Here and there in this country there were telephones, but if one wanted to call Planet Earth, one put the call through at TELCOR, the small, timeless, dead center of Hell, where souls were being branded with the shapes of their hope … As soon as you enter you go deaf—there can be no voice to these cries … If you bring a camera, the film exposes itself on entering … The minutes stop, but the ticking gets louder … People blow their noses and cough … The green fire of boredom streaks the air … The children on their mothers’ laps seem to drip with pain … Nothing happens, you never get out, and it all just gets worse and worse forever … Imagine a bus station presided over by demons, some of them hateful and some of them helpful, where the buses never come … A doctor’s anteroom but the doctor is dead … Eventually they call a name that sounds like yours and shout the number of the booth they expect you to enter, and either you get one without a door, so that everybody waiting to make whatever calls the burning circumstances are forcing them to make can now memorize the names of your contacts and trace the character of your desires, or you close yourself up behind the Plexiglas while the chamber fills with your used breath until you really can just no longer speak.
I’ve heard a lot about Rollins’ upcoming TV show on National Geographic, but this episode rundown is by far the most interesting. Henry goes to a Pentecostal church where the sermon includes speaking in tongues, handling dangerous snakes and a three hour jam session. Right on
To express his solidarity with the Occupy movement, Zack de la Rocha wrote and released the following poem a few days ago. He said in a statement, “This poem is dedicated to the Occupy movement whose courage is changing the world. Stay Strong. We are winning.”
The beginning spills through city veins Into the arteries And under powers poison clouds We move like the shadows Through the alley ways Through nightmares bought and sold as dreams Through barren factories Through boarded schools Through rotting fields Through the burning doors of the past Through imaginations exploding To break the curfews in our minds
Our actions awaken dreams of actions multiplied A restless fury Once buried like burning embers Left alone to smolder But together stacked under the walls of a dying order All sparks are counted Calloused hands raised in silence Over the bonfire of hope unincorporated It’s flame restores tomorrows meaning Across the graveyards of hollow promises As gold dipped vultures pick at what is left of our denial
And the youngest among us Stare at us stoned like eyes determined And say Death for us may come early Cause dignity has no price At the corner of now and nowhere Anywhere Everywhere Tomorrow is calling Tomorrow is calling Do not be afraid
In the meantime, however, life goes on and the colonized subject draws on the terrifying myths that are so prolific in underdeveloped societies as inhibitions for his aggressiveness: malevolent spirits who emerge every time you put one foot wrong, leopard men, snake men, six-legged dogs, zombies, a whole never-ending gamut of animalcules or giants that encircle the colonized with a realm of taboos, barriers, and inhibitions far more terrifying than the colonialist world. This magical super-structure that permeates the indigenous society has a very precise function in the way the libido works. One of the characteristics, in fact, of underdeveloped societies is that the libido is primarily a matter for the group and family. Anthropologists have amply described societies where the man who dreams he has sexual intercourse with a woman other than his own must publicly confess his dream and pay the penalty in kind or in several days’ work to the husband or the injured family party—which proves, by the way, that so-called prehistorical societies attach great importance to the unconscious.
An interesting paragraph from Frantz Fanon’s The Wretched of the Earth, 1961
Male Bonding and EMA cover Nirvana for a release expected Jan. 1, 2012. The former takes on one of my favorite Nirvana songs, “Aneurysm,” while EMA (Erika M. Anderson) does “Endless, Nameless,” the hidden track following “Something in the Way” off Nevermind. Both are decent, but I’m digging “Aneurysm” more. Stream it below and check both out here.
Of course, listening to Nirvana covers only makes you want to actually listen to the originals, because they’re just a band you’re not going to beat. So here’s a quickie: “Ain’t It A Shame.” As in, Ain’t it a shame to beat your wife on a Sunday?
The asteroid safely will fly past our planet slightly closer than the moon’s orbit on Nov. 8. The last time a space rock this large came as close to Earth was in 1976, although astronomers did not know about the flyby at the time. The next known approach of an asteroid this size will be in 2028.
