Mehmete, reaguj!

[Shozo Hirono]

Ja mislim da ovo peva Al Gore !!!!

[Shozo Hirono]

Proveri ovo na Youtube,mozda tamo lezi zec !

[cutter]

evo je:

http://www.memritv.org/clip/en/221.htm

valja li taj dokumentarac? kako mu je ime?

[Shozo Hirono]

Cutter Insider !

[Ghoul]

evo je:

http://www.memritv.org/clip/en/221.htm

valja li taj dokumentarac? kako mu je ime?

sjajno, hvala!

dok. je OBSESSION: RADICAL ISLAM'S WAR AGAINST THE WEST
i toliko je iritirajuće loš (jednostran! satanizujući! licemeran!) da sada nemam vremena da to opisujem, ali pisaću o njemu opširnije kad stignem.
ukratko, deluje kao da ga je buš lično aminovao, znači, strogo pro-američki, 'nismo mi krivi, ne znamo što nas tolko mrze, oni su gomila fanatika, luaci, glejte šta rade sirotoj đeci...' i sve tako.
prljavo parče PROPAGANDE posebno odvratno u svom licemerstvu, budući da koristi ISTE metode poput onih koje ovde ocrnjuje, a još koristi buša i -posebno ogavno, onu karikaturu, blera, kao zaštitnike zapadne civilizacije. dakle, implicitna, nimalo suptilna apologija njihovog intervencionizma.

ali pesma je zaista horror-hit, naročito refren!

[crippled_avenger]

Ready to make every heterosexual male not totally secure in their sexuality squirm next May, "Borat" creator Sacha Baron Cohen has enlisted the help of several professional gay porn stars for his upcoming film "Bruno" reports BrunoMovie.com.

Casting agent David Forest was contacted by the production and he, Cohen and director Dan Mazer auditioned ten actors for the roles, ultimately settling on Paul Barba (aka. Tony Capucci) and John Martel (aka. Tyler Saint).

In the scene, Cohen's campy Austrian journalist enters Burbank's Armano Hotel with some other men who try to get Bruno to join them in a five-man orgy upstairs.

Though Bruno refuses to join the orgy, he watches them from the window. The scene is expected to be a memorable one as the roles require full frontal nudity.

Saint's two dozen-film resume includes both Grabby and GayVN Award-nominated work with Mason Wyler in "Just Add Water" and Jesse Santana in "Fraternity Gangbang 2". Capucci's work can mostly been on popular on-demand sites like Mike Hancock, Jake Cruise and Cocky Boys.

[Tex Murphy]

Taj siroti Koen je načisto prolupao. A nekad je čak bio i duhovit...  

[Shozo Hirono]

Taj siroti Koen je načisto prolupao. A nekad je čak bio i duhovit...  

No no,ovim si sebe pretplatio na sve vesti o Brunu do premijere,na najboljem topiku ikad !

[crippled_avenger]

Twentieth Century Fox is gearing up to continue its "X-Men" franchise with a younger set of mutants.
Studio has tapped "Gossip Girl" creator Josh Schwartz to write "X-Men: First Class."

Schwartz, the creator and exec producer of CW's teen sudser hit as well as Fox's youth-centric "The OC" and NBC's "Chuck," is expected to inject a next-gen sensibility into the superhero series, which has earned $1.2 billion worldwide.

Writing assignment has also included the possibility of directing the pic, but so far Schwartz has opted not to take the helm.

Lauren Shuler Donner, who produced all three "X-Men" pics, as well as next summer's "X-Men Origins: Wolverine," is producing "First Class" alongside "Mr. and Mrs. Smith" scribe Simon Kinberg.

Fox is keeping quiet on plans and declined to confirm details of the project. The studio has been considering ways to continue its successful series of "X-Men" movies after the third installment, the Brett Ratner-helmed "X-Men: The Last Stand," collected $459 million in 2006.

Fox has been leaning toward using the younger characters introduced in the previous pics in future installments -- teenagers with powers taught at the Xavier Institute for Higher Learning.

Resulting film would likely draw from elements of the Marvel comic of the same name, launched in 2006, and enlist such characters as Iceman, Rogue, Angel, Colossus, Jubilee and Shadowcat, who have appeared prominently or made cameos in prior pics.

Given Hollywood's penchant for reboots with new actors playing familiar roles, pic could also reintroduce characters. Comicbook revolves around the Cyclops, Marvel Girl, Beast, Iceman, Angel and Professor X.

Naturally, "First Class" could also result in its own series of sequels.

Pic joins other "X-Men"-related projects already in the works at the studio. Fox is actively developing a standalone "Magneto" pic, as well as considering a "Deadpool" spinoff, based on a character played by Ryan Reynolds in "Wolverine." Shuler Donner is producing "Magneto."

Regular slate of "X-Men" pics would provide Fox with a reliable series of movies that perform at the B.O. and not repeat a dismal summer sesh like the studio experienced this year.

Although Schwartz has enjoyed smallscreen success, he has yet to crack the world of film with a significant project. He wrote and is attached to direct the coming-of-age comedy "Looking for Alaska" for Paramount.

Tackling a new "X-Men" installment will likely give Schwartz instant credibility within the studio world

[crippled_avenger]

So I'm basically done with everything I need for my review of "Mortal Kombat vs DC Universe." I finished the story mode (on the DC side, anyway, and checked out the MK side), did some arcade ladders, and overall had a ton of fun, way more than I expected.

Only thing left to do is try out some online kombat. So I do and as I inevitably lose match after match (reminding myself why I usually only play with friends on XBL), I realize people are pulling fatalities and "heroic brutalities" on me, but I have no idea how to do them. How could I miss that? So I peruse the game's "move list," everything in the "extras," the instruction book... nothing. How the hell are you supposed to know how to do these? Do you just try a million different combos until something works?

It's been a while since I played another "Mortal Kombat" game, and as I recall, back in the day (aka the '90s) people seemed to just know how to pull off fatalities and would tell each other. Which makes sense in an arcade, I suppose. But I'm at home, playing a T-rated game that's supposed to be accessible to the masses (and largely succeeds at being just that). And there's no indication of how I'm supposed to activate what should be one of the enjoyable details of the game. That strikes me as a problem. It seems like that's information that should be available, or at least unlockable.

Is it fair to knock the game in the review I"m planning to write tomorrow for this reason? Or am I just missing something and revealing that I'm ignorant, clueless, and possibly suffering from a low IQ?

