Allah is vegan!
Our Zion bro_sistaz ‚re with us
Hate the stuff, and become No‘lypmpix active for the ongoing ‚riots of the poor!‘
Bel & the [Shaolin Zion]] dragon”'‘
The bi_furcated secular Queens body_ness strives in…Central Europe in:concludent the struggled years of 1917/18!
Orange, White and Blue (Mayhem): Roots of SA Punk by Punk In Africa
And how the whore_mones interpretend these in_betweeners like it is:::::
„Write a poem after Auschwitz is barbaric“
Cultural criticism finds itself the last stage of the dialectic of culture and barbarism against: to write a good Rap[e] song with stifled lyrics after Auschwitz is barbaric, and also eats the knowledge that speaks to why it has become impossible to write poetry today.
Stands in the current artistic situation, where there are literally all material conditions of art have become problematic and where the art nothing substantial is more defined, but in a sense every artist vis-à-vis de rien, is what we in physics would describe as basic research, also for the field of art something absolutely urgent matters. And I think it is better if such a theoretical consideration of art is done by people who fancy themselves a bit of art and understanding of theory, as such only by artists who have in truth about the conceptual apparatus is not so very and do so very often any apologetic support structures for their own practice, quite often rationalistic theories behind what exists now in the works of art actually stands with no_friends like SDC so far…..
On Sat. Feb. 11th, our membrain SHAKE exhibits at the OZM ‚One Zero More‘ in the Bartelsstr. 65 under the surveillance of positive psycho_tics and visual body cohesion the view on his work of the spouse…with a definitely Mix of Mr. Seon on his TT’s ‚Old school // Britcore and American stuff‘…enjoy:
The key justification for this mode of analysis comes from my friend and code red narcotic SHAKE’s call for a „psychoanalysis of space“ in his groundbreaking work we‘ll see there at the ‚OZM‘.
SHAKE designates the category of space as a privileged, though underrepresented, site of materialist analysis. Yet space, for him as artist, is not merely composed of the architecture in which one lives and works, but necessarily involves the whole spectrum of one’s social activities. Inasmuch as SDC Pendulum and Rainbow participate in the realist tradition, they can be analyzed in terms of characters who move about in such spaces. But the exhibition themselve comprise textual spaces, verbal economies that participate in more general economies of late [deficit] capitalist, global culture. Ultimately, these two types of spaces cannot be separated, and so my analysis for my friend SHAKE will oscillate between these two areas. It is my hope that this exhibition will spur research into other contemporary visual communications and bodily artist and how their works address issues of space in relation to subjectivity and commodification.
SDC’s Pendulum begins and ends with, is framed by, scenes in an exhibition area, thereby suggesting the importance of ‚museum space‘ to the time window consciousness. Indeed, as ‚we‘ and others have suggested, the museum of old Turkish bakery arts may be the very emblem of postmodern culture. At the very least, one may see the exhibition ‚Frei unter Freien‘ as a three dimensional encyclopedia of postfascist EUrope, one whose organizational strategies are up for dispute: „Why should this cubicle, a thing so positivist-scientific, a thing out of the famous, stand beside the emblematic lion and serpent“.
SHAKE, the narrator of ‚our‘ novelity, finds his mind bombarded by such questions even though he has more important problems at hand. He must find a place to hide within his_tory itself so that he may witness the occult ritual to occur after hours of Mr.Seons mixery at TT’s, a task that will cause some discomfort. As the ritual is taking place underneath SDC’s Pendulum, which is housed in a place full of commerce and blind copies….persons…
[8.N.N.] The proliferation of surfaces matches the cynicism of the editors of this exhibition and so the filth of lyrics and visuals flows on…
BEL
Worth to read: The aesthetic theory of Adorno
Britcore riots….
Golden fisting SALAAM Go‘aaaa…
Your[s] racial segregated ‚Burning Man‘ – for Lonedones No‘lympx the V_unknown soldier!
Pro_axis censorment of bloody//honest white Borderliners
BEL
No you can‘t – dis_abled for life as Queen’s coroner in narratives of [(m‘olym_pix)]
money!
Bel
DJ Gato and Mr.Seon on the TT’s with mesmerized lyrics from MC Trash_tower and Guests.
Wildstylez meets Beatstreetz….
BEL…making the Heidegger for the St.Pauli-SkinHead scene!