First off, Kendrick can talk for three minutes to a stranger and make it feel intimate—that’s a talent. Not that he’s talking about anything too personal (asked about who he’s working with and wants to work with), but you get the sense that he is taking in all the information and actually thinking about his answers. It’s good and you see it more and more in this generation’s artists, the fact that it’s cool to care. And I don’t think it’s a conscious thing either. Kendrick, Drake, Tyler, Wiz, KRIT, Frank Ocean etc. I’ve seen/read great interviews with so many of the newer cats, it’s really inspiring.
Anyway, the video up top is Kendrick doing a brief interview with Good Fella Media. He says he’ll be working with Jay Electronica, Joe Budden and Curren$y, and also says he’d love to do a track with Sade and Andre 3000. They ask him to name two artists people wouldn’t guess he listens to and would like to work with, and his answers are Waka Flocka and Portishead.
If only the latter made a record more than once a decade (I think the last thing they did was "Chase the Tear," which was a benefit song for Amnesty International). I’d like to hear Kendrick—I’d like to hear plenty of the dudes I’ve mentioned, and plenty I haven’t—on a lot of Portishead tracks/instrumentals in general, but I feel like he could do his thing on this one.
If you happen to dig either Portishead or seeing, check out the group’s video for "The Rip."
Same cover of The Source I used a few days ago, but this time what’s actually being referenced is from the magazine. Speaking with Kim Osorio, Drake expressed his distaste for social media outlets like this one. Here are some of his feelings on Tumblr:
I’m really scared for my generation, you know. The thing that scares me most is Tumblr. I hate what Tumblr has become. Because it like, it reminds me of those clique-y girls in high school that used to make fun of everyone else and define what was cool, but in five years, when you all graduate, that shit doesn’t matter. No one gives a fuck about that shit. Instead of kids going out and making their own moments, they’re just taking these images and living vicariously through other people’s moments. It just kills me. Then you’ll meet them and they’re just the biggest turkey in the world. They don’t actually embody any of those things. They just emulate. It’s scary man, simulation life that we’re living. It scares me.
JB hit up Power 106 to spit a few bars. Now, the DJ at the beginning says that Bieber ‘asked’ for the “Otis” beat—whether that means the freestyle was ghostwritten or pre-written I don’t know. Either way, the kid deserves mad props for not trippin over his own words, and even more so if it’s really off the top. Watch the video
The presidential hopeful analogized America’s “foreign foggy policy” to a near-bankrupt Godfather’s Pizza circa 1996, when he joined the drowning company as CEO. In a speech delivered yesterday at the National Press Club, Cain said:
I had never made a pizza, but I learned. And the way we renewed Godfather’s Pizza as a company is the same approach I would use to renew America. And that is: If you want to solve a problem, go to the source closest to the problem and ask the right questions.
Cain then said his second guiding principle would be to use “foreign policy common sense,” which for Cain would mean not announcing the troop withdrawals from Iraq or Afghanistan, and not “send[ing] an e-mail to the enemy about what you are going to do.”
So, in addition to letting his pizza sensibilities take the reins, Hermain Cain also plans to use common sense.
Below is the tracklist for Drake’s Take Care, out Nov. 15:
1. Over My Dead Body 2. Shot for Me 3. Headlines 4. Crew Love (ft. The Weeknd) 5. Take Care (ft. Rihanna) 6. Marvin’s Room 7. Under Ground Kings 8. We’ll Be Fine 9. Make Me Proud (ft. Nicki Minaj) 10. Lord Knows (ft. Rick Ross) 11. Cameras 12. Doing It Wrong 13. The Real Her (ft. André 3000 & Lil Wayne) 14. Look What You’ve Done 15. HYFR (ft. Lil Wayne) 16. Practice 17. The Ride
18. Hate Sleeping Alone 19. Untitled (ft. Lil Wayne)
So that’s 17 tracks with 6 features for the regular, and 19 tracks with 7 features for the deluxe. A rare appearance from Andre 3000, and apparently “Club Paradise” and “Free Spirit” are not included unless their titles have been changed.
MTV reports that Drake’s latest, “The Motto,” featuring Lil Wayne, will not be on Take Care but is possibly the untitled bonus track. In it Drake raps, “Rest in peace Mac Dre, I’ma do it for the Bay,” and the song’s beat definitely speaks to that sentiment. You can stream “The Motto” below: