu efeito especial. Uma pedrada de jeropiga
é diferente de uma pedrada de tinto Ferreirinha 1980. Há maior
variedade de álcool do que drogas rascas e caras.
(...)
As drogas pesadas só entraram nos países latinos por descuido.
Repare-se que, em todos os casos, são originárias de países onde não
há um vinho decente. Sem essa bênção, esses pobres estrangeiros, desde
os Tibetanos aos Bolivianos, tiveram de inventar alternativas. Jamais
se invemtaria o ópio em Borba. não faz sentido cultivar papoilas no
Alto Douro. Em Saint-Emilion, ninguém se lembra de fumar um charro -
até porque altera o sabor do vinho.
(O escritor português Miguel Esteves Cardoso, em "O Problema do Álcool")
Próximo sábado já sabem ppl, toca a entornar!
5.29.2006
Ambição...O que é?
Dei comigo a pensar na "Ambição", afinal de contas o q é?? é uma definição pessoal, ou ao invés algo q é forçosamente igual para todos?
é só dinheiro e carreira? é aproveitar os estudos e arranjar trabalho na área de estudo? ou pode ser outra coisa qq?
é só dinheiro e carreira? é aproveitar os estudos e arranjar trabalho na área de estudo? ou pode ser outra coisa qq?
5.26.2006
Ena Pá 2011
Os grandiosos Ena Pá 2000 têm um blog! Os mais cépticos clicam no link, os menos cépticos acreditam e isso basta-lhes. Tchããã!
Blog dos Ena Pá
Blog dos Ena Pá
5.25.2006
Pensamento
Como isto está paradido, eis um pensamento para pensar:
"Quase sempre procuramos desculpas em vez de motivos para os nossos erros"
vi isto no Destak há uns dias largos e lembrei-me agora de pôr aqui. comentem ^_^
"Quase sempre procuramos desculpas em vez de motivos para os nossos erros"
vi isto no Destak há uns dias largos e lembrei-me agora de pôr aqui. comentem ^_^
5.18.2006
M.I.A. Biography
P'ra quem tiver tempo pra ler. A menina merece o meu 'respect'.
Maya was born in Hounslow, London but spent little time there as, at only 6 months old, her parents moved the family back to their native Sri Lanka. Motivated by her fathers wish to support the Tamil efforts to win independence from the majority Sinhalese population, her father became politically known as Arular and was a founder member of EROS (the Eelam Revolutionary Organisation of Students), a militant Tamil group.
In Sri Lanka, they lived at first on her grandparent's remote farm, a collection of huts without electricity or running water. After a year, as her fathers involvement in militant activities increased, Maya, her older sister Kali and their mother moved to Jaffna in the far North of the country, where Maya's younger brother Sugu was born. Contact with her father was strictly limited as he was in hiding from the army, he occasionally visited in secret, slipping through the window at night and being introduced to the children as an uncle so that they didn't give him away to the army when they regularly came to question the family.
Eventually, as the civil war escalated, it became unsafe for them to stay in Sri Lanka, so her father sent tickets for them to relocate to Madras in India. Maya's mother moved with the three children into an almost derelict house, 3 miles from the nearest road or neighbor. They scraped by for a while, with sporadic visits from Maya's father, and the girls attended the local school, excelling as students. After a while, visits from friends and family grew less frequent and money grew very tight. The children became ill, Maya's sister caught Typhoid and they struggled to eat enough. A visiting uncle took concern and moved them back to Sri Lanka again, where they settled back in Jaffna.
By now, the violence of the civil war was at its peak and the family repeatedly tried to flee the country. The army regularly shot Tamils seeking to move across border areas and bombed roads and escape routes. After several failed attempts to leave, Maya's mother successfully made it out with the three children, on to India and then finally back to London, where they were housed as refugees.
It was in the late eighties and on a notoriously racist council estate in Mitcham, Surrey, that Maya began to learn English. Aged just eleven and in a new country, she was exposed to western radio for the first time by the noise resonating from her neighbours. Her affinity with hip-hop and rap began from there - the uncompromising attitudes of Public Enemy and N.W.A. clicked with a frustrated, energetic war-child trying to relate to grey and foreign surroundings.
Maya was a talented and creative student, eventually winning a place at London's Central Saint Martins Art School, where she studied fine art, film and video. Here, for the first time, she began to piece together some of the different strands of her life experience. In an early incarnation of what was later to become M.I.A., she learnt how to play off her different cultural personae against each other; layering rap iconography with the warfare pictures from her youth, Asian Britain with American new-wave film making style and St. Martin's fashion sense with refugee outlooks.
