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OhFortunae

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PostSubject: Re: C-RAP Fri Dec 05, 2014 1:49 pm

This C-rap is all about the racist White man; who must be massacred and their homes / farms burned down.
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Satyr
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PostSubject: Re: C-RAP Fri Dec 05, 2014 1:57 pm

Word.... afro

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PostSubject: Re: C-RAP Fri Dec 05, 2014 2:29 pm

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PostSubject: Re: C-RAP Fri Dec 05, 2014 2:35 pm

When da slave be given bling-bling he be tinkin' he like masta...all high and mighty and shiat.

When shorty be givn palice protection' she be all "I'm vicias, bitch!'

When little-man be protected from ghangstas he tink he strogner dan daddy.

Keepin' it real.

Dem dope raps, yo.

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PostSubject: Re: C-RAP Fri Dec 05, 2014 3:00 pm

Holla, boi. You be droppin' a knowledge bomb up in here.
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PostSubject: Re: C-RAP Fri Dec 12, 2014 5:41 pm







Very catchy
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PostSubject: Re: C-RAP Fri Dec 12, 2014 7:14 pm

Quote :

Rolling Stone Has Named ’808′s & Heartbreak’ The Most Ground-Breaking Album Of All-Time

Shortly after the performance, on November 24th, Kanye would release 808′s & Heartbreak, his first and only album not to feature rap as it’s primary genre. 808′s would go on to debut at #1, be certified platinum and garnered a Grammy nomination for his Young Jeezy collaboration, “Amazing.” 6 years later, 808′s is undoubtedly the drawing board for scores of artists today. From Kid Cudi to Drake, Kanye’s 4th LP has caused far-reaching ripples that will be remembered in Hip-Hop for decades to come. It was for this reason, upon several others, why Rolling Stone decided it is The Most Ground-Breaking Album Of All-Time.

According to RS:

   "But the album’s cavernous sound and exposed-soul lyrics confused even those who had been aware of West’s recent trials. Its core aesthetic was like nothing in Hip Hop: freshly butchered feelings enumerated in detail, but masked by digital processing; beds of spare synths used to balance a mix of singing and rapping. However, over time it served as a new template for up-and-comers in Hip Hop and R&B. Drake cited West as his budding sound’s ‘most influential person’ when he was hustling mixtapes, while artists like Future further tweaked the idea of using Auto-Tune as a way to convey emotions that evoke too much feeling when spoken of explicitly."

http://www.rollingstone.com/most-groundbreaking-albums-of-all-time

When being PC goes full retard...

Kanye West's "core aesthetics" and "exposed soul"(lol)...

Kanye West wrote:
I shoot the lights out
Until it's bright out
Oh, just another lonely night
Are you willing to sacrifice your life?

Bitch, I'm a monster, no-good blood sucker
Fat motherfucker, now looks who's in trouble
As you run through my jungle all you hear is rumbles
Kanye West samples, here's one for example

Gossip, gossip, nigga just stop it
Everybody know I'm a motherfuckin' monster
I'mma need to see your fuckin' hands at the concert
I'mma need to see your fuckin' hands at the concert

Profit, profit, nigga I got it
Everybody know I'm a motherfuckin' monster
I'mma need to see your fuckin' hands at the concert
I'mma need to see your fuckin' hands

The best living or dead, hands down, huh?
Less talk, more head right now, huh?
And my eyes more red than the devil is
And about to take it to another level, bitch
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OhFortunae

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PostSubject: Re: C-RAP Wed Jan 07, 2015 1:19 pm

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OhFortunae

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PostSubject: Re: C-RAP Mon Jan 19, 2015 4:52 pm

Niggers in presumably Amsterdam, Bijlmer (they have a more materialistic style in contrast with those in Hoogvliet [like Hef], although the texts are equally stupid and materialistic).



These nigs use constantly the words ''Wollah Meh'', Morrocan; though actual Berbers and Arabs look down upon them more so than European Whites. Lately there was a case were some Moroccan youth had beaten-up one of their own women and her partner for being with a negro, calling her a negerhoer (negro whore) - which had cost them her pregnant fruit (a mongrel baby).

If there is one thing I hate it are those who think that they speak a whole language by knowing a few words, such a case I have at my work with some Wigger.
I asked him why he talks negro, he said he talks ''Espanol'' (he couldn't even pronounce it), but it was Papiaments, a mix of Afro, Portugese and Spanish, he uses the words as negroes do - he is so proud on himself for having negro friends..



This specific text is ridiculously pathetic for a already ridiculous genre (''kut leven daarom moet ik in de lucht leven'' = shit life that's why I have to live in the air); but the most pathetic is that others buy such crap. His voice has no power, no strength, no emotion, no virility; nothing, just monotonously autistic. Not that it would matter for me if he would use more tones in his voice, it stays crap.
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OhFortunae

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PostSubject: Re: C-RAP Sun Feb 15, 2015 10:01 am

OhFortunae wrote:
Cocks, ballsacks, money, ejaculation, orgasms...Negroids being themselves, especially the jumping like monkeys i find extremely funny.

