Fan vad rätt jag har hamnat på min kurs. Vår främsta föreläsare har redan droppat att vi alla borde organisera oss fackligt, samt gjort uttalandet "USA's vapenindustri behöver krig" (jävligt uppenbart uttalande men ni fattar på vilket sätt det sades) och blir på så sätt en tant i min smak. Tydligen har hon även under 70-talet varit i Kambodja och träffat Pol Pot, vilket i sig är jävligt fett. Enda tråkiga är att jag under första delkursen ska läsa 2000 sidor, på en månad. Och jag är en jävligt slow reader.
Ai,
paz.
2011-01-31
2011-01-29
Linton Kwesi Johnson - Forces of Victory
Snubblade över denna idag, och fan vad glad jag är för det. Utan tvekan en av de bästa reggae-skivorna jag hört i mitt liv, topp fem liksom. Så se till att kolla in, även ni icke-reggae-heads, för det här gillar man om man gillar musik.
Jag lovar.
Lyssna här.
paz
2011-01-28
Most slept-on since codein
Ett album som många kanske missat. Hittade de själv nyss. Klassiska grejer från 94.
Production by Ed O.G., Diamond D, Buckwild, and The RZA
http://www.megaupload.com/?d=UJ0BVV6A
Production by Ed O.G., Diamond D, Buckwild, and The RZA
http://www.megaupload.com/?d=UJ0BVV6A
Ny låt från Detox
Kolla in på Rap Radar! Har tre saker att säga om låten:
1. Tänker inte säga nåt om vad jag tycker än.
2. Fast måste påpeka att första inlyssningen inte imponerar...
3. Fyfan vad Eminem låter jävlig, alltså kass, alltså riktigt riktigt jävla bajsnödig.
Länk igen?
Ai,
paz
1. Tänker inte säga nåt om vad jag tycker än.
2. Fast måste påpeka att första inlyssningen inte imponerar...
3. Fyfan vad Eminem låter jävlig, alltså kass, alltså riktigt riktigt jävla bajsnödig.
Länk igen?
Ai,
paz
2011-01-27
Zeitgeist: Moving Forward
Nu händer det!
Democracy is a con game, it is a word invented to outplay people, to make them accept a given institution. All institutions sing ‘we are free’. The minute you hear ‘freedom’ or ‘democracy’ – watch out, because in a truly free nation, no one has to tell you that you’re free.
- Jacque Fresco
Democracy is a con game, it is a word invented to outplay people, to make them accept a given institution. All institutions sing ‘we are free’. The minute you hear ‘freedom’ or ‘democracy’ – watch out, because in a truly free nation, no one has to tell you that you’re free.
- Jacque Fresco
Mr. DreSSman
Såg denna på "Mr. Jag tror på gud för att det är kul" bloggen. Dags att sprida vidare. Trevligt att se Jimmie Åkesson bli totalt överkörd.
2011-01-26
Fan asså, har en satans massa att läsa! Det här med skola är sjukt ovant... Kan informera om att endast hälften av min kurslitteratur har gått på strax över 2 lax... Så det är en hel del böcker och därmed en hel del att läsa. Dock är det jävligt intressant, så det är nice. Lovar att återgå till bloggandet snart!
Ai,
paz
2011-01-21
2011-01-20
2011-01-19
Babylon i ett jävla nötskal
Bra dokumentär som alla bör se om det fina fenomenet "planned obsolescence". Dvs. att producenter av exempelvis elektronik-prylar medvetet ser till att sakerna pajar efter en viss tid (så att man ska tvingas unna sig en, eller två, eller flera nya).
Ett fint exempel som berört BGM är ju Koss-lurarnas extremt fragila sladdar osv. Hur många par Kaouzzz har exempelvis Elias ägt? Eller köpt det senaste året tom?
paz
Pyramids of Waste (2010) from devoidion on Vimeo.