A successful art career beckoned and, for a while, seemed to be Maya's destined path. Her first-ever public exhibition of paintings featured candy colored spray-paint and stencil pictures of the Tamil terrorist movement. Graffitied tigers and palm trees mixed with orange, green and pink camouflage, bombs, guns and freedom fighters on chip board off-cuts and canvases. The show was nominated for the alternative Turner prize, every painting sold and a monograph book of the collection was published by Pocko (which was simply entitled 'M.I.A.', an acronym for Missing In Acton).
A commission from Elastica's Justine Frischmann to provide the artwork and cover image for the band's second album led to Maya following the band on tour around forty American states, video-documenting the event. The support act on the tour was electro-clash supremo Peaches, who introduced Maya to the Roland MC-505 sequencing machine and gave her the courage to take on the one art-form she felt least confident in, music.
Back home in London, Maya and Justine got hold of their own 505 and, working with the simplest of set-ups (a second-hand 4-track, the 505 and a radio mic), Maya worked-up a series of six songs onto a demo tape which became her calling card to the industry. The tape found it's way into the hands of Steve Mackey and Ross Orton who then re-worked "Galang" into the monstrous meld of influences that would eventually propel M.I.A. into the limelight.
An addictive mashed-up recipe of dancehall, electro, grime and world music, Showbiz Records only pressed up 500 copies of Galang but that was enough for her to go on and win the instant support of DJs and the media seemingly everywhere.
The majors did indeed pile in with M.I.A. eventually opting to sign to XL Recordings (home to Dizzee Rascal, Basement Jaxx and the White Stripes), embracing them as they were the only label to offer her 100% creative control. Meanwhile, the underground success of "Galang" had continued to spread, even earning M.I.A. plaudits in the American Press.
For her next single release, "Sunshowers," Maya again hooked up again with Ross Orton and Steve Mackey who had furnished her so successfully with the insane electro-squelch and mangled beats on "Galang." Hitting the UK airwaves this past June, they pushed boundaries even further with hyper-minimalist production and a reworked chorus from Dr. Buzzards Original Savannah Band's track of the same name to create a hypnotic template for her to fire out her young-girl bravado, this time about guerilla warfare and the Tamil-Sinhalese civil war.
With this first single proper barely on the shelves and no gigs at all to her name, New York's Fader magazine made her their cover star with the strap-line 'THIS IS M.I.A. - MUSIC'S NOW THING!' She flew out to New York to perform her first ever live set (for the launch of the issue) to a screaming crowd of hyped fans and then stayed to see Matthew Williamson open and close his fashion week runway show with "Sunshowers."
The accompanying video for "Galang", featuring multiple M.I.A.'s amid a backdrop of her graffiti artwork animated and brought to life, was directed by Ruben Fleischer and art directed by M.I.A. herself. On the surface it looked like a colourful pop video but watch it carefully and you'll see scenes of urban Britain and the ongoing Sri Lankan civil war being depicted and delivered with a wry sense of humour. M.I.A. is fast proving herself to be a far from ordinary pop star.
Her debut album, Arular , is set for release in February 2005. Titled in acknowledgment of her father's past, it follows the same philosophy that unites all strands of the M.I.A. project - cut and paste. The mix of production credits on the album all feature forays into new territory for the collaborators, with ex-Pulp member Steve Mackey doing dancehall and pop-maestro Richard X working with Sri Lankan nursery rhymes; and from her hand-sprayed artwork on the record sleeves, lyrics that mix Tamil, cockney and American slang to her tracksuits and hoodies specially sewn from the brightest, boldest African print fabrics, or Mowgli dance moves for ragga beats - M.I.A. creates culture clashes that work. - Courtesy of XL/Beggars
(M.I.A. - Missing In Action)
Maya was born in Hounslow, London but spent little time there as, at only 6 months old, her parents moved the family back to their native Sri Lanka. Motivated by her fathers wish to support the Tamil efforts to win independence from the majority Sinhalese population, her father became politically known as Arular and was a founder member of EROS (the Eelam Revolutionary Organisation of Students), a militant Tamil group.
In Sri Lanka, they lived at first on her grandparent's remote farm, a collection of huts without electricity or running water. After a year, as her fathers involvement in militant activities increased, Maya, her older sister Kali and their mother moved to Jaffna in the far North of the country, where Maya's younger brother Sugu was born. Contact with her father was strictly limited as he was in hiding from the army, he occasionally visited in secret, slipping through the window at night and being introduced to the children as an uncle so that they didn't give him away to the army when they regularly came to question the family.