A outstanding reaction that I got upon my comment on this video of some time ago:



Translation:
Quote :
I too have problems with migration, but than
because of the many whom do not learn our language
and spit on our values and norms. That these boys
rap in our language is for me just really the
max. A interesting mix of English, Dutch
and the swagg of their musical background / roots.
If they express their artistry and themselves in
art in our language, then that makes me happy. Plus,
they are not lazy parasites. They work and
have ambition to make it, you can say about it
what you want, but making music is making
money is making economy, is a positive
input in the economic field next to the cultural.
A gain is this, IMHO. And the text is flat (vulgar/simple),
but is it not just fun man, a delicious
sex song. It does not have to be always intellectual
and complicated in life. Just nice
and fun and swagg is alright too man.
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OhFortunae

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PostSubject: Re: C-RAP Fri Aug 07, 2015 6:47 pm




The faces of these woman are as vile and expressive as are their celluite asses.
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PostSubject: Re: C-RAP Sat Aug 15, 2015 8:40 pm

A modestly pretentious church-slut seeking for the Modern pop-caricature's validation - the popgro (popular negro), he is universally appreciated wherever he roams among the ideals which are merely different in name but not in inclusivity / essence.
The popgro as a heroic-mascotte as to say ''we are open minded'' and to lure potential disciples to their ideology with saying right in your face ''we've got them too, the popgro, you won't miss out a thing by changing the ideals''. The popgro as some kind of caricature to have some feelings outside of the bubble, mistaking that every popgro has some kind of ghetto thug life history full of suffering from which they can take inspiration: ''look at him, he used to wear his pants below his ass and fucked (up) some not yet saved bitche...ladies; and now he wears his pants below his ass and raps about Jesus - these kind of feelings, so touched by the world outside our sheltering, is what we want to appreciate, the savage...,the youth who changed his life into civilized inspirational behaviour - I told you we can breed with them, they just need Jesus back into their lives!''



Derek talking about Jesus and how the world is so fucked up.
https://www.youtube.com/watch?v=e--oogfn9cU

Nice Southern tune in honour to Jesus and a popgro to give the swag which the fatwannabegro cannot fully copy
https://www.youtube.com/watch?v=52RiKjNTgV8

The negro seemingly has some unconscious confusion; the negro wants to praise Jesus and at the same time use Gspot-culture (Gangster culture touching the sacred G-spot of Modern man's current ego-frequency talking to them through C-rap) to sell it, or simply does not know how to emotionally express himself otherwise and it all beez good.




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Trixie Celūcilūnaletumoon

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PostSubject: Re: C-RAP Sat Aug 15, 2015 10:44 pm

OhFortunae wrote:



The faces of these woman are as vile and expressive as are their celluite asses.

As stupid as most rap music is, believe it or not, the video is even dumber looking when you watch it with the sound off.
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PostSubject: Re: C-RAP Wed Aug 19, 2015 12:57 am


_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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OhFortunae

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PostSubject: Re: C-RAP Wed Aug 26, 2015 1:07 pm




A hoodrat with a blonde wig, a nose job, bleached skin and some black mongrel kid hanging on her neck and dancing on the chorus ''Pussy..pussy...pussy''.

Their emotional expression; alike to the consciousness of the animal kingdom.
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Jarno

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PostSubject: Re: C-RAP Mon Sep 07, 2015 5:16 pm

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PostSubject: Re: C-RAP Mon Sep 07, 2015 5:25 pm

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Jarno

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PostSubject: Re: C-RAP Thu Sep 17, 2015 8:24 am

Classic
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Zoot Allures



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PostSubject: Re: C-RAP Thu Sep 17, 2015 12:33 pm

^^^ She got louisiana purchase.

she got louisiana purchase card.

She got louisiana ana ana ana ana ana ana ana ana ana
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PostSubject: Re: C-RAP Wed Oct 21, 2015 5:29 pm

Brrraaaaahhh...

"I'm Ill…

(feat. Jay-Z & Fabolous)

[Chorus: Sample of "A Billi" by Jay-Z (Red Cafe)]
RAH, I'm Ill, I'm Ill, I'm Ill,
RAH, RAH, I'm Ill, (I'm Ill)
I'm Ill, I'm Ill, I'm Ill, (Red Cafe)
RAH, RAH, Motherfucker I'm Ill!
Motherfucker I'm Ill, Motherfucker I'm Ill
(Talk to 'em) RAH, RAH, (nigga) I'm Ill
I'm Ill, I'm Ill, I'm Ill, (I got this)
RAH, RAH!