Ett fint exempel som berört BGM är ju Koss-lurarnas extremt fragila sladdar osv. Hur många par Kaouzzz har exempelvis Elias ägt? Eller köpt det senaste året tom?
paz
2011-01-18
Den sanna skolan
Reks + Primo
Im´a write this here rhyme like Guru's in the passenger
Standing on the east coast, staring out to Africa
Tungt!
Im´a write this here rhyme like Guru's in the passenger
Standing on the east coast, staring out to Africa
Tungt!
2011-01-15
Zöijtgöijst
Idag har nya Zeitgeist-flimmen premiär, iaf här i Uppsala; den visas gratis på en biograf. Ska bli intressant... Ja, det var allt.
paz
paz
2011-01-13
"Mix Mix"
Har hittats Zwedens bästa affär här i Uppsala. Jasmin gick förbi av en slump och jag var tvungen att cykla dit för att se vad hypen var all about!
Tänk er Foodland utbudet, fast tio gånger sjukare grejor. En hel affär i storlek med typ Biltema med endast sådant skit. Blev jävligt deppig av att vistas där då utbudet verkligen bestod av gammalt skit som med största sannolikhet producerats av nån liten dude i Asien för typ tio år sen. (Hittade bland annat en sjukt solblekt tavla på Aqua.)
Anywho, hade kunnat fota hela affären men här är några godbitar av vad som såldes:
Åsnan- "Från producenterna som såg Shrek" WTF?
Bara episk (fan!) skiva med en sjukt läskig snubbe på omslaget. Bra skit.
Här hör man inte vad jag säger, tror Gösen råkade hålla pekisen för micken men jag reppar iaf att jag tror detta är en exakt kopia av ett bord Xzibit visar upp i sin MTV Cribs. Kolla in 05.20. Jag reppar mitt läskigt bra minne! (Reppa dom endast sjuka möblerna runt om)
Skylten löd: Vantar "Potatis", typ som för att förklara designen. HETTA!
Bra erbjudande på godis: 3 för tio 1 för nio!
Efter vårt besök på "Mix Mix" begav vi oss över parkeringen tills "Nelins".
En stor mataffär som enligt sin skylt stolt låg i "Librobäck/Börjetull" (eller bara fem minuters promenad från Luthagen, men fan reppa ditt/dina område(n) liksom!)
Här fanns både färgade morötter till specialpris samt konstigt bröd.
Ai, det var allt för idag.
paz
The Oppression of Women in Narrative Cinema
Lite teorier kring genus och film som jag skrivit om i en tidigare kurs. Introt till filmen i klippet som jag analyserat bland annat. Se helst klippet innan fortsatt läsning.
The Oppression of Women in Narrative Cinema - Jane Campion's The Portrait of a Lady
In Laura Mulvey's essay Visual Pleasure and Narrative Cinema, Mulvey analyzes the human fascination of film, and how its conventions subjugate women to men. By recognizing and understanding her critical points it becomes possible to analyze the film The Portrait of a Lady theoretically from a feminist perspective. Analyzing Jane Campion's film is my task by using Mulvey's theoretical points, and in order to do so I will break down Campion's film into parts and analyze specific scenes. But first I am going to summarize Mulvey's points.
Firstly, Mulvey explores that the fondness of cinema can be understood by the scopopholic (pleasure in looking) and narcissistic nature of humans. She states that the cinema creates an illusion that the spectator is alone and is secretly looking at someone else (voyeurism). Mulvey also explains that there is a narcissistic aspect in taking pleasure of looking at others, because when the spectator recognizes other humans he also recognizes his self-image in relation to the person(s) on the screen, which is crucial to a person’s ego. This is being explained with Jacques Lacan's theory about the mirror phase. Spectators take pleasure in looking and being looked at simultaneously (2184). Secondly, Mulvey argues that movies have the purpose of serving the dominant patriarchal order (2183). Since films portray women as sexual object with the purpose of being looked at by other men. The roles between male actors and female actors are visible since the male actors are active while the female actors are passive. The men control the fantasies of the film with their gaze which the women are passive to. The displayed women does not really do anything to keep the story going, their purpose is to be enjoyed by through the male actors and the spectators looks (2186-2187). Thirdly, there are different types of looks in narrative cinema: that of the camera that records what is happening in front of it, that of the audience who are watching the completed film, and lastly that of the characters in the movie. Consequently this leads to that the movie is seen through the perspective of the male characters.