(Yes, I could scour the Internet to find the combos, and I may do that now. But if the only way to learn finishing moves for "MK vs DC" is on message boards, something is screwy.)

[Meho Krljic]

Ili je samo mogao da pročita spisak specijalnih poteza i fatalitija ovde. Koliko me sećanje služi, MK igre su uvek kombinacije za fatalitije skrivale i puštale da se šire od usta do usta. Što je naravno i jedan od razloga što ih ja nikad nisam znao... nemam prijatelje...

[crippled_avenger]

On ne spori da je mogao da nadje na forumu nego postavlja pitanje da li je to mana igre odnosno koncepta releasea kao takvog.

[DušMan]

jedan od razloga što ih ja nikad nisam znao... nemam prijatelje...

A ja se baš čudio kako je moguće da na meni nisi izveo ni jedan fatality. Nisam, naravno, smeo ništa da kažem kad sam video kako se dereš na svoju ženu.

[Meho Krljic]

Sinoć sam je odro u tenisu. Sama je to tražila.

[lilit]

Kad se samo setim proslogodisnjeg pljuvanja po Wii igrama, dodje mi da se rasplacem.

[crippled_avenger]

The next time you turn on your XBOX, you'll receive notification of a "System Update" that'll install an entirely new dashboard/navigational/organizational "experience" into your system. This is called, simply enough, "The New XBOX Experience".

Stylistically, the throughline here = (essentially) Apple Cover Flow by way of Wii "cute"/"friendly" sensibility. An example:

Player avatars. Where the previous XBOX "blade" configuration offered the ability to chose one of an endless array of preset icons as an avatar, NXE allows you to customize your own avatar (down to mouth shapes, hair styles/color, body types, skin tone, etc.)

Users can take a snapshot of this avatar to use as a gamer picture and what not.






"Friends" management has been given an almost complete makeover. "Friends" are now shown in customizable settings, receding into the distance. Users can travel very quickly through this environ to locate the fellow players they're looking for. "Friends" are now identified by the avatars they have customized (as described above). An in-game notification function has also been added; a "Friends playing this game" message pops up when someone on your friends list is playing the same game you are.












The XBOX Live Marketplace has been reworked into a graphically intensive formation (again resembling Cover Flow). Artwork glides past briskly, it's FAR easier to identify TV shows and movies via vivid imagery (as opposed to the infinite lists we dealt with before). I may be wrong about this, but I believe a new Marketplace section has been added for "Independent Videos"; don't recall noticing that on the previous "blade" configuration. Here you can find stuff like "Red v s. Blue", Comic Con reports, and an array of funkier titles .






Netflix. Ahh, Netflix. NXE gives users the the ability to stream their Netflix library directly into their XBOX.

The Netflix interface utilizes the Cover Flow-ish mechanism mentioned above, and is extremely responsive.

When you jump into Netflix from NXE, you'll immediately access titles from your Netflix queue that are available for "instant" (i.e. streaming) viewing. This list is controllable by logging into the Netflix website (http://www.netflix.com) and managing your "Watch Instantly" queue. I tried this in (more or less) real time - changes made at the Netflix online queue propagate immediately to XBOX Live.

Accessing Netflix materials through NXE is very fast; streaming in HD seemed as fast as non-HD streaming in my case - which felt surprisingly fast in itself. A Netflix subscription is required for this; your existing Netflix subscription will work just fine. There is no extra charge for accessing Netflix through NXE.

Per THIS PRESS RELEASE from Netflix, 300 titles are currently available for HD streaming (with more to come). Alas, I've found no way to identify what these titles are - seems to be luck of the draw at this point. Someone told me JOHN CARPENTER'S THE THING was a streamable HD titles. I tried it out, it was indeed HD, and looked nice. Te image was on par with "On Demand" HD - not a "knock out" picture quality, but completely okay-to-really good.

As alluded above, the XBOX Live video store continues to exist as well - with film and television offerings, and more.

WOrthy of note: THIS REPORT indicating that Sony titles are suddenly becoming unavailable for streaming via Netflix/XBOX Live. Make of this what you will.






A ton of other features have been interwoven into NXE. Games can now be installed directly onto your system's hard drive. If I understand correctly, each XBOX game is between 6-9gigs - so you'll need a bigger hard drive in order to make this work. Accordingly, you're given the option to play games directly from the hard drive, which is said to significantly decrease load times of many titles (particularly older games).

As an anti-piracy measure (and to assure multiple people in close proximity can't launch a game then pass it on to someone else to play simultaneously), the game disc must stay in the tray even if the game is being played from the hard drive. An immediate abort of game-in-progress happens if you're playing from the hard drive and attempt to remove the disc.

I detected a noticeable improvement in online game play when playing directly from the hard drive. It felt crisper, more responsive.

You now have the capacity to ditch your zero Gamersocre. "Zero score games" can be wiped from your history, thus won't impact your overall Gamerscore average.

Photo Party allows multiple users (again represented by their avatars) to converge in the same room for photo sharing, real time chat, etc.

And the list goes on...

In almost every regard, NXE is an improvement over the XBOX previous interface. It's faster, more responsive, more expansive, more intuitive, and...above all...there's a sense of "fun" about it. Microsoft has always been way far ahead of, say, Sony in terms of navigation - NXE will only distinguish them further.

That's what I say...what do you think?

[Meho Krljic]

Kad se samo setim proslogodisnjeg pljuvanja po Wii igrama, dodje mi da se rasplacem.

Da ne bude zabune, ja Wii Sports u životu ne bih seo i sam igrao, imam bre mnogo boljih Wii igara na raspolaganju (čak i kada su u pitanju samo podgrejane nove verzije starih franšiza poput Animal Crossing City Folks ili Tales of Symphonia Dawn of the New World koje sam ovih dana oprobao), al' Wii Sports je baš ono što je Nintendo želeo da postigne: intuitivna, lagana a zabavna igra za neigrače. Tako da je maltene svako ko ga je probao odšetao sa osmehom na licu.

Što se tiče new Xbox Experiencea, ja moj Xbox 360 i ne priključujem na Internet, to jest na Lajv jer bih bio istog sekunda benovan (iz potpuno debilnih razloga, naravno) tako da ću ga iskusiti tek kad mi se instalira uz neku igru. Ali vidim da je bilo dosta problema juče sa tim, što i jeste za očekivati kad radiš masivan apdejt interfejsa za skoro 15 miliona ljudi odjednom...

[lilit]

Da ne bude zabune, ja Wii Sports u životu ne bih seo i sam igrao...