[Verse 1: Red Cafe]
Pop deuce spot, kid latch off, still rep white, that Ash Roth
That uncut, that sushi, I'm too G, that's Gucci (WHAT ELSE!)
I'm bossed up, they washed up, e'ryday that Kush I cough up
By all cash, we don't rent out, I'm Ill, swag in the penthouse
Been a Konvict, ask Akon, had blocks locked, ask Avon
That's real talk, what's up B'Mo! (Yep!)
Bad Boy got Diddy on the T'Mo (WHAT ELSE!)
I'm Ill, make it look simple, DJ bring it back like a rental
Drinks don't stop, we party all night
And e'rywhere I go, I let it go like

[Chorus: Sample of "A Billi" by Jay-Z] (Red Cafe) {Fabolous}
RAH, I'm Ill, I'm Ill, I'm Ill,
RAH, RAH, I'm Ill, (I'm Ill)
I'm Ill, I'm Ill, I'm Ill, (Red Cafe)
RAH, RAH, Motherfucker I'm Ill!
Motherfucker I'm Ill, Motherfucker I'm Ill
RAH, RAH, (what else) {Loso}
I'm Ill, {I'm Ill in case you ain't know so! }
I'm Ill, I'm Ill, I'm Ill, {It's R} RAH, RAH!

[Verse 2: Fabolous]
If my name was Willis, they'll prol'ly call me Will
But I'm the illest so that's why they call me Ill!
EWWWW! You niggas disgust me
And they ain't talkin 'bout shit unless they discuss me
Funeral Fab, yeah I'm in the building y'all
All black on and I be killin y'all
So, the name speak for itself
You have a loser plus a lame that'll equal yourself
Live from Bedford-Stuyvesant, the livest ones
Still on my Grizzlies, no Iverson (Waddup A.I.)
You ain't no gangsta, you an off-duty cop
With ya fake ass, they should call you booty shots
Yankee game, better seats than Rudy got
Fruity pot has me with the eyes Matsui got (nice)
That nigga, that you are not
Red dot on ya head's the best tattoo you got
RAH!

[Chorus: Red Cafe]

[Verse 3: Red Cafe]
They trash, And I'm Ill,
I'm too hot how the fuck I'm 'gon chill
Laid back, Maybach, back seat
I'm BALLIN! Like a athlete
Talk is cheap, everyone could afford it
Shakedown here, now everyone applaud
Now it's showtime, time to camcorde
I'm in the buildin, and I'm the landlord
From the east, opposite of Kanye
No appetizers it's just en trees
Just four doors, maybe a couple Coupes
Everybody's eatin, no Cup A Soup's
General R, just showed up
Don't pass me nothin already rolled up
Drinks don't stop, party all night
And everywhere I go, I let it go like

[Chorus]"




_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

*Become clean, my friends.*
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OhFortunae

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PostSubject: Re: C-RAP Wed Oct 21, 2015 5:47 pm

Getting so sick of every thing; you are not ill, you are the newly institutionalized normal.
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Hrodeberto

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PostSubject: Re: C-RAP Wed Oct 21, 2015 6:36 pm

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OhFortunae

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PostSubject: Re: C-RAP Mon Nov 30, 2015 4:26 pm



Not only their expressionism in actual words lacks behind; now also to articulate goes below ebonic standards.
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Lyssa
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PostSubject: Re: C-RAP Fri Jan 01, 2016 12:14 pm

Minimalism, Theatricality, and Architecture


Quote :
Yves Klein, IKB 191, 1962, Monochrome painting. Klein was a pioneer in the development of Minimal art.



Minimalism

Modern music with Minimalist Roots


Quote :
"Donald Judd's boxes at the Chinati Foundation in Marfa, Texas:



…spectators are chilled by its apparent lack of feeling or content.  ritics, attempting to describe this new sensibility, call it Cool Art or Idiot Art or Know-Nothing Nihilism. That a new sensibility has announced itself is clear, although just what it consists of is not.                                                                                                                                  – Barbara Rose in “ABC Art,” Art in America, 1965


Minimalism, now recognized as one of the signal artistic strategies of the 20th century, was called many things in the 1960s: ABC Art, Literalism, Primary Structures, Specific Objects, Reductive Art. What was clear then was that the mute, unadorned, and often raw three-dimensional objects that were suddenly dominating many galleries (mainly in New York) were a world away from both the brushy, heart-baring heroics of then-waning Abstract Expressionism and the slick irony of the ascendent Pop artists.

Critics, curators, and even the artists themselves were trying to categorize the fresh approach, but it was actually a British philosopher, Robert Wollheim, who indirectly coined “Minimalism" in “Minimal Art,” a 1965 essay in Arts Magazine assessing the rise of a new kind of art—objects with “minimal art-content.” Wollheim used the term as a nuanced catalyst for discussion, but Minimalism’s detractors found the reductionist term all too apt; the art critic and AbEx champion Clement Greenberg said, scathingly, that he hoped this new sculpture would learn “how to rise above Good Design.” But Minimalists themselves—many of whom hated the term, in particular Donald Judd—were not dissuaded, instead seeing themselves as having started a different aesthetic conversation.