After locating Mulvey's points it becomes possible to analyze The Portrait of a Lady by applying aspects of the film through Mulvey´s conceptual model of filmmaking. In the very beginning of the film it is possible to analyze the passivity of the women by listening to their conversation about kissing, and men. This occurs while the screen is dark and none of the actors are visible, and the spectator can hear how the female characters are subjected to the actions of men, and how they reflect on their own passivity. “The best part of the kiss I think is when you see that head coming towards you and you know that you are going to get kissed”. From the very beginning the spectator can hear how the women are being passive, and simply waiting to be kissed. It seems like if the women´s involvement in the kiss is submissive to the actions of the male, which is the usual way of heterosexual interaction in movies. Another example of the subjection of women to men is audible in the same sequence of the film. “I get this really intense look in my eyes that says, I´m so mysterious and there´s so much more to me than meets the eye to find out”. This show how they as women are subjected to the gaze of men and that they are aware of it, and even like it. Once again the women find themselves in passive roles. This sequence of the movie foreshadows that the movie will have something a lot to do with heterosexual interaction and relations. It also exemplifies Mulvey's points of how traditional Hollywood cinema subjects women as sexual objects. The women in the conversation are aware of the gaze of other men, and from this point of the movie, the story will be centered on men´s view of women and how the women relate to it.
After the initial dialogue, the camera starts showing silent images of women accompanied by mesmerizing music. The women in this short sequence of the film are passive and subjected to the gaze of the spectator in the way that the women in the previous dialogue talked about being looked at by men. The silent women are spectacles to the bearers of the look (the spectator), and their only function is to be pleasurable to look at. This portion of the film also brings attention to Mulvey's statements regarding voyeurism and scopophilia. There is some kind of pleasure in looking at the human body since it is a component in the instinct of sexuality (2184). This pleasure in looking is attained in The Portrait of a Woman and especially in this scene where the spectator has the illusion of secretly observing the body of women. The bodies of the women are visible and eroticized through movements and dancing. The passiveness of the women creates a kind of mystique to them which the camera sometimes shoots without the women being aware of the camera. But there are also examples where the gaze of the camera/spectator is recognized and met by a mysterious look of the different women. This notion of the mystery of women is clearly being reproduced in the movie, and the women are objects to both the camera and the spectator.
Afterwards the camera cuts to a close up shot of the female protagonist Isabel Archer, which keeps zooming in on her eyes. Which I thought fell in to Mulvey´s description of when the beauty of a woman becomes an object that creates an erotic rapport with the spectator (2189). Right after this close up, a man comes up and tries to convince her to marry him. When the man in this sequence starts to talk to Isabel, the camera is focused on her for 30 seconds while you only hear the man talk. Isabel's beauty becomes the central point to the spectator although it is the man who moves the plot forward by talking. By filming this way the spectator can identify with the man in the scene, because when the camera later is focused on him, it is not shot straight and forward, it is shot in an angle from under and from the side. This creates the sense that you are not looking at him from Isabel's perspective. Therefore the camera controls that Isabel is always the one who is subjected to the gaze. This exemplifies Mulvey's point regarding men not being able to bear the burden of sexual objectification.
Isabel rapidly leaves the proposer because of her disinterest in marrying him. The camera subsequently starts to follow her and her movements back to her house. She walks across the lawn were couples of people are sitting and drinking coffee. Isabel's movements are being subjected to the gaze of two men on the lawn, and at one point the camera is focusing on her legs which are the point of view of a man who is lying on the lawn. In this short scene the camera follow her every movement in ways that appeal to the voyeurism within man, as well at is makes the spectator identify with the male characters. In fact throughout the movie there are many examples of how the work of the camera tries to make it feel like the viewer is watching something secretly. There are shots that are taken from and behind trees, shots from angles behind pot plants, behind a fences and stairs, and there are various more examples of this that further creates the feeling of secretly looking at someone.