Pretpostavljam da ces i za Wii Fit reci da ga kupujes iz slicnih razloga? Mislim, nikad ti to ne bi sam kupio i sam stao na njega.  

 

[Meho Krljic]

Nizak udarac!!! Jasno je da ni Wii Sports ne bih kupovao da nije došo bandlovan zajedno sa konzolom.

[crippled_avenger]

Mene nikad ne zoves da igramo sport na Wii  

[cutter]

An American rapper who shot a man twice has been jailed for 20 years after admitting to the crime in a song.

Hip hop song helped convict gunman

Rico Todriquez Wright, 25, was sent to prison after his victim mentioned the hip hop confession to police.

    Chad Blue knows how I shoot.

Mr Blue said he later recognised Wright's voice singing this lyric

Chad Blue, 28, said he had known Wright before the September 2006 shooting, but that the men were not friendly.

He testified that companions egged Wright on as he chased and shot his victim in the thigh and groin.

"I heard one of the men tell Rico, 'Go ahead and shoot him'," the victim told jurors.

"When he raised his gun, I knew I had to run. But I knew if I ran a straight line, I was dead.

"So I started weaving, running between houses, trying to avoid the bullets."

Wright, from Dublin, Georgia, was sentenced to 20 years for two counts of aggravated assault.

He will spend another 20 years on probation.

[Meho Krljic]

Auh, brate. Znači sad čovek ne sme ni da se pohvali u pesmi koga je upucao??? Veliki brat sluša...

Cripple, evo pozvaću te, čim Sunčica propisno ozdravi.

[crippled_avenger]

Warner Bros. Interactive Entertainment, Equity Games Production and Halcyon Games have announced "Terminator Salvation – The Videogame," an action-packed, third-person shooter, to be released in conjunction with the highly anticipated Warner Bros. Pictures and Sony Pictures film, which opens nationwide on May 22, 2009.

Based on the upcoming Terminator Salvation film, the game offers players the chance to assume the role of John Connor, a soldier in the resistance, battling for survival against the far superior forces of Skynet. "Terminator Salvation – The Videogame" is a third-person action game with concentrated armed combat against all of the Skynet enemies from the film while encountering new enemies specifically designed for the game. The game was developed by GRIN Studios, published by Equity Games, co-published by Evolved Games and distributed by Warner Bros. Interactive Entertainment.

"'Terminator Salvation – The Videogame' allows players to battle for survival against Skynet enemies utilizing an incredibly fluid and realistic control set," said Cos Lazouras, President of Halcyon Games. "The player will be led through a visceral story with extremely polished production values to create a fully interactive Terminator experience."

"Building on the incredibly strong franchise, 'Terminator Salvation – The Videogame' will be a cinematic gaming experience that complements the upcoming film," said John Quinn, Executive Vice President, Worldwide Operations, Warner Bros. Interactive Entertainment. "Working with Halcyon and Equity Games, we will expand on the Terminator universe on next generation consoles with action packed gameplay and detailed environments."

[raindelay]

The documentary "Nerdcore Rising" investigates the newest, wave of hip-hop, nerdcore, as it follows the godfather of the genre, MC Frontalot, on his first national tour. Beginning in South Carolina and culminating in nerd mecca - the Penny Arcade Gaming Convention in Seattle - masses of fans across the country come out to bask in the Front's geek glory as he strives to achieve mainstream success.
Frontalot fanatics are the real stars of the film. They are hackers and gamers, bloggers and podcasters, they play World of Warcraft, live virtually in Second Life, and of course, they love nerdcore hip hop. In short, they are hardcore nerds, and together, they illustrate the funny, fascinating, and unapologetically uncool cultural phenomenon that is nerdcore.

Code Select Expand

http://rapidshare.com/files/151578648/Nerdcore.Rising.part1.rar
http://rapidshare.com/files/151467426/Nerdcore.Rising.part2.rar
http://rapidshare.com/files/151467691/Nerdcore.Rising.part3.rar
http://rapidshare.com/files/151467521/Nerdcore.Rising.part4.rar
http://rapidshare.com/files/151467733/Nerdcore.Rising.part5.rar
http://rapidshare.com/files/151467455/Nerdcore.Rising.part6.rar
http://rapidshare.com/files/151467703/Nerdcore.Rising.part7.rar
http://rapidshare.com/files/151466966/Nerdcore.Rising.part8.rar

[crippled_avenger]

Features
Chuck Klosterman reviews Chinese DemocracyEmail Email This
To:
 
 By Chuck Klosterman
November 19th, 2008
Guest reviewer Chuck Klosterman is the author of five books, including Fargo Rock City: A Heavy Metal Odyssey In Rural North Dakota and the new novel Downtown Owl. There is no one in the world more qualified to review the exhaustingly anticipated new Guns N' Roses album than he is.

Reviewing Chinese Democracy is not like reviewing music. It's more like reviewing a unicorn. Should I primarily be blown away that it exists at all? Am I supposed to compare it to conventional horses? To a rhinoceros? Does its pre-existing mythology impact its actual value, or must it be examined inside a cultural vacuum, as if this creature is no more (or less) special than the remainder of the animal kingdom? I've been thinking about this record for 15 years; during that span, I've thought about this record more than I've thought about China, and maybe as much as I've thought about the principles of democracy. This is a little like when that grizzly bear finally ate Timothy Treadwell: Intellectually, he always knew it was coming. He had to. His very existence was built around that conclusion. But you still can't psychologically prepare for the bear who eats you alive, particularly if the bear wears cornrows.

Here are the simple things about Chinese Democracy: Three of the songs are astonishing. Four or five others are very good. The vocals are brilliantly recorded, and the guitar playing is (generally) more interesting than the guitar playing on the Use Your Illusion albums. Axl Rose made some curious (and absolutely unnecessary) decisions throughout the assembly of this project, but that works to his advantage as often as it detracts from the larger experience. So: Chinese Democracy is good. Under any halfway normal circumstance, I would give it an A.

But nothing about these circumstances is normal.





