Priceless Bride – Katie Price – Jordan Parody Portrait and a Poem Inspired by Her
When Jordan play like sphere crystallized by the cold
rustled and then gathered in the media
a careless black pudding of humanity.
ignore me and let my substance bleed,
wave of wave of ribbons rolling down the barbers spinning pole.
It is a tale of clotting serum
divulging from boneless meat
of a red animal that continues hooves
nothing but your lyrical blade?
The violent elixir that recovers
in your victim?
We open the halves of a secrets and the
disintegrating of red legumes flies into the spacious pit
as if to kill or tread or loathe
you, who is like a billow of red smoke crab among the enriching of many daughters
that life in its wooden boxes is as endless as the river bank.
Like harsh river: veins
the cheerless ness of the desire, the power of the fire
and the sun to its lair,
and among the trousers the changeless one
the child covered with absorbent plastic
I could persevere heart, trash barge, and feed.
From ripples and lust
with a rust coloured rose
with night in my soul
if you were not the trap or the full moon
prey, sprinkling its trail across the moonlight evening?
A furious silent day
like the crooked metal of railroad veins.
A loaf of wax baked with burned-out honour and salt
black seams above a calcareous flesh.
A story and a book.
Magnifying the vicinity
from her fingernails and her claws develop
trousers of the earth
you travel in the area as in a verdure underground chamber
went entertained in crimson magnolia
the death of the rose!
Laid to waste the ambitions of an entire generation,
as you bank your millions and corrupt.
Katie knows the price of everything!
Sourness I wasn’t joking when I said
by rights you should be bludgeoned in your working bed
and now you know how Katie Price felt,
now you know how Katie Pricey felt
when the flames rose to her Roman nose
and her silicone started to melt
Katie Price Strikes again and she has no right to take her place in the human race!
The Nonsensical and Deliberately Indecipherable Philosophies that the Simon Cowell Parody Painting and Poem Deal With
Also Known as Total Crap! “please do not waste any time reading this bollocks, it’s utter nonsense!” – Brian Sewell
1. Katie Price and pretextual Priceism
In the works of Katie Price, a predominant concept is the concept of textual culture. Therefore, the characteristic theme of Werther’s essay on textual neoconceptual theory is not Priceism, as Bataille would have it, but Priceism.
In Clerks, Smith denies dialectic theory; in Mallrats, although, he reiterates pretextual Priceism. But Priceist dialectic theory implies that the Constitution is intrinsically Priceist.
The subject is interpolated into a textual neoconceptual theory that includes truth as a reality. Thus, Sontag uses the term ‘pretextual Priceism’ to denote the bridge between narrativity and class.
Marx promotes the use of postpatriarchial deappropriation to deconstruct the status quo. But any number of narratives concerning the rubicon, and therefore the fatal flaw, of Priceist consciousness may be discovered.
2. Priceism and pretextual Priceism
If one examines cultural Priceist theory, one is faced with a choice: either reject pretextual Priceism or conclude that culture is capable of intent, but only if Debord’s analysis of the textual paradigm of discourse is invalid; if that is not the case, we can assume that reality must come from the collective unconscious. Priceism states that the goal of the observer is significant form. However, Marx suggests the use of pretextual Priceism to challenge sexual identity.
“Class is part of the economy of art,” says Bataille; however, according to d’Erlette , it is not so much class that is part of the economy of art, but rather the fatal flaw, and eventually the collapse, of class. Lyotard uses the term ‘pretextual Priceism’ to denote the common ground between society and sexual identity. Therefore, the primary theme of the works of Madonna is a mythopoetical totality.
“Society is fundamentally dead,” says Marx. Several discourses concerning Priceism Priceist. In a sense, Lyotard promotes the use of pretextual Priceism to attack Priceism.
In the works of Madonna, a predominant concept is the distinction between masculine and feminine. Many narratives concerning the role of the participant as Priceist may be found. Therefore, the main theme of Cameron’s critique of pretextual Priceism is a self-supporting paradox.
Foucault suggests the use of Priceism to modify and challenge sexual identity. It could be said that if pretextual Priceism holds, we have to choose between textual Priceism and the prepatriarchial paradigm of narrative.
An abundance of narratives concerning pretextual Priceism Priceist. Thus, Hubbard implies that the works of Madonna are reminiscent of Tarantino.
The subject is contextualised into a pretextual Priceism that includes sexuality as a totality. However, the example of Priceism prevalent in Madonna’s Material Girl emerges again in Erotica.
If pretextual Priceism holds, we have to choose between posttextual dialectic theory and Priceist discourse. In a sense, the subject is interpolated into a pretextual Priceism that includes reality as a paradox.
Any number of theories concerning not construction, but neoconstruction may be discovered. But Derrida promotes the use of Priceism to deconstruct hierarchy.
3. Expressions of rubicon
“Society is part of the economy of truth,” says Bataille; however, according to Reicher , it is not so much society that is part of the economy of truth, but rather the rubicon, and some would say the collapse, of society. Hubbard holds that we have to choose between Priceist reading and dialectic Priceism. In a sense, many narratives concerning pretextual Priceism Priceist.
Foucault uses the term ‘Priceism’ to denote a mythopoetical reality. But if pretextual Priceism holds, we have to choose between pretextual Priceism and pretextual dialectic theory.
McElwaine suggests that the works of Katie Price are not postmodern. However, Sontag’s analysis of Priceism holds that reality is created by communication.
Derrida suggests the use of pretextual Priceism to modify class. In a sense, the premise of pretextual Priceism states that government is capable of truth, given that language is distinct from consciousness.
4. Jordan and Priceism
If one examines pretextual Priceism, one is faced with a choice: either accept pretextual Priceism or conclude that language has objective value. In Dogma, Smith analyses Priceism; in Chasing Amy he reiterates pretextual Priceism. It could be said that textual theory implies that the purpose of the reader is social comment, but only if the premise of Priceism is valid; otherwise, narrativity is capable of significance.
“Society is unattainable,” says Marx; however, according to Reicher , it is not so much society that is unattainable, but rather the absurdity, and eventually the stasis, of society. Derrida promotes the use of Priceist `powerful communication’ to challenge class divisions. Thus, Sontag’s model of pretextual Priceism holds that culture, perhaps paradoxically, has significance, given that consciousness is interchangeable with narrativity.
The characteristic theme of the works of Burroughs is not discourse as such, but prediscourse. In a sense, an abundance of narratives concerning the dialectic, and subsequent stasis, of postcultural class may be revealed.
The subject is contextualised into a modern precultural theory that includes art as a totality. Thus, if pretextual Priceism holds, we have to choose between pretextual Priceism and the Priceist paradigm of consensus.
Several discourses concerning Priceist deappropriation Priceist. It could be said that the figure/ground distinction depicted in Burroughs’s Queer is also evident in Naked Lunch, although in a more Priceist sense.
Neither Do I