Another part of the movie worth analyzing is when Isabel is having an erotic dream about the three men that proposed to her. In this scene the three men actively arouse Isabel by gazing, and by touching her while she passively lies down, and enjoys being passive. It is if she as a woman only can enjoy being the bearer of the look, but also being the one that is being touched by others. By looking at the interaction between these men and women creates a self-image of how we look at ourselves. A male spectator sees how the male characters look at women, and it is the camera that creates these looks. A female spectator sees the same thing but identifies herself with the “to-be-looked-at-ness” of the women. This recognition of oneself says a lot about how traditional Hollywood cinema is being constructed. It works to keep the patriarchal dominance intact, which is one of Mulvey's points. Men recognize themselves as active and in control of the women, while women recognize themselves as passive to the actions of men. And since humans find narcissistic pleasure in being looked at through the self-image of others, filmmakers have the possibility to reproduce these images of men and women.
This analysis of The Portrait of a Lady was roughly of the first 30 minutes of the film, a film that had much to do with the relation of how men and women look at each other and themselves. I would not go so far to say that the movie is about looking, but the previous analyzed examples of mine shows how films can be constructed to objectify women. The film served as a fine and more modern example of how traditional cinema is constructed, and by using Mulvey's essay, one could clearly find her analytical points in the movie..
The Oppression of Women in Narrative Cinema - Jane Campion's The Portrait of a Lady
In Laura Mulvey's essay Visual Pleasure and Narrative Cinema, Mulvey analyzes the human fascination of film, and how its conventions subjugate women to men. By recognizing and understanding her critical points it becomes possible to analyze the film The Portrait of a Lady theoretically from a feminist perspective. Analyzing Jane Campion's film is my task by using Mulvey's theoretical points, and in order to do so I will break down Campion's film into parts and analyze specific scenes. But first I am going to summarize Mulvey's points.
Firstly, Mulvey explores that the fondness of cinema can be understood by the scopopholic (pleasure in looking) and narcissistic nature of humans. She states that the cinema creates an illusion that the spectator is alone and is secretly looking at someone else (voyeurism). Mulvey also explains that there is a narcissistic aspect in taking pleasure of looking at others, because when the spectator recognizes other humans he also recognizes his self-image in relation to the person(s) on the screen, which is crucial to a person’s ego. This is being explained with Jacques Lacan's theory about the mirror phase. Spectators take pleasure in looking and being looked at simultaneously (2184). Secondly, Mulvey argues that movies have the purpose of serving the dominant patriarchal order (2183). Since films portray women as sexual object with the purpose of being looked at by other men. The roles between male actors and female actors are visible since the male actors are active while the female actors are passive. The men control the fantasies of the film with their gaze which the women are passive to. The displayed women does not really do anything to keep the story going, their purpose is to be enjoyed by through the male actors and the spectators looks (2186-2187). Thirdly, there are different types of looks in narrative cinema: that of the camera that records what is happening in front of it, that of the audience who are watching the completed film, and lastly that of the characters in the movie. Consequently this leads to that the movie is seen through the perspective of the male characters.
After locating Mulvey's points it becomes possible to analyze The Portrait of a Lady by applying aspects of the film through Mulvey´s conceptual model of filmmaking. In the very beginning of the film it is possible to analyze the passivity of the women by listening to their conversation about kissing, and men. This occurs while the screen is dark and none of the actors are visible, and the spectator can hear how the female characters are subjected to the actions of men, and how they reflect on their own passivity. “The best part of the kiss I think is when you see that head coming towards you and you know that you are going to get kissed”. From the very beginning the spectator can hear how the women are being passive, and simply waiting to be kissed. It seems like if the women´s involvement in the kiss is submissive to the actions of the male, which is the usual way of heterosexual interaction in movies. Another example of the subjection of women to men is audible in the same sequence of the film. “I get this really intense look in my eyes that says, I´m so mysterious and there´s so much more to me than meets the eye to find out”. This show how they as women are subjected to the gaze of men and that they are aware of it, and even like it. Once again the women find themselves in passive roles. This sequence of the movie foreshadows that the movie will have something a lot to do with heterosexual interaction and relations. It also exemplifies Mulvey's points of how traditional Hollywood cinema subjects women as sexual objects. The women in the conversation are aware of the gaze of other men, and from this point of the movie, the story will be centered on men´s view of women and how the women relate to it.