So, what was Minimalism, exactly? In the hands of the four canonical artists associated with the movement—Judd, Carl Andre, Dan Flavin, and Robert Morris—the work typically consisted of sculptural, bluntly geometrical works created from industrial materials (wood cubes, metal floor tiles, neon lights, thick felt drapes, etc.) that confronted viewers with their sheer, implacable objecthood, revealing nothing but their relation to the viewer's own physicality.
One of Minimalism’s main chroniclers, the art historian (and Greenberg protegé) Michael Fried, explained the movement’s conceptual concerns in his seminal 1967 essay “Art and Objecthood” by saying that its practitioners saw painting as “an art on the verge of exhaustion, one in which the range of acceptable solutions to a basic problem—how to organize the surface of the picture—is severely restricted…. The obvious response is to give up working on a single plane in favor of three dimensions.”
Andre, for one, had begun making these polemical sculptures in the late 1950s, but it was through shows in the early '60s at New York galleries like Green Gallery, Kaymar Gallery, Dwan Gallery, Tibor de Nagy, and Leo Castelli that this new sculpture gained notoriety. (“Don Judd” had his first solo show at Castelli in 1966.) Museums also embraced this new aesthetic. In 1966, the Jewish Museum held the important Primary Structures exhibition and the Whitney Museum included Minimalists in its American Sculpture: Selection I exhibition. American Minimalists were shown outside of New York with shows like Multiplicity at the ICA Boston in 1966 and American Sculpture of the Sixties at LACMA in 1967, and abroad in shows like Minimal Art, at the Gemeentemuseum in The Hague in 1968.
Across the work that constituted Minimalism—including that by other artists associated with the sensibility, like Walter De Maria (land art), Robert Smithson (land art), Sol LeWitt (conceptual art), Tony Smith, and Frank Stella (painting)—the key attributes could be boiled down to three elements: shape, size, and material.

Shape:



Size:



Material:



“The main virtue of geometric shapes is that they aren’t organic, as all art otherwise is," Donald Judd wrote in a 1967 essay with Lucy Lippard. "A form that’s neither geometric nor organic would be a great discovery.” Known for creating sculptures and installations that relied on the cube (or "box")—variations of which he made in plywood, steel, and Plexiglass—Judd also stacked pristine rectangular units at specific intervals up the length of walls, secure in the knowledge that the geometric shapes were not symbolic, representational, or meaningful in and of themselves. Carl Andre, too, stacked and placed pieces of timber and various metals into larger geometric forms, although he famously used the floor instead of the wall, radically removing sculpture from any form of pedestal or support; Dan Flavin created luminous, color-radiating sculptures from groupings of store-bought neons, while Robert Morris filled galleries with quadrilateral sculptures and draped thick sheets of sliced felt from walls, allowing gravity to determine its appearance.
Notions of symmetry and seriality were also important to the shape of the Minimalists' compositions, with symmetry employed not only to simplify production but also as a means of removing the need to balance any one part of the composition with any other. As Judd explained: “I wanted to get rid of any compositional effects, and the obvious way to do it is to be symmetrical,” adding that compositional effects “tend to carry with them all the structures, values, feelings of the whole European tradition. It suits me fine if that’s all down the drain.”  

In his essay “Notes on Sculpture,” Robert Morris quoted the artist Tony Smith responding to questions about Smith's six-foot 1968 steel cube work, Die:
          Q: Why didn’t you make it larger so that it would loom over the observer?
          A: I was not making a monument.
          Q: Then why didn’t you make it smaller so that the observer could see over the top?
          A: I was not making an object.
Much minimalist work related to human size, often in a way that suggested an unequal power dynamic. Morris wrote that this “positive value of large size… is one of the necessary conditions of avoiding intimacy.” Indeed Minimalist art often overwhelmed the galleries and museums in which it was installed. In her essay “Minimalism and the Rhetoric of Power,” the art historian Anna Chave noted that a large wood piece by Andre at Tibor de Nagy's 1965 Minimalism exhibition, Shape and Structure, nearly collapsed the gallery floor. Of the incident, Andre told Artforum, “I wanted very much to seize and hold the space of that gallery—not simply fill it.”
Not only was a lot of Minimalist work large in size, it was large in scale—it managed to filled space that it did not physically inhabit. The artist and critic Mel Bochner described this effect in his 1967 essay “Serial Art, Systems, Solipsism” from 1967: “For although [Flavin’s] placement of fluorescent lamps parallel and adjacent to one another in varying numbers or sizes is ‘flat-footed’ and obvious, the results are anything but.... Both Andre and Flavin exhibit acute awareness of the phenomenology of rooms. Andre’s false floors, Flavin’s demolished corners convert the simple facts of ‘roomness’ into operative artistic factors.”
The Minimalists’ desire (and ability) to capture space—and with it, the attention of viewers— was a major objection among critics to this new art. Clement Greenberg and Michael Fried’s main complaint of Minimalism was its sense of experience—or, as Fried would call it, "theater." (Greenberg thought, additionally, that Anne Truitt predated the Minimalists because her painted totems had an “effect of presence.” While the Minimalists did not think of their work as approaching theater, they were not only aware of but actively cultivating this experience of their works within their own terms.