Eventually, as the civil war escalated, it became unsafe for them to stay in Sri Lanka, so her father sent tickets for them to relocate to Madras in India. Maya's mother moved with the three children into an almost derelict house, 3 miles from the nearest road or neighbor. They scraped by for a while, with sporadic visits from Maya's father, and the girls attended the local school, excelling as students. After a while, visits from friends and family grew less frequent and money grew very tight. The children became ill, Maya's sister caught Typhoid and they struggled to eat enough. A visiting uncle took concern and moved them back to Sri Lanka again, where they settled back in Jaffna.
By now, the violence of the civil war was at its peak and the family repeatedly tried to flee the country. The army regularly shot Tamils seeking to move across border areas and bombed roads and escape routes. After several failed attempts to leave, Maya's mother successfully made it out with the three children, on to India and then finally back to London, where they were housed as refugees.
It was in the late eighties and on a notoriously racist council estate in Mitcham, Surrey, that Maya began to learn English. Aged just eleven and in a new country, she was exposed to western radio for the first time by the noise resonating from her neighbours. Her affinity with hip-hop and rap began from there - the uncompromising attitudes of Public Enemy and N.W.A. clicked with a frustrated, energetic war-child trying to relate to grey and foreign surroundings.
Maya was a talented and creative student, eventually winning a place at London's Central Saint Martins Art School, where she studied fine art, film and video. Here, for the first time, she began to piece together some of the different strands of her life experience. In an early incarnation of what was later to become M.I.A., she learnt how to play off her different cultural personae against each other; layering rap iconography with the warfare pictures from her youth, Asian Britain with American new-wave film making style and St. Martin's fashion sense with refugee outlooks.
A successful art career beckoned and, for a while, seemed to be Maya's destined path. Her first-ever public exhibition of paintings featured candy colored spray-paint and stencil pictures of the Tamil terrorist movement. Graffitied tigers and palm trees mixed with orange, green and pink camouflage, bombs, guns and freedom fighters on chip board off-cuts and canvases. The show was nominated for the alternative Turner prize, every painting sold and a monograph book of the collection was published by Pocko (which was simply entitled 'M.I.A.', an acronym for Missing In Acton).
A commission from Elastica's Justine Frischmann to provide the artwork and cover image for the band's second album led to Maya following the band on tour around forty American states, video-documenting the event. The support act on the tour was electro-clash supremo Peaches, who introduced Maya to the Roland MC-505 sequencing machine and gave her the courage to take on the one art-form she felt least confident in, music.
Back home in London, Maya and Justine got hold of their own 505 and, working with the simplest of set-ups (a second-hand 4-track, the 505 and a radio mic), Maya worked-up a series of six songs onto a demo tape which became her calling card to the industry. The tape found it's way into the hands of Steve Mackey and Ross Orton who then re-worked "Galang" into the monstrous meld of influences that would eventually propel M.I.A. into the limelight.
An addictive mashed-up recipe of dancehall, electro, grime and world music, Showbiz Records only pressed up 500 copies of Galang but that was enough for her to go on and win the instant support of DJs and the media seemingly everywhere.
The majors did indeed pile in with M.I.A. eventually opting to sign to XL Recordings (home to Dizzee Rascal, Basement Jaxx and the White Stripes), embracing them as they were the only label to offer her 100% creative control. Meanwhile, the underground success of "Galang" had continued to spread, even earning M.I.A. plaudits in the American Press.
For her next single release, "Sunshowers," Maya again hooked up again with Ross Orton and Steve Mackey who had furnished her so successfully with the insane electro-squelch and mangled beats on "Galang." Hitting the UK airwaves this past June, they pushed boundaries even further with hyper-minimalist production and a reworked chorus from Dr. Buzzards Original Savannah Band's track of the same name to create a hypnotic template for her to fire out her young-girl bravado, this time about guerilla warfare and the Tamil-Sinhalese civil war.
With this first single proper barely on the shelves and no gigs at all to her name, New York's Fader magazine made her their cover star with the strap-line 'THIS IS M.I.A. - MUSIC'S NOW THING!' She flew out to New York to perform her first ever live set (for the launch of the issue) to a screaming crowd of hyped fans and then stayed to see Matthew Williamson open and close his fashion week runway show with "Sunshowers."