After the initial dialogue, the camera starts showing silent images of women accompanied by mesmerizing music. The women in this short sequence of the film are passive and subjected to the gaze of the spectator in the way that the women in the previous dialogue talked about being looked at by men. The silent women are spectacles to the bearers of the look (the spectator), and their only function is to be pleasurable to look at. This portion of the film also brings attention to Mulvey's statements regarding voyeurism and scopophilia. There is some kind of pleasure in looking at the human body since it is a component in the instinct of sexuality (2184). This pleasure in looking is attained in The Portrait of a Woman and especially in this scene where the spectator has the illusion of secretly observing the body of women. The bodies of the women are visible and eroticized through movements and dancing. The passiveness of the women creates a kind of mystique to them which the camera sometimes shoots without the women being aware of the camera. But there are also examples where the gaze of the camera/spectator is recognized and met by a mysterious look of the different women. This notion of the mystery of women is clearly being reproduced in the movie, and the women are objects to both the camera and the spectator.
Afterwards the camera cuts to a close up shot of the female protagonist Isabel Archer, which keeps zooming in on her eyes. Which I thought fell in to Mulvey´s description of when the beauty of a woman becomes an object that creates an erotic rapport with the spectator (2189). Right after this close up, a man comes up and tries to convince her to marry him. When the man in this sequence starts to talk to Isabel, the camera is focused on her for 30 seconds while you only hear the man talk. Isabel's beauty becomes the central point to the spectator although it is the man who moves the plot forward by talking. By filming this way the spectator can identify with the man in the scene, because when the camera later is focused on him, it is not shot straight and forward, it is shot in an angle from under and from the side. This creates the sense that you are not looking at him from Isabel's perspective. Therefore the camera controls that Isabel is always the one who is subjected to the gaze. This exemplifies Mulvey's point regarding men not being able to bear the burden of sexual objectification.
Isabel rapidly leaves the proposer because of her disinterest in marrying him. The camera subsequently starts to follow her and her movements back to her house. She walks across the lawn were couples of people are sitting and drinking coffee. Isabel's movements are being subjected to the gaze of two men on the lawn, and at one point the camera is focusing on her legs which are the point of view of a man who is lying on the lawn. In this short scene the camera follow her every movement in ways that appeal to the voyeurism within man, as well at is makes the spectator identify with the male characters. In fact throughout the movie there are many examples of how the work of the camera tries to make it feel like the viewer is watching something secretly. There are shots that are taken from and behind trees, shots from angles behind pot plants, behind a fences and stairs, and there are various more examples of this that further creates the feeling of secretly looking at someone.
Another part of the movie worth analyzing is when Isabel is having an erotic dream about the three men that proposed to her. In this scene the three men actively arouse Isabel by gazing, and by touching her while she passively lies down, and enjoys being passive. It is if she as a woman only can enjoy being the bearer of the look, but also being the one that is being touched by others. By looking at the interaction between these men and women creates a self-image of how we look at ourselves. A male spectator sees how the male characters look at women, and it is the camera that creates these looks. A female spectator sees the same thing but identifies herself with the “to-be-looked-at-ness” of the women. This recognition of oneself says a lot about how traditional Hollywood cinema is being constructed. It works to keep the patriarchal dominance intact, which is one of Mulvey's points. Men recognize themselves as active and in control of the women, while women recognize themselves as passive to the actions of men. And since humans find narcissistic pleasure in being looked at through the self-image of others, filmmakers have the possibility to reproduce these images of men and women.