One important early Minimalist work was Dan Flavin’s 1963 The Diagonal of May 25, 1963 (to Robert Rosenblum), which was first shown in 1964 at the Kaymar Gallery in New York. Installed at a sharp diagonal, rising from the bottom of the gallery wall, Flavin’s neon piece was assertively more than just a light fixture. Though the work’s electrical components were hidden, the bulb was left unaltered and bare, allowing the work’s cool white light to transform the ambiance of the room; yet, because of the placement and abrupt angle on the gallery wall, this common industrial object was clearly not intended for use—it was art.
Just as Duchamp’s use of found objects had helped usher in an era of "non-retinal" art, Flavin’s ordinary bulb—and, by extension, the other Minimalists’ use of common, industrially fabricated materials—declared a “detachment of art’s energy from the craft of tedious object production,” as Morris put it. The artist’s “work," here, consisted of the ideas and decisions that went into the presentation of the object—an idea that Conceptual art would fully explore in the late '60s, early '70s."

The Intellectual Origins of Minimalism


Quote :


The painting of a minimalist and clean room by David Hackney on the other hand extends the body without organs into the space and the narrative of the painting. We are left with only hints of the happening, a figure of a man wearing only a shirt and socks lying face down in a clinically clean room."

ArchAesthetics


Quote :
"Following the success of the minimalist art movement during the 60s and 70s, some rap artists attempted to bring the ideas of Donald Judd and Frank Stella into contemporary music, but were unsuccessful.

However, following the success of Mims in 2007, and the re-introduction of modern minimalism into Hip Hop, the trend was set.



The raw simplicity in Mims’ lyrics spoke to a vast number of the Hip Hop youth, and it wasn’t long before other rap artists adopted Mims’ approach to lyricism.

By now though, the music community was ripe for the minimalist revolution.



By this time, minimalism had been heralded by critics and fans as being the fresh new challenger to the, by now exhausted, bling rap and brand-new-hip-hop-dance rap.

Big time enterprenour and rap mogul Russel Simons was once quoted as saying:

“(People) are tired of hearing elaborate descriptions of money, cars and mansions. In fact, (people) are tired of elaborate decriptions of anything in Hip Hop. They want that raw, fresh rap that couldn’t come from any house (person). It has to come from the gutter, and it has to be simple. (People) don’t wan’t an English lesson; they want Hip Hop.”

For many rap artists, this was the defining moment in their career. Not only had they been granted free reign over the airwaves to finally explore the dimensions of minimalism, they could now participate in rap culture without needing a vocabulary of more than five words.

Hip Hop was now entering a phase never before forseen.



Nicki Minaj herself described ‘Stupid Hoe’ as her most inspired work in years, citing the work of Mims as her initial inspiration.

“The amount of struggle that artists such as myself have to go through for recognition is saddening, but it is great to see minimalism finally being recognised as a true form of Hip Hop.”

There are some critics that are begining to argue that minimalism in Hip Hop is losing it’s edge. They argue that artists that once found innovation in the art had begun stretching themselves to please a growing demand for this kind of rap. However, many counter-argue that more recent minimalist rappers have themselves begun to branch out into sub-genres of minimalism: namely ‘ultra-minimal rap’ and ‘toddler pop’.

Still, many rappers still feel that their craft is neccessary, specificaly during times of economic hardship, where rappers can cut down recording time through the looping of words.



Where this daring school of rap will go is up for much debate. But one thing is for sure, the ever growing public demand for it does not look to be dying down anytime soon. And as far as Hip Hop is concerned, it will remain to have a pivotal role in shaping the way artistic expression is seen in society for a very long time.

To end with a quote from the late 50 Cent:

“Nas may have said that ‘Hip Hop is Dead’, but minimalism makes a pretty strong case to say it’s still alive and kicking.”"

Hiphop Minimalism


Kanye West wrote:
"I’m a minimalist in a rapper’s body."

Minimalism and Yeezus


Old Norse Galdr means magical chanting, and alludes to the crowing of a raven. So a rune like Fehu would be crowed as:
f f f f f f f f f
fu fa fi fe fo
of ef if af uf
f f f f f f f f f

Or Uruz as,

u u u u u u u u u
u u u u u u r r r r r r
u u u u u u u u u

Or Thurisaz as,

th th th th th th th th th
thur thar thur ther thor
thu tha thu the tho
th th th th th th th th th

etc.


Now, when the Runists meant "raw", or when the Spartans meant "less is more", their "laconianism" was not the "minimalism" of such "primal structures" where the idea was to put an object and leave the rest to imagination - "suggestibility". Not different from Baudrillard's theory on sex, seduction and simulation, where "suggestibility" became everything and "sex" disappeared altogether.

As much as VOt would like to push the agenda of equivocating cRap Minimalism to the primal rawness of Galdr or Spartan aesthetics, the very purpose is reversed. Galdr and Laconianism were Bold moves to cut to the plutonic heart of the matter, where nothing could be wishy-washy about it. It was the opposite of ambiguity, where just enough was provided that one could make whatever sense out of it.
The Minimalist's "primal structure" really meant just enough to Suggest a presence, Deleuze's a BWO [body without organ], minimal functioning:

Quote :
"...they receded and let the audience encounter the work, much as early house culture kept the DJ hidden in a booth, with the energy of the room steadily becoming the event rather than an individual performance."

Minimalism and Yeezus


The Minimalist grunts of Kanye West and other cRap artists is not a "Galdr" or a "Spartanism" as much as VOts want to level them down as the same dionysianism.