For one thing, Chinese Democracy is (pretty much) the last Old Media album we'll ever contemplate in this context—it's the last album that will be marketed as a collection of autonomous-but-connected songs, the last album that will be absorbed as a static manifestation of who the band supposedly is, and the last album that will matter more as a physical object than as an Internet sound file. This is the end of that. But the more meaningful reason Chinese Democracy is abnormal is because of a) the motives of its maker, and b) how those motives embargoed what the definitive product eventually became. The explanation as to why Chinese Democracy took so long to complete is not simply because Axl Rose is an insecure perfectionist; it's because Axl Rose self-identifies as a serious, unnatural artist. He can't stop himself from anticipating every possible reaction and interpretation of his work. I suspect he cares less about the degree to which people like his music, and more about how it is taken, regardless of the listener's ultimate judgment. This is why he was so paralyzed by the construction of Chinese Democracy—he can't write or record anything without obsessing over how it will be received, both by a) the people who think he's an unadulterated genius, and b) the people who think he's little more than a richer, red-haired Stephen Pearcy. All of those disparate opinions have identical value to him. So I will take Chinese Democracy as seriously as Axl Rose would hope, and that makes it significantly less simple. At this juncture in history, rocking is not enough.

The weirdest (yet more predictable) aspect of Chinese Democracy is the way 60 percent of the lyrics seem to actively comment on the process of making the album itself. The rest of the vocal material tends to suggest some kind of abstract regret over an undefined romantic relationship punctuated by betrayal, but that might just be the way all hard-rock songs seem when the singer plays a lot of piano and only uses pronouns. The craziest track, "Sorry," resembles spooky Pink Floyd and is probably directed toward former GNR drummer Steven Adler, although I suppose it might be about Slash or Stephanie Seymour or David Geffen. It could even be about Jon Pareles, for all I fucking know—Axl's enemy list is pretty Nixonian at this point. The most uplifting songs are "Street Of Dreams" (a leaked song previously titled "The Blues") and the exceptionally satisfying "Catcher In The Rye" (a softer, more sophisticated re-working of "Yesterdays" that occupies a conceptual self-awareness in the vein of Elton John or mid-period Queen). The fragile ballad "This I Love" is sad, melodramatic, and pleasurably traditional. There are many moments where it's impossible to tell who Axl is talking to, so it feels like he's talking to himself (and inevitably about himself). There's not much cogent storytelling, but it's linear and compelling. The best description of the overall literary quality of the lyrics would probably be "effectively narcissistic."

As for the music—well, that's actually much better than anticipated. It doesn't sound dated or faux-industrial, and the guitar shredding that made the final version (which I'm assuming is still predominantly Buckethead) is alien and perverse. A song like "Shackler's Revenge" is initially average, until you get to the solo—then it becomes the sonic equivalent of a Russian robot wrestling a reticulating python. Whenever people lament the dissolution of the original Guns N' Roses, the person they always focus on is Slash, and that makes sense. (His unrushed blues metal was the group's musical vortex.) But it's actually better that Slash is not on this album. What's cool about Chinese Democracy is that it truly does sound like a new enterprise, and I can't imagine that being the case if Slash were dictating the sonic feel of every riff. The GNR members Rose misses more are Izzy Stradlin (who effortlessly wrote or co-wrote many of the band's most memorable tunes) and Duff McKagan, the underappreciated bassist who made Appetite For Destruction so devastating. Because McKagan worked in numerous Seattle-based bands before joining Guns N' Roses, he became the de facto arranger for many of those pre-Appetite tracks, and his philosophy was always to take the path of least resistance. He pushed the songs in whatever direction felt most organic. But Rose is the complete opposite. He takes the path of most resistance. Sometimes it seems like Axl believes every single Guns N' Roses song needs to employ every single thing that Guns N' Roses has the capacity to do—there needs to be a soft part, a hard part, a falsetto stretch, some piano plinking, some R&B bullshit, a little Judas Priest, subhuman sound effects, a few Robert Plant yowls, dolphin squeaks, wind, overt sentimentality, and a caustic modernization of the blues. When he's able to temporarily balance those qualities (which happens on the title track and on "I.R.S.," the album's two strongest rock cuts), it's sprawling and entertaining and profoundly impressive. The soaring vocals crush everything. But sometimes Chinese Democracy suffers from the same inescapable problem that paralyzed proto-epics like "Estranged" and "November Rain": It's as if Axl is desperately trying to get some unmakeable dream song from inside his skull onto the CD, and the result is an overstuffed maelstrom that makes all the punk dolts scoff. His ambition is noble, yet wildly unrealistic. It's like if Jeff Lynne tried to make Out Of The Blue sound more like Fun House, except with jazz drumming and a girl singer from Motown.

Throughout Chinese Democracy, the most compelling question is never, "What was Axl doing here?" but "What did Axl think he was doing here?" The tune "If The World" sounds like it should be the theme to a Roger Moore-era James Bond movie, all the way down to the title. On "Scraped," there's a vocal bridge that sounds strikingly similar to a vocal bridge from the 1990 Extreme song "Get The Funk Out." On the aforementioned "Sorry," Rose suddenly sings an otherwise innocuous line ("But I don't want to do it") in some bizarre, quasi-Transylvanian accent, and I cannot begin to speculate as to why. I mean, one has to assume Axl thought about all of these individual choices a minimum of a thousand times over the past 15 years. Somewhere in Los Angles, there's gotta be 400 hours of DAT tape with nothing on it except multiple versions of the "Sorry" vocal. So why is this the one we finally hear? What finally made him decide, "You know, I've weighed all my options and all their potential consequences, and I'm going with the Mexican vampire accent. This is the vision I will embrace. But only on that one line! The rest of it will just be sung like a non-dead human." Often, I don't even care if his choices work or if they fail. I just want to know what Rose hoped they would do.

On "Madagascar," he samples MLK (possible restitution for "One In A Million"?) and (for the second time in his career) the movie Cool Hand Luke. Considering that the only people who will care about Rose's preoccupation with Cool Hand Luke are those already obsessed with his iconography, the doomed messianic message of that film must deeply (and predictably) resonate with his very being. But how does that contribute to "Madagascar," a meteorological metaphor about all those unnamed people who wanted to stop him from making Chinese Democracy in the insane manner he saw fit? Sometimes listening to this album feels like watching the final five minutes of the Sopranos finale. There's no acceptable answer to these types of hypotheticals.

Still, I find myself impressed by how close Chinese Democracy comes to fulfilling the absurdly impossible expectation it self-generated, and I not-so-secretly wish this had actually been a triple album. I've maintained a decent living by making easy jokes about Axl Rose for the past 10 years, but what's the final truth? The final truth is this: He makes the best songs. They sound the way I want songs to sound. A few of them seem idiotic at the beginning, but I love the way they end. Axl Rose put so much time and effort into proving that he was super-talented that the rest of humanity forgot he always had been. And that will hurt him. This record may tank commercially. Some people will slaughter Chinese Democracy, and for all the reasons you expect. But he did a good thing here.

