My newest Manny Pacquiao Parody plus extra footage (Must see!)

[BoxingChaos]

The first part of the video has been over done but not with this
commercial, the second part is funny, believe dat'
Give it a chance and just watch it.



I did not know what to call this video.

It's just another spoof from the new Manny Pacquiao commercial.

I did however add some extra new footage of something a little
different. I am sure you will enjoy the second half of this video.

If you laughed, GREEN K me biatches!.

End of and ENJOY!

[baracuda]

enjoyed it....good job man...

[BoxingChaos]

enjoyed it....good job man...

Ok so where is my green k?

[ThunderWolf]

Pacquiao actually doesn`t speak like that - the subtitles are entirely false. And others might take this seriously.

[fightingfigs]

The first part of the video has been over done but not with this
commercial, the second part is funny, believe dat'
Give it a chance and just watch it.



I did not know what to call this video.

It's just another spoof from the new Manny Pacquiao commercial.

I did however add some extra new footage of something a little
different. I am sure you will enjoy the second half of this video.

If you laughed, GREEN K me biatches!.

End of and ENJOY!

HAHA id green you but I already have !

[MOTHER DUCKER]

OMFG hahah nice one

[BHONN]

hahaha thanks for the laugh...

[Bhopreign]

Pacquiao actually doesn`t speak like that - the subtitles are entirely false. And others might take this seriously.

I really am turned off by Manny talking like that, I never knew this side of him.

[Fights]

Good job Danny.

[BoxingChaos]

Pacquiao actually doesn`t speak like that - the subtitles are entirely false. And others might take this seriously.

It's says its a parody spoof, what part of parody don't you understand?

A parody (pronounced /ˈpćrədiː/; also called send-up or spoof), in contemporary usage, is a work created to mock, comment on, or poke fun at an original work, its subject, or author, or some other target, by means of humorous, satiric or ironic imitation. As the literary theorist Linda Hutcheon (2000: 7) puts it, "parody … is imitation with a critical difference, not always at the expense of the parodied text." Another critic, Simon Dentith (2000: 9), defines parody as "any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice." Often, the most satisfying element of a good parody is seeing others mistake it for the genuine article.
Parody may be found in art or culture, including literature, music (although "parody" in music has a rather wider meaning than for other art forms), and cinema. Parodies are sometimes colloquially referred to as spoofs or lampoons.

Origins

According to Aristotle (Poetics, ii. 5), Hegemon of Thasos was the inventor of a kind of parody; by slightly altering the wording in well-known poems he transformed the sublime into the ridiculous. In ancient Greek literature, a parodia was a narrative poem imitating the style and prosody of epics "but treating light, satirical or mock-heroic subjects" (Denith, 10). Indeed, the apparent Greek roots of the word are par- (which can mean beside, counter, or against) and -ody (song, as in an ode). Thus, the original Greek word parodia has sometimes been taken to mean counter-song, an imitation that is set against the original. The Oxford English Dictionary, for example, defines parody as imitation "turned as to produce a ridiculous effect" (quoted in Hutcheon, 32). Because par- also has the non-antagonistic meaning of beside, "there is nothing in parodia to necessitate the inclusion of a concept of ridicule" (Hutcheon, 32).
Roman writers explained parody as an imitation of one poet by another for humorous effect. In French Neoclassical literature, parody was also a type of poem where one work imitates the style of another for humorous effect.

[edit] Music

Main article: Parody music
In classical music, parody means a reworking of one kind of composition into another (e.g., a motet into a keyboard work as Girolamo Cavazzoni, Antonio de Cabezón, and Alonso Mudarra all did to Josquin des Prez motets.) More commonly, a parody mass (missa parodia) or an oratorio used extensive quotation from other vocal works such as motets or cantatas; Victoria, Palestrina, Lassus, and other notable composers of the 16th century used this technique; Bach also used existing cantatas for his Christmas Oratorio. In fact, the musical use of the word parody is wider than its general use - and while much musical parody does have humorous, even satirical intent, some simply recycles musical ideas.

[edit] English term

The first usage of the word parody in English cited in the Oxford English Dictionary is in Ben Jonson, in Every Man in His Humour in 1598: "A Parodie, a parodie! to make it absurder than it was." The next notable citation comes from John Dryden in 1693, who also appended an explanation, suggesting that the word was in common use, it means to make fun of or re-create what you doing.

[edit] Modernist and post-modernist parody

In the broader sense of Greek parodia, parody can occur when whole elements of one work are lifted out of their context and reused, not necessarily to be ridiculed. Hutcheon argues that this sense of parody has again become prevalent in the twentieth century, as artists have sought to connect with the past while registering differences brought by modernity. Major modernist examples of this recontextualizing parody include James Joyce's Ulysses, which incorporates elements of Homer's Odyssey in a twentieth-century Irish context, and T. S. Eliot's The Waste Land, which incorporates and recontextualizes elements of a vast range of prior texts, including Dante's The Inferno.
Blank parody, in which an artist takes the skeletal form of an art work and places it in a new context without ridiculing it, is common. Pastiche is a closely related genre, and parody can also occur when characters or settings belonging to one work are used in a humorous or ironic way in another, such as the transformation of minor characters Rosencrantz and Guildenstern from Shakespeare's drama Hamlet into the principal characters in a comedic perspective on the same events in the play (and film) Rosencrantz and Guildenstern Are Dead. In Flann O'Brien's novel At Swim-Two-Birds, for example, mad King Sweeney, Finn MacCool, a pookah, and an assortment of cowboys all assemble in an inn in Dublin: the mixture of mythic characters, characters from genre fiction, and a quotidian setting combine for a humor that is not directed at any of the characters or their authors. This combination of established and identifiable characters in a new setting is not the same as the post-modernist habit of using historical characters in fiction out of context to provide a metaphoric element.