Speaking barely and just enough to convey a meaning, as in, instead of "the one I trusted broke my heart", saying,

"She bitch", or "Love jugular"  can may be Romanticized as modern "Viking kennings", but not really, not honestly.

If I ate up half the words in the middle and just put enough subject, object, grammar, that doesn't make a kenning,, and that kind of "bare primality" is not the Toxicity of Radical roots, from which words and world-views evolve.

Fast cRap Minimalism is a shutting down of thought, than being really "edgy".

Rapid words coming out like "punches" and thug-virility as a serialism of words connecting other sound-alike words that can "just about" be put to made sense

"Uh, sama lamaa duma lamaa, you assuming I’m a human
What I gotta do to get it through to you I’m superhuman
Innovative and I’m made of rubber
So that anything you say is ricocheting off of me and it’ll glue to you
I’m devastating, more than ever demonstrating
How to give a motherfuckin’ audience a feeling like it’s levitating
Never fading, and I know that the haters are forever waiting
For the day that they can say I fell off, they’d be celebrating
’Cause I know the way to get ’em motivated
I make elevating music, you make elevator music"

or,

















Keeping and slanging vocabulary to the minimum has nothing "potent" about it as the kind of Dionysianism, say, exhibited by the "crooning" of some Blues Artists, or the insane self-thrashing of death-metalists, or the "crowing" of some rock artists picking up a line and repeating it over and over till they could intuit into it and build it into a crescendo of meaning in the form of a feeling...

The cAnus mindset that FEARS complexities of reality, and wants to make the conflict go away, is Exactly the pill-logic of cRappers keeping it to a "minimum", throwing words now and then, a ghetto-grammar of "safe resignation".

This is the opposite of the "expansion of consciousness".

cRap songs of "minimal truths" of living with "danger in the streets" with the spirit of "minimizing life itself" to the bare minimum of drugs and day to day survival, is presenting one's limitations and circumstances as sub. for reality itself.
This is the opposite of that Dionysian "Terribleness", that is the daring to affirm larger and more painful complexities of life in a logic of grand-simplicity.

Minimalism is neither primality, nor that Grand-simplicity.

The geometric shapes of the runes were to see laws in the looming of life, and not the reduction of life to abstract geometry as in minimalist architecture and words becoming icon themselves: "bitch", "snitch", "yo", "shite", etc., and 'silhouettes' of 'just enough' to tease base emotions.

A teaser is not a film.

Maybe, in the future, even films may go "Minimal", where a teaser would be enough to convey an "impression".

A kaleidescope of one scene after another, like random words placed one after another and patched to suggest a story and a sentence is not a sign of evolved taste, if all it does is kill thinking in its fight against linearity.

[Films like Babel akin to Triptych paintings appearing like BWO actually mean to show the radical root, and the differing organic drives building against and together with one another into a central story. ]

_________________


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"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: C-RAP Fri Jan 01, 2016 12:22 pm

cRAP is minimalist.

Rhymes, arranged in word-association emotional innuendo sequences.
Simple, bare minimal, hedonism...like a child talking.
The words don't matter except as stimulation of a feeling.
How they are arranged does not matter, because no complexity is being ordered. They are only used to create primal sensations in other by using words that trigger those sensations.

Like the beats they are accompanied and accentuated by.
Heart-beat...sexual....

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PostSubject: Re: C-RAP Fri Jan 01, 2016 12:34 pm

Simpleton-ism is not the same as Simplicism: clearness, clean lines,

or Easiness - and Ease

or Primitive - and Primal: predominating

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"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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PostSubject: Re: C-RAP Thu Jan 21, 2016 1:39 pm

And what the fuck is your c-Rap; the display of niggers trying to compensate through symbols, over-pumped muscles, vulgar language and body movements for their non-masculine slave past, low-class position in every form of society and their impotence to get high quality women.

I see a nigger displaying his fake ''masculine'' impotence, c-Rapping with anger about Whites, centering their lives and desire of dominance in their c-Rap, presenting women as sluts, fetished about asses and White women subjugated to their dirty fantasies, propagated by Jews as an Ideal and as tolerance for multicultural anti-Whiteness.

Nigger myths of superiority and the arrogance to think they have any value in what they c-Rap.


http://www.leedsbeckett.ac.uk/news/1015-racism-and-sexism-in-heavy-metal-highlighted-in-new-study/

Quote :
A new study from Leeds Beckett University has revealed how the metal music subgenre of folk metal is not only a fantasy space for young, white European men but also an important example of how heavy metal can be seen to normalise masculinity and ‘whiteness’ and perpetuate sexism and racism.

The study, published by Professor Karl Spracklen in a special issue of the journal Metal Music Studies on gender, race and class, edited by Rosemary Lucy Hill (University of Leeds), Caroline Lucas and Gabrielle Riches (Leeds Beckett, pictured) argues that folk metal, through its lyrics and stage clothes centred on myths of warriors, preserves an old-fashioned power structure where white, male Europeans are superior.