Grade: A-

[Meho Krljic]

Prilično sam baffled što album na sve strane dobja ovako dobre ocene. Mislim, da, ovo je skupo producirana ploča (oće to kad na nju potrošiš 13 milijuna dolara) i, da, aranžmani su ambiciozni, ali skup elemenata nije isto što i jaka celina. Meni je ploča slušljivija nego što sam očekivao ali suviše se oslanja na Axlovu ideju o tome kako to treba da zvuči i gubi se u produkciji/ aranžmanima a da joj istovremeno nedostaju zbilja prodorne osnovne ideje.

[crippled_avenger]

Evo mog stava zašto album dobija ovako dobre ocene. Složiću se sa tobom da je reč o jednom ostvarenju koje je bolje nego što smo se pribojavali tj. očekivali ali da tu nema ništa epohalno. Međutim, ovaj album je fascinantan artefakt. Meni kao fanu Gunsa, ali i inače kao ljubitelju velikih rok bendova, činjenica da se pojavila finalna verzija ovog albuma deluje kao nešto nestvarno, zaista mitski, i uprkos tome što muzika nije na tom nivou, ipak je dovoljno dobra da podrži tu fascinaciju.

Takva fetišizacija albuma kao artefakta se izgubila i poslednji put kad je hype oko samog albuma kao forme postojao bio je na Radioheadovom IN RAINBOWS sa sve iščekivanjem izlaska. CHINESE DEMOCRACY je novi slučaj i to sa dodatnom dimenzijom Axla koji je postao veći od života, povukao se u senku, održava turneje koje završavaju poluotkazane i to ne zbog nezainteresovanosti publike, i pretvara se u neku vrstu Howard Hughesa hard rocka.

Opet s druge strane moramo imati na umu da su Gunsi možda i najveći bend među velikanima kojima je MTV bio bitan za ostvarivanje globalne dominacije, a u vreme kada je MTV imao kakvu-takvu relevantnost. U tom smislu Axl je poslednja od velikih svetskih zvezda i njegovo novo saopštenje izaziva velike potrese.

A ploča je kao i Metallica nova, super svirana, lepo aranžirana, bez previše velikih ideja, ali je zdrav trud evidentan.

[Father Jape]

Kao nekome ko se manje-vise gnusa Gunsa, ovaj album mi pretpostavljam ne bi mogla biti zanimljiva ni na koji nacin?

[crippled_avenger]

Guns N' Roses, 'Chinese Democracy' (Geffen)
Finally, the balls-out going-away party Dubya deserves.
By Mikael Wood 11.21.08 11:25 AM
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Guns N' Roses codependents are rejoicing over Chinese Democracy's long-awaited release, perhaps the most-delayed album in rock history.

But think, for a second, about our fragile economy: According to a 2005 New York Times story, Axl Rose spent more than $13 million recording this thing; if left unsatisfied, his appetite for construction might keep the West Hollywood service industry afloat for another decade. Is now really the best time for this gravy train to pull into the station?

You bet.

An outrageously overblown pop-metal extravaganza, Chinese Democracy feels like a perfect epitaph for all the absurdity and nonsense of the George W. Bush era -- one final blowout before Principal Obama takes our idiocy away.

The music toggles between two primary modes: grinding industrial rock and keys-and-strings balladry. (Imagine Rammstein covering Wings, basically.) Yet to that blueprint Rose and his battalion of musicians (including no fewer than five guitarists) append every trick new money can buy: hip-hop beats, Middle Eastern–influenced riffs, space-cowboy atmospherics, and, of course, Rose's still-astounding vocals, often multitracked into a paranoid boys chorus.

Singling out highlights seems antithetical to Rose's double-widescreen vision, but with their memorable melodies, "Better," "This I Love," and "Riad N' the Bedouins" (say what?) rise above the aural onslaught.

Blast 'em at top volume as you wave good-bye to our yellow brick road.

[Meho Krljic]

Kao nekome ko se manje-vise gnusa Gunsa, ovaj album mi pretpostavljam ne bi mogla biti zanimljiva ni na koji nacin?

Voliš li Najn inč Nejlz?? Ako da, ovde bi se našlo ponešto za tebe. I inače, generalno, Čajniz Demokrasi je prilično osavremenjen i ne liči preterano na stare Ganse.

[crippled_avenger]

Mehmete, album je grower, treba da ga poslušaš još par puta pre pisanja recenzije.

[Meho Krljic]

Poslušo sam ga ja dosta puta, nije uopšte neprijatan za slušanje ali stojim pri izjavama. Plus, to da je grower važi za apsolutno svaki album koji sam čuo, mislim, lepo su ljudi rekli: dovoljno je neku stvar posmatrati dugo da bi postala interesantna.

[crippled_avenger]

Sa tim se apsolutno slažem. Kod muzike je ipak malo drugačije nego kod filma. Za filmove sam uveren da su pravljeni, u osnovi da budu jednom gledani, jer to je tehnologija gledanja filma - kupuješ kartu za jednu projekciju. Koliko god neki film postajao sve zanimljiviji sa ponovnim gledanjima, nesumnjivo je važno kakav utisak ostavlja na prvo gledanje.

U slučaju CHINESE DEMOCRACY prosto postoji ta jedna specifičnost da na albumu nema hitova na prvu loptu, a Gunsi su bili poznati po velikim hitovima i velikim hookovima. U tom smislu bi se CHINESE mogao otpisati kao slaba ploča. Ali, pošto nije pravljen za na jedno slušanje, neke stvari vremenom postaju hit i otkrivaju se hookovi.

Dakle, slažem se da sve postaje zanimljivo kad se dugo posmatra, nego naprosto hitičnost i himničnost nekih numera ume da bude sakrivena na prvih par slušanja, a Gunsi su tu zbog hitova i himni, zar ne?

[lou benny]

evo za meha i cripplea jedna smela teza o tome kako je prevladan lirički trip u savremenom rapu i šta je to sa weezyjem tako dobro

http://brandonsoderberg.blogspot.com/2008/09/raps-post-lyrical-phase.html

Friday, September 19, 2008

Rap's Post-Lyrical Phase

Rappers aren't rapping anymore. That's not the grumble of an old-school fan or knee-jerk disappointment upon hearing say the Kanye/Lil Wayne/Jay-Z/T.I track "Swagger Like Us" or the rap-less "Love Lockdown", it's just a fact. Most of radio's rappers are doing as much singing or club-ready chanting as rapping, and the few guys still rapping are layover from the late 90s/early 2000s or are named Lil Wayne and Kanye West-and the "talents" of those two are for some reason, still up to debate.