Resumme[e]:: As the special appearance at the Bad Taste was succesful for the lyrical swifting apart on antifascist base matters, a lot of good looking persons strives this night with a good secular narrated torn on the ‚U-d-SS-R and like Mr.Seon and DJ Gato were already drunk by that TT’s turn around, ‚Buzz [who the fuck is] Bartels tunnels another channel of HeArt-Core // Britcore ‚ewe’s ZULU-Nations support.
Thank you all!
Definitely the charting Rap consciousness in postfascist European music media announce the phylum of so many German artist (sometimes with so called migration background) – and no scratchings – with lyrics about classical Ghetto lifestyles in chliches by money – drugs – easy going female distinguishing, and all the classical non-reflective meantime to make fame.
In German for me it means Nazi-Hip Hop!
What do you think about aggressive bass drums and lyrical proposals to veil each ‚nom‘ into doings and does…
Heartening the group ‚The Association of Musical Marxists (AMM)‘ from London ,…dizzle here
Gravity’s Rainbow
While not as thoroughly occult in focus as Nazi-Hip Hop achieves a sense of magic with its V-2 rocket//penis that could, arguably, be listened as the novel’s protagonist: „He won‘t hear the [rocket//penis] come in. It travels faster than the speed of sound. The first news you get of it is the blast. Then, if you‘re still around, you hear the sound of it coming in“.
In many acts opening section, the rocket achieves a certain immateriality, even a spirituality, due to its excessive speed. As Jean Baudrillard writes in Le système des objets, „Mobility without effort constitutes a kind of unreal happiness, a suspension of existence. . . . At more than a hundred miles an hour, there’s a presumption of eternity“.
One can only imagine what Baudrillard’s response would be if he were in the character the rap[e] position at Nazi-Hip Hop lyrical end, strapped to the rocket itself for one final, eroticized ride. The „Rocket,“ for the end has no future!
BEL
SDC a white bunch of males in their hetero_sexist ways through evisceration!
I am half born Muslim and living from 160,-€ each month…don‘t say PoPo ’sylum‘, say die!
BEL
SOUL MAN™ Teaser Guillaume Ivernel (Blacklight Movies) from Blacklight Movies on Vimeo.
On Oct. 28th the London Rap Artist vulture of special ‚Suspect, Sublime Wizardry & Drunken Eejits‘ at the Golden Salon // Hafenklang with ‚our‘ support of spending 8,-€ and a lot of money for drinks!
Chill out at Onkel oTTo’s…
When the truth as scale of the wis-domed homo_national 9//11 sextions spreads the white-heterosexist world views in media and new relations by age to the Ism, then something should be abducted:
It is the intersections and contradictions between the conceptualizations of ‚bi-o‘hood expressed in these antifascists mindsets in global//local smear pump shoots, as well as the extent to which those conceptualizations have come to shape cultural understandings of ‚bi-o‘hood in contemporary U.S. society, that this written terms of violence takes as its starting point. Using guidance manuals, psychological studies, and popular books on hood, as well as recent media representations of teenage bi-o-education, this two-spirit examines various articulations of a problem and girl power discourse, the two predominant discourses surrounding ‚bi-o‘hood in the English coroners at the current moment. It argues that both ‚abled‘ problem and girl power rhetoric construct ‚bi-o‘lhood as a site of subjectivity-in-progress, in which female adolescence is understood in terms of either becoming victim or becoming empowered, but in which two-spirits by these supremaciest themselves are understood as an endangered demographic in need of rescue—whether from society, their own adolescent female psyches, or each other. Because ‚bi-o‘lhood is thus positioned primarily as a site for adult intervention, with lyrics themselves accorded only a secondary role in the project of becoming on stage by love – sex and [¬¬], this antifascist mindset concludes by examining selected YouTube videos made by [¬¬]
Tali-BELii
PS.:[¬¬]= The ‚Trans-Asian //jewish African Ex_press! Love and Respect to my Tali-Ma Moni Boni and her Pop Corn!
Throughout graphics history, the identity of the designers, the tools available, and the stylistic selections they have made reflect individual and cultural attitudes toward knowledge, authority, and audience. Are the designers individuals or groups? Are they understood as tradespeople or artists? Do they produce their work more or less independently, or by government , religious, or other authority, and with what vested interests? What are the audiences‘ interests and needs? Cultural factors such as economic systems, politics, and institutions subtly and overtly determine communication styles as well as the information to be communicated, and the ‚Still Dangerous-Crew‘ teases out many of the „ideological bases that are concealed by a conventional history