Professor Spracklen explained: “The important point about folk metal is that there is a pretence that the bands are drawing on older folk music and pagan myths to make music that is authentically local and national. The myths are generally of masculine prowess and the warrior’s search for glory. However many fans see some of the bands as inauthentic and not real pagans, sometimes using historical inaccuracies and singing in English where this isn’t their nation’s first language.

“Through the study, I found that although women fans of heavy metal enjoy folk metal with the same kind of passion and intensity as male fans, and there is no doubt they find identity and belonging through the music, the heart of folk metal is predominantly masculine. The warrior myth that folk metal is focused on is normalising this masculine predominance in our modern day world- men still have enormous social, cultural and political power.

“Folk metal’s obsession with warriors and cultural purity, displayed through tales of Vikings and dressing up as Vikings on stage, reduces belonging and identity in a muti-cultural, cosmopolitan society to a few exclusive myths. It is showing white men how to be white men and showing women and ethnic minorities their place in European society.”

Professor Spracklen is interested in leisure forms and leisure spaces – what we do in our free time - and the way they can be used both to create a sense of identity and belonging, and a structure of subjugation, in the period that we live in.

He said: “Leisure is a human need that emerged with our awareness of self, which expressed itself through the development of language, culture and art. Popular music is a form of leisure. People make meaning in their lives through listening to music and talking about music with their friends. They find identity and community in scenes, through fashions, makeup and hairstyles.

“Alternative popular music has shaped a counter-cultural leisure space since the 1960s, with all alternative subcultures eventually being co-opted by the mainstream, which is currently happening to metal, and this creates a sense of belonging and control.”

Folk metal is a fusion genre of heavy metal music and traditional folk music that developed in the 1990s in Europe. The first band of this genre was England group, Skyclad, who formed part of a wider pagan Celtic turn in alternative culture in England in the 80s.

Folk metal achieved some mainstream success in the 2000s which lead to it becoming less authentic and those that used to champion it began to react against it. It is still not mainstream according to music sales and numbers of fans on social media – for example, the mainstream, popular heavy metal band Guns n Roses had 31,016,896 likes on facebook in December 2014 whereas the most popular folk metal band was Eluveitie, with 748,507 likes at the same time.

Within Professor Spracklen’s study, he presents an analysis of five bands who are well-established in the industry and generally known to fans of heavy metal.  The accounts include Turisas, a band who are best known for their 2007 concept album, The Varangian Way, which tells the story of Vikings who travelled to Byzantium to become mercenaries serving the Roman Emperor. Folk metal bands see Turisas as inauthentic and not genuine pagans, whilst Professor Spracklen points out the historical inaccuracies in their stories which also serve to remind fans that the Byzantines are white Europeans, with the suggestion that it is better to be a Christian than a Muslim.

Another band highlighted is Tyr, formed in Denmark but priding themselves on being authentic and traditional, as metal from the Faroe Islands where their original, but not current, band members are from. Dressing as Vikings on stage and with a pagan name, their fans see them as authentic despite having a conventional metal sound and singing mostly in English.

Professor Spracklen explained: “The bands in the research are all trying to identify with some reputed folk culture that existed before modern times – a culture of pure white people, mono-cultural and mono-racial. In some bands, there is an explicitly racist purpose for their adoption of Thor’s hammers, Viking imagery and heroic pagan myths. While I do not think that the folk metal bands focused on in this research are explicitly racist, they are certainly romantic, conservative nationalists who sell the idea and myth of racial purity. They reduce complex ideas of roots, identity and belonging to simple, imagined and imaginary communities defined by race and nation.”

Heavy metal is seen as something unfashionable and relatively harmless in society, with folk metal representing the worst excesses of the heavy metal stereotype: the swords, fantasy, sexism, and histrionics.

Professor Spracklen added: “In my research I argue that folk metal serves as a comfortable leisure space for those that have lost power in recent decades: the white European, working class men who have faced challenges to their assumed privileges from women, globalisation, immigration and postmodernity. However, at the same time it should not be easily dismissed in this way, and I believe it remains central to the idea of heavy metal as a form of leisure that makes masculinity and whiteness the norm.”
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PostSubject: Re: C-RAP Mon Mar 28, 2016 3:09 pm



This is the way we are heading toward, a Brasil with ugly head mongrels compared to Carl Orff's compositions.
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PostSubject: Re: C-RAP Wed Sep 14, 2016 2:24 pm

Quote :
"Jamaican music scholar Frederick R Dannaway charts the rise of technology and machines – and the changing role of the producer – from roots reggae through dub to digital dancehall.

Rhizomatic riddims
The roots of reggae stretch deep to African soils, re-emerging as digital filaments and radicles in the creation of dub, dancehall and digital reggae. The revolving complexity of instruments filtered through various types of mixers and special effects has changed the very conception of music. From bedroom to cutting-edge professional studios, digital hardware is ever birthing new combinations. Dub as the mystical shadow of vocal versions has always had a touch of magic in its echoing translations of one drop riddims. Producers are the ‘scientists’ and ‘professors’, ‘organisers’, ‘doctors’ or ‘chemists’ in their recipes of audio potions that vibrate from their studio laboratories.

All music that is not enjoyed live and in person is subjected to the interlopers of recording devices and studio equipment of microphones and amplifiers.