This analysis of The Portrait of a Lady was roughly of the first 30 minutes of the film, a film that had much to do with the relation of how men and women look at each other and themselves. I would not go so far to say that the movie is about looking, but the previous analyzed examples of mine shows how films can be constructed to objectify women. The film served as a fine and more modern example of how traditional cinema is constructed, and by using Mulvey's essay, one could clearly find her analytical points in the movie..
2011-01-12
Definition
Main Entry: epic
Part of Speech: noun
Definition: long story
Synonyms: heroic poem, legend, narrative, saga, tale
A word, whose meaningful definition(s)and correct applications are now obscured and have been raped to death mostly by the 25 and under crowd. It has been overused as "the" catch phrase used to describe a situation, person, event, movie, taking a shit,etc. The abuse and birth as a catchphrase has its origins among avid gamers and pretentious English majors.
Tycker att vi dödar denna trend nu.
2011-01-11
Ni måste lyssna från början, och minst en minut in i låten... Men gärna hela
Sorry att jag vatt så dålli på bloggandet, ska försöka komma igen nu i dagarna. Kommer dock inte få min dator som jag trivs bäst vid (och där min årslista som jag inte vill hypa för den e rätt bull finns) förrän torsdag, tidigast. Så ha tålamod!
Vår nya lägenhet är iaf neff! Tyvärr får vi som sagt inte tag på våra grejor förrän i slutet av veckan då nissarna som bor i vår gamla lägenhet inte kommer till Uppsala förrän då. Bra att dom sa det innan.
Tänker även tillägga att jag och Gösen storhandlat idag och vi har mat så vi klarar oss resten av året typ. 3 kg kyckling, 2,5 kg fisk, 2 kg falukorv, 2 kg ris, 2 kg pasta och en jävla massa annat (2 kg morötter!). Min hemlis är att jag är en shopaholic när det gäller mat. Ai, det här sista stycket var skitbull.. Njut av kvalitetsmuzaken så hörs vi snart!
paz
2011-01-08
Illuminati special
Tar så klart detta med en nypa havssalt. Men det är ändå lite spännande.
Världens minst icke-subtila Illuminati-referens i ett avsnitt av Tom & Jerry.
Michael Jackson och Illuminati
Världens minst icke-subtila Illuminati-referens i ett avsnitt av Tom & Jerry.
Michael Jackson och Illuminati
2011-01-06
Maino - 2011 Predictions
"Jay and Kanye gon' do a mill or better, and niggas gonna start saying: Kanye is better."
2011-01-04
10
Blir en liten playlist av året. Låtarna jag lyssnat på mest under 10.
Årets Playlist(ingen inbördes ranking)
1. Big Boi – Shutterbug
2. Big Boi – The Train Part II
3. Kanye West – All Of The Lights
4. Kanye West – Runaway
5. Drake – The Resistance
6. Lil Wayne – Im Single
7. Rick Ross – Maybach Music III
8. Rick Ross – MC Hammer
9. KRS One feat Grand Puba – 5 %
10. HRSMN – This Shit Right Here
11. Curren$y feat. Jay Electronica & Mos Def – The Day
12. Fat Joe – Valley of Death
13. Nas & Damian Marley – As We Enter
14. Jay Electronica – The Announcement
15. J. Cole – Too Deep For The Intro
16. Little Brother – Tigallo For Dolo
17. Dr Dre – Kush
18. Lloyd Banks – Beamer, Benz Or Bentley
19. Trae Tha Truth – Inkredible
20. Lupe Fiasco – What You Want
Årets groupie
Jonas Grönlund p.g.a. alla hans artiklar om Nicki Minaj. Hans kärlek till henne vet inga gränser, trots att hon egentligen har haft en het vers i sitt liv. IM A MOTHAFUCKING MONSTAH!
Årets vers
Jay Electronicas vers på The Day. Han tar de tillbaka till “tung science” och lyckas säga så jävla mycket samtidigt som det är rakt igenom äkta. Dem inledande raderna om Public Enemy säger allt om vilket geni Jay Electronica är.