The accompanying video for "Galang", featuring multiple M.I.A.'s amid a backdrop of her graffiti artwork animated and brought to life, was directed by Ruben Fleischer and art directed by M.I.A. herself. On the surface it looked like a colourful pop video but watch it carefully and you'll see scenes of urban Britain and the ongoing Sri Lankan civil war being depicted and delivered with a wry sense of humour. M.I.A. is fast proving herself to be a far from ordinary pop star.
Her debut album, Arular , is set for release in February 2005. Titled in acknowledgment of her father's past, it follows the same philosophy that unites all strands of the M.I.A. project - cut and paste. The mix of production credits on the album all feature forays into new territory for the collaborators, with ex-Pulp member Steve Mackey doing dancehall and pop-maestro Richard X working with Sri Lankan nursery rhymes; and from her hand-sprayed artwork on the record sleeves, lyrics that mix Tamil, cockney and American slang to her tracksuits and hoodies specially sewn from the brightest, boldest African print fabrics, or Mowgli dance moves for ragga beats - M.I.A. creates culture clashes that work. - Courtesy of XL/Beggars
(M.I.A. - Missing In Action)
5.15.2006
Pensamento do dia
Deixo-vos uma pequena reflexão...
"O amor é como a relva, se o plantares, ele cresce...mas depois vem uma vaca e acaba com tudo!"
O amor é belo
"O amor é como a relva, se o plantares, ele cresce...mas depois vem uma vaca e acaba com tudo!"
O amor é belo
5.14.2006
coisas para se fazer antes de morrer
Não quero dar um tom mórbido ao blog ao falar de novo na morte mas de qualquer maneira já que me lembrei de uma cena para pôr, aqui vai.
Quais são as cenas que, neste momento, vocês querem mesmo fazer para, depois do outro lado (e existir), poderem dizer "Eu sim posso dizer, que já vivi!"
Ah, escrevam cenas que possam estar dependentes de vós. Se não fosse assim escreveria também SLB Campeão Europeu :P
Aqui vão as minhas cenas (sem ordem específica):
Ser feliz: the main target. E isso implica:
- Recuperar o amor que anda perdido;
- Alcançar sucesso profissional;
- Ir ao Japão;
- Fazer uma road trip com a malta ^_^;
- Acabar o curso;
- Fazer feliz quem está à minha volta;
- Aprender a cozinhar (ando a tentar ganhar vontade);
- Comprar casa;
- e ando a pensar se vale a pena pensar em "ter um filho e plantar uma árvore" (passo a redundância) :P
Resumindo, não preciso de muito para me sentir realizado antes de partir. Só espero ter tempo e alento para o fazer. eheh
Acho que por agora não falta nada.. se faltar faço edit ao post e acrescento.
Quais são as cenas que, neste momento, vocês querem mesmo fazer para, depois do outro lado (e existir), poderem dizer "Eu sim posso dizer, que já vivi!"
Ah, escrevam cenas que possam estar dependentes de vós. Se não fosse assim escreveria também SLB Campeão Europeu :P
Aqui vão as minhas cenas (sem ordem específica):
Ser feliz: the main target. E isso implica:
- Recuperar o amor que anda perdido;
- Alcançar sucesso profissional;
- Ir ao Japão;
- Fazer uma road trip com a malta ^_^;
- Acabar o curso;
- Fazer feliz quem está à minha volta;
- Aprender a cozinhar (ando a tentar ganhar vontade);
- Comprar casa;
- e ando a pensar se vale a pena pensar em "ter um filho e plantar uma árvore" (passo a redundância) :P
Resumindo, não preciso de muito para me sentir realizado antes de partir. Só espero ter tempo e alento para o fazer. eheh
Acho que por agora não falta nada.. se faltar faço edit ao post e acrescento.
5.12.2006
E se eu morresse...?
A pergunta é dirigida a todos para uma introspecção individual...se cada um de vcs batesse a bota, o que ia mudar na vida das vossas famílias, colegas de trabalho e amigos? o que iria mudar? e de q forma?
Fiz este post uns dias dp da Iman me fazer um choradinho no Skype como nunca vi...pq o pai de uma amiga morreu e tal...
Fiz este post uns dias dp da Iman me fazer um choradinho no Skype como nunca vi...pq o pai de uma amiga morreu e tal...
5.05.2006
Puro Loli nonsense
Encontrei isto, pelos vistos é uma adaptação de algo original que já se chamava I like Loli!!!
Enfim tem montes de piada por isso vale a pena ler
I LIKE LOLI
I like loli.
The kindergarten was selling them for five cents a piece. I thought that
odd since they were normally a couple thousand each. I decided not to
look a gift horse in the mouth. I bought 200. I like loli.