The logical extension of this is that the mixing board itself becomes an instrument, transmuting certain tones to ghostly echoes, reverb and delays that envelope the music in a warm, almost supernatural aural glow. The mixing board’s magic allowed for the overdubbing of instruments, as exemplified by Freddie McGregor on many Studio One classics – including most of Sugar Minott’s output for Coxsone – that reinvigorated old riddims. The classic mixing desk used at Channel One, the API 1604, is a technological masterpiece and a work of art that rivals the finest wood instruments in aesthetics and charm – even, or especially, if it conjures up science-fiction movie rocketship controls.




The 12 track, and later 16 track and beyond, mixing boards – as Tubby and Jammy used – allowed the distinct layers of the music to be dissected (and sometimes mixed down to four tracks), allowing bass and percussion to linger and smoulder in an intense minimalism, fathering the reductionist digital reggae of the late 80s on through the 90s. Deejays chatting over minimalist dub versions was rap music before there was hip hop. The ramifications of roots music into the versioned instrumentals created dub as its own genre. The dub aesthetic of Jamaica in the 1970s expanded into electronica, house and dubstep. This avant-garde music played with sound, texture, pitch and scale like a painter attempting to capture light with shadows and chromatic contrasts, forever altering the evolution of music.

In some sense, the acoustic vs analogue vs digital debates might be likened to herbs vs synthetic drugs or natural light vs halogen bulbs: their processes are somewhat artificial or virtual in essence, still organic (to quote Jah Shaka, meaning, “of the earth”) but in a domain that transcends or transforms nature."

The rise of technology in Jamaican music



Quote :
"While in Minimal Art the material is limited to geometric forms, in Minimal Music the number of tones and intervals and the dynamics are reduced. Furthermore, artists avoid all forms of complexity as far as rhythm, articulation and sound spectrum are concerned.
In the next scheme larger units are formed out of single parameters. For example, a Minimalist composition may consist of one single tone or sound, include especially long-lasting tones or pauses or connect single tones in the form of root constellations such as broken triads, tone scales or circles.
These elements are then repeated with minimal or without modifications at all. By the same token, slight changes such as addition, subtraction or shifts can be found in previously defined sequences, without counteracting the Minimalist tendency of the composition.

Although in 1967 such an attentive critic as Lucy Lippart helplessly explained that Minimalism was a virgin birth the idea of radical reduction as the basic principle of minimal concepts did not emerge with Minimal Art but was already used by Kasimir Malevich in Suprematism around 1912. Malevich’s Black Square on White Ground (1913) exemplifies the reduction of elements to a basic quadratic form, seeming to be detached from the picture itself.

The aesthetic decision of absolute reduction can be noted already in Schoenberg, claiming that music should not embellish but be true. He states that art is not related to what one can do but what one must do. Thereby he paves the way for the early days of Minimalism about which the art historian Irving Sandler says that there was nothing that looked uglier, less related to art or more transgressive at that time."

Minimalist reduction



Quote :
Fre-styling: Gully Bop






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"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

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PostSubject: Re: C-RAP Wed Sep 14, 2016 2:33 pm

around 10':





The universe at bottom is a clashing of forces and vibrations, no melody, no rhythm, no harmony, which is something attained to by chance.

Now Minimalist music can claim to be "Keeping it real" or "True to the earth", "base values",, when it presents its reduction, altering it ever so slightly and building upon the base [repeated to attain a continuity like a breathing rhythm] as capturing the "Drone" [etym. male bees make no honey but hum, i.e. no melody, but mundane] of reality.

In classicism, music was Art, because it had the melody that "filled" the "empty hives"… it was artifice, it Lent something, it Bestowed something…,, why music and medicine went together in the figure of illusion-god Apollo...

Minimalist music tries to Usurp the place of philosophy, or atleast becomes its tool when it claims to expose the "base value". It is no longer Art.
That's one.

Two. While Minimalist "Base" may claim to an aesthetic of "getting back to the real important things" and "doing away with the unnecessary", it comes back to Standards, of what we consider "important" and what we don't.

Living like animals is a hedonistic Regression, and minimalist music so far has only been a justification of this Regression, of this "Poverty Porn"…

What does it matter if the ablaze spirit still sings of justifying that "dignity" which keeps it at the level of the animal??! - drugs, sex, "brotherhood of jesus", "the lowly is the king", "Respect me", etc. etc.

True base is the surge of the spirit that FIGHTS decadence, not justifies it - no matter how "creative" a medium it deploys. And fight against decadence is not the minimalist's fight against decadence - their ressentiment of celebrity lifestyle and luxury,,

but of everything that cowardly dubs its comfort, its limitations and Its stopping there - as 'highest excellence' or 'life-affirmation' or being 'rooted'…


Freedom and creativity not as an ends in itself, but as a for-what?

_________________


"ἐδιζησάμην ἐμεωυτόν." [Heraclitus]

"All that exists is just and unjust and equally justified in both." [Aeschylus, Prometheus]

"The history of everyday is constituted by our habits. ... How have you lived today?" [N.]

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