My momma told me always call a spade a spade
Be like Chuck D, never be like Flavor Flav,
but that clock around his neck is so fly and the way he complimentin’ Chuckie with that bow tie flow make me feel high so
I'm goin spit it my way, excuse me as I do me cruisin’ rudely down the high way
I'm young, black, intelligent, elegant, blahzay
Back to the thesis
Back to shooting craps and talking smack to the polices
Back to black and gold valleys
Dickies with the creases
Pullin young’uns by the coattails
Schoolin em who the beast is
I pray this flow is dumb enough ugh
I pray my heart is DMC and Rev Run enough
Cause I'm a throw my number up
I'm a throw some chicken bones and feathers on a hundred bucks
And summon up the thunder what?
The Voodoo man is coming bruh
You can't see the forest for the trees
It's okay, I got my jigsaw and my lumbertruck
Tell them boys their run is up
Årets Playlist(ingen inbördes ranking)
1. Big Boi – Shutterbug
2. Big Boi – The Train Part II
3. Kanye West – All Of The Lights
4. Kanye West – Runaway
5. Drake – The Resistance
6. Lil Wayne – Im Single
7. Rick Ross – Maybach Music III
8. Rick Ross – MC Hammer
9. KRS One feat Grand Puba – 5 %
10. HRSMN – This Shit Right Here
11. Curren$y feat. Jay Electronica & Mos Def – The Day
12. Fat Joe – Valley of Death
13. Nas & Damian Marley – As We Enter
14. Jay Electronica – The Announcement
15. J. Cole – Too Deep For The Intro
16. Little Brother – Tigallo For Dolo
17. Dr Dre – Kush
18. Lloyd Banks – Beamer, Benz Or Bentley
19. Trae Tha Truth – Inkredible
20. Lupe Fiasco – What You Want
Årets groupie
Jonas Grönlund p.g.a. alla hans artiklar om Nicki Minaj. Hans kärlek till henne vet inga gränser, trots att hon egentligen har haft en het vers i sitt liv. IM A MOTHAFUCKING MONSTAH!
Årets vers
Jay Electronicas vers på The Day. Han tar de tillbaka till “tung science” och lyckas säga så jävla mycket samtidigt som det är rakt igenom äkta. Dem inledande raderna om Public Enemy säger allt om vilket geni Jay Electronica är.
My momma told me always call a spade a spade
Be like Chuck D, never be like Flavor Flav,
but that clock around his neck is so fly and the way he complimentin’ Chuckie with that bow tie flow make me feel high so
I'm goin spit it my way, excuse me as I do me cruisin’ rudely down the high way
I'm young, black, intelligent, elegant, blahzay
Back to the thesis
Back to shooting craps and talking smack to the polices
Back to black and gold valleys
Dickies with the creases
Pullin young’uns by the coattails
Schoolin em who the beast is
I pray this flow is dumb enough ugh
I pray my heart is DMC and Rev Run enough
Cause I'm a throw my number up
I'm a throw some chicken bones and feathers on a hundred bucks
And summon up the thunder what?
The Voodoo man is coming bruh
You can't see the forest for the trees
It's okay, I got my jigsaw and my lumbertruck
Tell them boys their run is up
Lil Wayne f. Cory Gunz - 6'7
Listen to Lil Wayne f. Cory Gunz
Bangladesh har lyckats återupprepa succén med "A Milli" och gjort en lika störig låt som verkar vara förstasingeln på Tha Carter IV.
Bangladesh har lyckats återupprepa succén med "A Milli" och gjort en lika störig låt som verkar vara förstasingeln på Tha Carter IV.
2011-01-03
Nobody!
Jag vet inte vad den riktiga termen är, men jag älskar långa filmtagningar med scener där kameran följer vad som händer i en scen utan att klippa under en lång tid. Så jag var i extas när jag såg den superambitiösa säsongsinledningen av The Office säsong 7.
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