Sure, there's plenty of rapping in the "underground"--which at this point, just means, not one of the like 12 artists that can still get rap radio support--and the so-called "hipster rap" trend/sub-genre offers some genuine rapping, but really, rappers just aren't rapping anymore and it's a bummer, but it also just makes sense.

The height of rap "lyricism" (a term that means nothing but everyone reading this knows its meaning) was during the early-to-mid-90s when hyper-poetic rappers like Wu-Tang and Nas and Biggie ruled the radio. Since then, every rapper's tried to occupy that same space and failed, not for a lack of talent, but because it's a pretty much perfect era that was able to function at a pretty high-level of visibility with a relative lack of corporate interruption...and then it ended. The death of Biggie and Tupac, Wu-Tang's dissolution, enter the era of Puffy--all the stuff you'll one day read about in a music textbook on the history of rap-- but most importantly (and word to Dart Adams) The Telecommunications Act of 1996.

Nas' story of never being able to truly top his classic Illmatic is also the story of every rapper to pick up a mic and get influenced by Nas or any of those 92-96 classics, constantly looking back to the shadow of that 90s era and never being able to top it. In the world of smart people books and stuff, it's considered "the anxiety of influence"; basically, the weird tension of wanting to respect and also transcend your influences takes on a kinda fucked-up father/son relationship.

Many of the trends of recent rap, stuff like, rhyming words with the same words, non-sequitur similes, contempt for metaphors, increasingly out-there pop culture references, a bounds-less sense of free association, and a tendency to mix and merge musical influences outside of hip-hop, are often cited for the "decline" of "lyricism" and that may be true, but it's also a bunch of artists finally, formally rejecting what I'll call, "the Nas formula".

And the word "formula" is used advisedly because at this point, it's nothing more than that. This is not about Nas' lyrical brilliance or lack thereof--many songs on the recent Untitled maintain Nas' energy and verbal brilliance--but about the way that like most things, it got reduced to a messy series of verbal signs, signifiers, and cliches that connote "lyrical" to an audience of both ignorant and well-informed rap fans. Wander into any college rap show or arrive really early for the first act of say, a GZA show and you'll see the "Nas formula" at-hand: Rap with lots of feigned passion, use some big words, eschew a lot of broads talk, vaguely invoke politics and you're there.

Kanye West and Lil Wayne are both post-lyrical, understanding and well-informed by 90s rap but increasingly disinterested in overtly having much to do with it. This is hard for older rap fans whose ears have been accustomed to the "Nas formula" to accept. The artistic choices, some of them strange and ill-advised, sound more like a lack of talent than an attempt to forge some new, interesting way to rap. Joke punchlines and wordplay puns stretched so far that the joke is just how far it was taken, hold as much clout as solid metaphors and to-the-point storytelling.

One of the roots of the post-lyrical phase is Dipset's "No Homo". The "No homo" line is as much about hyper-making sure you didn't say some gay stuff as it was about bending the meanings of phrases into every conceivable direction and finding something gay in even the most innocuous phrases. "No Homo" was a word game created by a bunch of rappers obsessed with word-games. There's a clear connection between "no homo" and something like Wayne saying "they cannot see me/Like Hitler". Kanye's a rapper that on College Dropout was pretty much rapping like it was 1992--the "De La Soul" formula if you will, something oddly enough, Pharrell pretty much lives by every time he raps--but has made a decision to fall into the weirdo word games and purposefully groan-inducing punchline goofiness of post-lyrical rap. These guys are painfully aware that the "Nas formula" cannot be improved upon and instead, take a little from it here and there but try to do something else. This is the same thing that has happened in the history of every art-form.

While the argument could be made that generally art does not "devolve", there's a sense in which an end-run is made around complexity or maxmalism because it's sort of come to a head. The history of 20th century art is a series of artists trying really weird and different stuff--"make it new" being the motto of Modernism--with less and less interest in tradition. How painting got from beautiful well-rendered landscapes, to weirdo scribbles and splatter on canvas has been well-documented, and it's sort of the same thing as rap's 90s era, a sort of peak of verbal complexity that inevitably had to be cut-down and fucked around with or completely drown.

The logical extension of the "Nas formula" is the Grad school wordplay jerk-off party of Anticon or El-P at his most verbose and didactic, which you know, worked fine as an alternative but simply couldn't and shouldn't function at anything resembling "popular" music, which Wu-Tang, Nas, etc really were for a few years ago (the falling-out in popularity of lyrical rap must also be in part, the fault of the artists who seemingly forgot how to make catchy hooks to accompany their lyric-driven verses).

Southern rap's infiltration has a lot to do with this too. As the Golden era gets a little further away, reconsideration and re-canonization has come along and part of that has been a fairly radical re-focusing of who and what influenced whom. The latest generation of rappers are younger than me and so, Jay-Z--who is a kind of of a different generation than Nas, Wu, etc.--is one of the benchmarks of lyricism. Wu Tang's post-Forever fall-out coincides with Ghostface's reinvention and there's kinda a generation more influenced by the weirdo, almost post-lyrical insanity of Ghost than Wu's hard-edged rhymes as a whole. Wayne and Kanye too, find as much to like in weirdo-rappers like Kool Keith and Grand Puba or even the garbled goofiness of Ma$e as do they those rappers' more stalwart peers.

[Father Jape]

Voliš li Najn inč Nejlz?? Ako da, ovde bi se našlo ponešto za tebe. I inače, generalno, Čajniz Demokrasi je prilično osavremenjen i ne liči preterano na stare Ganse.

Hm, ne bih znao da volim Nejlze, previse sam poversno upoznat s njiovim zivotom i delom. S druge strane, sad sam zaintrigiran kako to zvuce osavremenjeni i ne kao stari Gansi, te cu ipak skinuti i preslusati album.  

[David]

Ko ima log na My/Shitspace-u, moze ga tamo poslusati na njihovoj oficijelnoj stranici (ja vise nemam, a da se zbog Gunsa-bez-Gunsa ponovo uclanjujem... ma bjazzziiii!).

