Donkey Douche and Cultural Capital
There’s a certain giddyness I get when I get a new picture of legendary Hall of Scrote member Donkey Douche in my inbox.
Watching the Donkster’s primal ooze and garish style in the presence of sweet suckable boobie hottie powder thigh no longer infuriates. The Donkster simply illuminates.
For Donkey Douche and his Ukranian hottbag accessory are no longer simply a couple. Within our collective simulacrum, they are the douche-id of scrotal modernity. Watching his progressive devolution while his Ukranian Hott tries to keep up speaks to a much broader cultural journey.
As noted cultural theorist Pierre Bourdieu describes it, Donkey Douche has acquired symbolic capital through absorption of media sanctified signifiers within his habitus. Witness the Donkster’s recently added ginormous shoulder tribal tatt. His hairstyle change to vertical fauxhawk. These symbols communicate the Donk’s acquired cultural capital within the symbolic realm.
As such, the Donkster’s body no longer exists as physical presence. It becomes untethered. A douchal hyperlink, if you will.
Donkey Douche engages his own body as scrotal Rorsharch Test offered up for societal decoding. His primitive cluelessness and lack of awareness of his own agency become the blank canvas with which our culture inscribes its trendlines. The Donkster doesn’t choose douchosity. He is simply a blank receptacle for societal imposition. The Donk’s body, a nexus point of social reception.
Or, as famed philosopher Tawny Kitaen once said, “Unnnnmmgghhhhhhh.”
Exactly, Tawny Kitaen. Exactly.