I took my 200 loli home. I have a big car. I let one drive. Her
name was Anna. She was retarded. In fact, none of them were really
bright. They kept touching themselves in their genitals. I laughed.
Then they touched my genitals. I came.
I herded them into my room. They didn't adapt very well to their new
environment. They would screech, call for the police screaming
"HELP, PEDOPHILE!" and slam into the window. Although humorous at
first, the spectacle lost its fapness halfway into its third hour.
Two hours later I found out why all the loli were so inexpensive:
they all died. No apparent reason. They all just sorta' dropped dead.
Kinda' like when you buy a goldfish and it dies five hours later. Damn
cheap loli.
I didn't know what to do. There were 200 dead loli lying all over my
room, on the bed, in the dresser, hanging from my bookcase. It looked
like I had 200 sex dolls.
I tried to flush one down the toilet. It didn't work. She got stuck.
Then I had one dead, wet loli and 199 dead, dry loli.
I tried pretending that they were just blow-up dolls. That worked for
a while, that is until they began to decompose. It started to smell real
bad.
I had to pee but there was a dead loli in the toilet and I didn't want
to call the plumber. I was embarrassed.
I tried to slow down the decomposition by freezing them. Unfortunately
there was only enough room for two loli at a time so I had to change
them every 30 seconds. I also had to eat all the food in the freezer so
it didn't all go bad.
I tried burning them. Little did I know my bed was flammable. I had to
extinguish the fire.
Then I had one dead, wet loli in my toilet, two dead, frozen loli in
my freezer, and 197 dead, charred loli in a pile on my bed. The odor
wasn't improving.
I became agitated at my inability to dispose of my loli and to use the
bathroom. I severely beat one of my loli. I felt better.
I tried throwing them way but the garbage man said that the city wasn't
allowed to dispose of charred infants. I told him that I had a wet
one. He couldn't take that one either. I didn't bother asking about the
frozen ones.
I finally arrived at a solution. I gave them out as Christmas gifts. My
friends didn't know quite what to say. They pretended that they like
them but I could tell they were lying. Ingrates. So I touched them in
the genitals.
I like loli.
Enfim tem montes de piada por isso vale a pena ler
I LIKE LOLI
I like loli.
The kindergarten was selling them for five cents a piece. I thought that
odd since they were normally a couple thousand each. I decided not to
look a gift horse in the mouth. I bought 200. I like loli.
I took my 200 loli home. I have a big car. I let one drive. Her
name was Anna. She was retarded. In fact, none of them were really
bright. They kept touching themselves in their genitals. I laughed.
Then they touched my genitals. I came.
I herded them into my room. They didn't adapt very well to their new
environment. They would screech, call for the police screaming
"HELP, PEDOPHILE!" and slam into the window. Although humorous at
first, the spectacle lost its fapness halfway into its third hour.
Two hours later I found out why all the loli were so inexpensive:
they all died. No apparent reason. They all just sorta' dropped dead.
Kinda' like when you buy a goldfish and it dies five hours later. Damn
cheap loli.
I didn't know what to do. There were 200 dead loli lying all over my
room, on the bed, in the dresser, hanging from my bookcase. It looked
like I had 200 sex dolls.
I tried to flush one down the toilet. It didn't work. She got stuck.
Then I had one dead, wet loli and 199 dead, dry loli.
I tried pretending that they were just blow-up dolls. That worked for
a while, that is until they began to decompose. It started to smell real
bad.
I had to pee but there was a dead loli in the toilet and I didn't want
to call the plumber. I was embarrassed.
I tried to slow down the decomposition by freezing them. Unfortunately
there was only enough room for two loli at a time so I had to change
them every 30 seconds. I also had to eat all the food in the freezer so
it didn't all go bad.
I tried burning them. Little did I know my bed was flammable. I had to
extinguish the fire.
Then I had one dead, wet loli in my toilet, two dead, frozen loli in
my freezer, and 197 dead, charred loli in a pile on my bed. The odor
wasn't improving.
I became agitated at my inability to dispose of my loli and to use the
bathroom. I severely beat one of my loli. I felt better.
I tried throwing them way but the garbage man said that the city wasn't
allowed to dispose of charred infants. I told him that I had a wet
one. He couldn't take that one either. I didn't bother asking about the
frozen ones.
I finally arrived at a solution. I gave them out as Christmas gifts. My
friends didn't know quite what to say. They pretended that they like
them but I could tell they were lying. Ingrates. So I touched them in
the genitals.
I like loli.
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