[crippled_avenger]

Nije problem repa u tome što danas vlada stil koji se meni ne sviđa. Reč je o nečem drugom. Ova duboka kriza u kojoj se rep nalazi proističe iz toga što se i na ulicama u suštini slušaju 50 Cent i Kanye West, što je rep danas muzika u kojoj je proboj od ulice do mejdžor izdavača verovatno najkraći od svih žanrova, u kome su korporacije praktično uspele da prodru do same baze, do samog korena inspiracije.

Koliko god je na početku delovalo da je nastanak crnih mogula u diskografskoj industriji omogućio da se autorska prava i umetnički integritet zaštite, toliko se sada ispostavlja da rep postaje sve manje kreativan što su ljudi sa ulice bliži korporacijama.

Puffy je radio Biggija dok je još bio na ulici, a onda kad je postao veliki corporate čovek radi ovo što radi sada. Njegov ulazak u korporacije nije omogućio da se iko afirmiše, da se iko infiltrira, čak naprotiv, samo je snizio celu stvar. Slično je i sa ostalima. Jay-Z je bio u Def Jamu čak predsednik i ne može se reći da su se stvari promenile na bolje. Isto tako najveći hitovi su mu bili actovi poput Rihanne i sl. što je legitimno, ali nije baš razlog da crnci sa ulice uđu u industriju.

U tom smislu, srž repa je sada korumpiranija nego ikad, a ekonomski odnosi u priči diktoraju i kreativne odnose u priči. Što se mene lično tiče, ja mislim da je rep muzika koja zaista ima nekoliko dimenzija i raspoložen sam da u svim tim dimenzijama uživam na određeni način. Iako su mi Public Enemy ključ, ne očekujem da sve bude na tom tragu. Ipak, čini mi se da pritisak korporacija na sam koren kreativnosti čini da se savremeni rep deformiše, pa konačno i u tom pravcu u kome se odbacuju i forma i sadržaj u isto vreme.

[David]

Jel' moze neko da ovdje ubaci par imena pravog nigga underground (ne mislim na onaj indie) rapa, iz geta i sa ulice, prijetecih i uzbudljivih ritmova i lirike? Ima se slsk, pa kada se bude imalo i vremena, ta imena ce se i provjeriti.

I meni rap pocinje i zavrsava sa Public Enemy i NWA (moze i Dead Prez, iako sam podobro zaostao u razvoju... hm, istog).

[Kler_Vojant]

when I fuck Riahanna ain't used no umbrella,
when the bitch have twins we naming em both Ella. (Ella, Ella)
Heltah Skeltah

[Meho Krljic]

Jel' moze neko da ovdje ubaci par imena pravog nigga underground (ne mislim na onaj indie) rapa, iz geta i sa ulice, prijetecih i uzbudljivih ritmova i lirike? Ima se slsk, pa kada se bude imalo i vremena, ta imena ce se i provjeriti.

I meni rap pocinje i zavrsava sa Public Enemy i NWA (moze i Dead Prez, iako sam podobro zaostao u razvoju... hm, istog).

Company Flow: Funcrusher Plus

Immortal Technique: sve

Bilo šta od Rakima, sa akcentom na saradnju sa Erikom Bijem

[David]

Hvala na preporukama, Meho!
Provjericu...

[crippled_avenger]

E sad ako je Rakim underground, onda... Pa čovek je zvanično najveći MC ikada...

[lou benny]

Jel' moze neko da ovdje ubaci par imena pravog nigga underground (ne mislim na onaj indie) rapa, iz geta i sa ulice, prijetecih i uzbudljivih ritmova i lirike? Ima se slsk, pa kada se bude imalo i vremena, ta imena ce se i provjeriti.

pošto kapiram da nisi iz fazona da se zatrpavaš albumima i pošto, realno, ima milion albuma koje treba čuti, kapiram da ti je važniji sam osećaj i autentičnost, pa evo ti malo pravog nigga undergrounda (malo gangsta, malo politički ali oba hood) - dva možda najprespavanija albuma hardcore rapa, oba iz '93 (po ceo dan se pitaš da li sam s tvojom ribom, u stvari ne zanima me ona - zanimaš me ti, ajde da se šibamo pičko - ninety threeee!)

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http://www.megaupload.com/?d=6ZQ2KEXZ
(ili

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http://rapidshare.com/files/15732040/DMG-RIGORMORTIZ.rar)

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http://www.megaupload.com/?d=QV7KC8JL

(ili

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http://rapidshare.com/files/59342294/Kam_-_Neva_Again__1993_.rar)

trebalo bi da su svi uploadi bez passworda mada nisam proveravao.

evo da čuješ pre nego što skidaš da ne bude "mačka u džaku"

kam - peace treaty
kam - neva again
kam - stereotype
kam - holiday madness
kam - y'all don't hear me dough


dmg - psycho
dmg - one in da chamba
dmg - u don't hear me doe

a ako oćeš klasike, opet mora neki skroz osušeni funk da bude i straight up rime na beatu - gangstarr ("daily operation", "hard to earn"), epmd ("business as usual", "business never personal")...

[crippled_avenger]

Blizzard rep Frank Pearce announced last week in New York that writers are currently being sought for the long-awaited "Warcraft" movie.

"Legendary Pictures is currently trying to assign some names to write the screenplay and find someone to direct it, so it's still really early in production. They want to make sure they get the right talent for those different parts, especially the screenwriting because that's the foundation for the movie" he tells MTV News.

Would the film be live-action or CG animated like the games? "[The idea] has come up in discussions but it's not something we've really considered because it takes so long to generate just the brief amount of footage that we create for the game. It would definitely be really cool. There's no question about that, it's just that the quantity of work that it would take is more than we're willing to take on at this point."

[Meho Krljic]

E sad ako je Rakim underground, onda... Pa čovek je zvanično najveći MC ikada...

Ma, jes ti vido kako ne može da snimi album? Jesi ti vido za koga je izašo onaj živi album koga sam ti ja narezo? Rakim je danas veći andergraund nego IKAD.

[Meho Krljic]

evo za meha i cripplea jedna smela teza o tome kako je prevladan lirički trip u savremenom rapu i šta je to sa weezyjem tako dobro

http://brandonsoderberg.blogspot.com/2008/09/raps-post-lyrical-phase.html

Interesantan tekst i još interesantnija rasprava u komentarima na njega. Incidentally, ovo što Cripple kaže je jedno od delimičnih obrazloženja za fenomen koji Brandon samo opisuje u svom tekstu. Jedna od značajnih poenti koje jedan od komentatora iznosi, a koje Brandon nije originalno u tekstu dotakao (ili razradio) je što je post-lyrical rap (da ga za trenutak tako nazovemo) vrlo egoističan, čak do tačke samoizolovanosti. Mislim, svaki rap je po definiciji narcisoidan ili barem egocentričan, ne nužno u negativnom smislu, ali je ovo u svrhu ego-afirmacije i podrazumeva komparaciju između ega i ostatka pojavnog sveta, koja se dalje razvija u simboličku konfrontaciju ili simboličko potčinjavanje drugog. Kod post-liričkog repa, pak, nestaje ovaj odnos sa drugim, dakle, egocentričnost se zatvara u jedan više ne ni solipsistički univerzum nego u univerzum u kome pojam drugog više nije nešto što se prepoznaje kao drugo-od-ja, da tako kažem, nema komparacije, nema konfrontacije, nema podčinjavanja. Lil' Wayne i slični njemu (da generalizujem iz sve snage pa da kažem 'južnjaci', mada ovo naravno nije ni izbliza tačno), poput, šta ja znam Gucci Manea (on mi prvi pada na pamet jer sam njega nedavno recenziro) više nemaju odnos sa okolinom/ zajednicom/ drugim i njihov lirizam je više nekakva meditacija o sebi u kojoj povremene manifestacije pojavnog sveta više figurišu kao formalne rap obaveze ali nemaju presudnog uticaja na tok svesti niti se ego u kontaktu sa njima zbilja potvrđuje, jer nema procesa/ odnosa kroz koji bi se izvršila komparacija i utvrđivanje vrednosti.

Što se meni, dakako ne sviđa, ali to je, opet dakako, sasvim normalno jer sam star čovek slušalački odgojen na decenijama battle rapa i kulture koja je cenila pod jedan kompleksnu liriku prepunu slika, metafora i igara reči baziranih na razmeđi fonetske i simboličke sličnosti, a pod dva, podrazumevala je hip-hop generalno i rap partikularno kao medijum pre svega odnosa između jednog i drugog i jednog i zajednice.

Što znači da sam maltene fabrički nesposoban da zaista prihvatim (namerni?) prezir prema lirici (onome što Brandon naziva Nas-formulom) koji čujem kod mnogih južnjaka u poslednje vreme (zato mi je i TI-jev album daleko više prijao od većine južnjačke produkcije koju sam čuo poslednjih godinu dana, pošto je konvencionalniji po formi, bliži Nas-formuli) (uzgred, hip-hop album koji sam najviše slušao ove godine je, gle iznenađenja, Nas/ Doom kolaboracija iz 2006. godine Nastradoomus). Naprosto, ona u okviru nominalno istog medijuma uspostavlja skoro sasvim novu estetsku matricu koju ja, za sada ne umem da prepoznam kao nešto diskurzivno objašnjivo niti da prepoznam kriterijume vrednovanja. A pošto sam kondicioniran da hip-hop i rap upravo vrednujem kroz tu, jelte, Nas-formula estetiku i generalno nadmetačko-konfrontacijsku kulturu, ovo je za mene priličan kulturni šok.

S treće strane, koliko jesam u stanju da percipiram ovu muziku, zanimljiv u njoj je taj neki, hm, da ga nazovemo 'pank' kvalitet, dakle svesno ili nesvesno preziranje kompleksnosti i rafinmana koji se doživljavaju kao dekadencija (jedan od komentatora dosta ispravno proziva Anticon i El-Pja kao eksponente krila koje je Nas-formulu odvuklo u apsurdnu belačkokoledžsku masturbaciju), i kojima se primitivnost suprotstavlja kao kvalitet ne zato što nužno ima kvalitet samo po sebi već prevashodno zato što je različito. Pošto sam u ovom trenutku JA rokenrol dinosaurus koji je prepadnut što se njegovi omiljeni sofisticirani umetnici povlače pred navalom varvara bez rafinmana i veština, treba mi vremena da uđem u tu novu priču i razaznam šta u njoj vredi da ostane slušano i pamćeno i za 30 godina...

[lou benny]

pa eto, ta težnja za apsolutizacijom sebe, za tim da si toliko velik da te ništa ne dotiče i da se ne određuješ više u odnosu na ovog ili onog ili na zajednicu je nekako prirodna battle težnja. u tom smislu i ono "prevladavanje" treba shvatiti hegelovski. pokušaj da se izađe iz "gospodar-rob" odnosa u kome, koliko god izdominiraš u odnosu na drugo, ti si još uvek određen tim drugim i u tom smislu zavisiš od njega.

a inače, što se tiče samog osećaja kad slušaš te rime

da idemo od običnijih i konkretnih pojedinačnih stvari... meni je npr. sam onaj trip da se rimuje jedna ista reč na kraju linije a koji je počeo učestalo da se koristi tek u ovom milenijumu, baš geto. prosto tripuješ lika koji je glup ili je na nečemu i boli ga kurac i baca rimu. ta taktika je doduše rizična - jer npr ako ideš tako možeš da budeš prazan na traci a možeš i da isijaš toliku harizmu da iskida. nema sredine - ili ćeš da iskidaš ili će da ti prođe strofa ko da je prazan beat. (od domaćih je recimo rolex na "ko si ti" po mom mišljenju iskusno odradio taj trip)

a što se tiče tih praznih ili trivijalnih metafora, poređenja, wpa i sl. - s tim je isto to sranje. normalno, uvek će lakše s tim moći da se izvuče ortak koji ima dope vokal i delivery ali zar nije tako sa bilo kojim rapom? u svakom slučaju, ceo taj prost trip rimovanja je zabavan i često bude tvrđi od "liričkog" tripa koji u poređenju ispadne do jaja isciman. get piglu!

[Meho Krljic]

Pa, da, može taj egocentrizam-do-poništenja-svega-ostalog da se shvati kao ekstrapolacija battle filozofije o prevladavanju s tim što se ovde više ne prevladava protivnik već sama ideja borbe. Ali, kako rekoh, mom mozgu treba mnogo vremena da se prespoji i počne ovo da tumači kao legitimnu estetsku osnovu. Navikao sam da slušam i gledam hip-hop kao nadmetanje/ nametanje i da u njemu cenim dovitljivost, eleganciju i ukus pa mi nije lako da sad u okviru iste kulture promislim nešto što poriče dovitljivost, eleganciju i ukus i insistira ne samo na jednostavnosti već baš na stoopidnessu.

[crippled_avenger]

Lil Wayne je čovek koji je zaista zagledan u pukotinu u dominantnom narativu.

[lou benny]

u pukotinu