GURU -Gangstarr
Moderators: .etalosed, greuceanu
) cum da omu talib p power money and etc ....TARE 
-
Jedi Mind Tricks
- tanar
- Posts: 1
- Joined: Fri Feb 10, 2006 1:10 pm
De n-ar conta, nu s-ar mai face coperta pentru nici o creatie, de orice gen ar fi aceasta..
E prima impresie ce-o capeti, e imaginea albumului, compilatiei sau ce-o fi.. gandeste inainte de a scrie ceva!
The Book of Hip Hop Cover Art
of Andrew Emery (Mitchell Beazley Editions, 160 pages, 2004)
First of all, a note:: it is all the more pleasant to traverse and Re-traverse the pages of this book to the square format - the shape of a small pocket of album, as it should be - that he is gratifiant to write above, to carry it at the day a little more. Thus let us hope that these lines will collect your attention and, especially, will give you desire for reading these pages.
In addition biographer of Eminem, Andrew Emery explores in this work the small pockets of American discs Hip Hop left during the past quarter century. He thus treats the EC what one describes today as Artwork (usually all that is not musical in a disc). Let us note from the start that that does not exclude the pure art, with the only profit of the craft industry, of advertising do-it-yourself. Since 1983, well before from aucuns come from there to wonder whether the hard-bound covers of this new music could be art well, Jean-Michel Basquiat, "protected" from Andy Warhol, illustrated the famous small pocket of ' Beat Bop' de Rammellzee versus K-Rob, whose each specimen exceeds today the thousand of pounds sterling at Christie' S.
In the foreword, Emery points the variegated character of its illustrated compilation and assumes it like its will not to make a precis of history there, but to much more seize the air which a whole generation of hip-hoppers breathed. However, the party taken to make chapters practically corresponding all to times of the rap (following one another chronologically which more is) appears very relevant by singular lighting that it brings, as well historical - in the directions moving of the term - that artistic. Sociological too. The first appearance on a jacket of the mention "Explicit Lyrics" makes here its appearance in 1987 at Niggaz With Attitude... With which one will associate year later celebrates it logo "Parental Advisory" (at Slick Rick).
To sail among the small pockets with the passing of years enables us to explore in detail the many evolutions of the musical kind which gathers us. Thus during the very short period Magnet (1984-85), one finds underlined all the metaphorical range of the rap: honest and rigolarde aimed towards the future in the form of hope and call to the troops to be left the ghetto, or at least the ghetto??sation, the standardization. Some pages further, one enjoys all the humour of the rap through the small pockets of prolix Biz Markie (exits of its profitable collaborations with the graphic designer George Dubose, often quoted by the author). One regales oneself with the true nugget visionary and lucid of The Alliance in 1988, which one sees the members squatter a luxurious hotel room, all Converses about it around their platinum vinyl; the title is clear like a program: "We could be accustomed to that".
Often the colors strike and whirl somewhat in the pages of Book of Hip Hop Cover Art . Some are charged with direction than others: in particular, the red, the green and the black furrow the clear-sighted chapter devoted to the afro-centric period of the rap, with the turning of the years 80-90. Around "Am I Black Enough for You?" of Schooly D (which, as much on the side of the installation that paradigm, earlier returns the echo of the soul of Syl Johnson singing twenty years ' Is It Because I' m Black?'), it is to tell the truth enthralling to see how are defined the interpreters vis-a-vis this point particularly significant invariant. It is like so during two years the origin and the goal of the rappeurs had become Africa, its assertion over all. Mohamed Ali - the ultimate rappor, the pioneer for some - is not far, with this famous scansion which preceded its larger combat. It is in the natural prolongation of this reaffirmation that MC Shan, Boogie Down Productions or Paris will call some with resistance against the police oppression, which to some extent prolongs Africa in the districts of South Bronx or Brooklyn.
Definitely, the graphic inspirations do not miss and it is necessary to note absolutely one of the retinal influences toughest of these many small pockets: logos of group. Particularly the famous pictogram in the shape of target, cut out - it is learned - by the hand of Chuck D itself to mark with life the discs of Enemy Public. More outstanding still, though less known, the presence of "Little Sambo" of KMD, caricatures good black voluntarily barred, geared down, increased or mutilated, true visual achievement with leaving the African period and the entry in a new era of the hip hop. At the time even where KRS One called clearly its wishes a return of the "Rap Boom".
Even if, it were seen, the choice to write the book in a chronological progression is completely interesting and fulfills in the passing the promise made not "lead" for as much the analysis, it is necessary to announce the richness of the only chapter set of themes, dedicated to the references that the hip hop makes show through through its small pockets, in a manner of affirming them more still. Reverences go thus in Marvin Gaye to James Brown and in Funk - until there nothing astonishing good - but also with the Jazz of Blue Note and Beatles. One also smells to plane will have it political of Malcolm X or the autocelebration of the tops reached with Public Enemy. The group-headlight of the rap is besides with the honor in the interview of Chuck D, marked out of a great number of original small pockets. If one can find that the leader of Enemy Public misses modesty or of distance on his own covers, one will notice all the same that it prefers purified the small pocket of "Raisng to them Hell" of Run DMC , or which it deplores the MP3 when this last means the good-bye with the object of the book of Emery. It is according to him the loss of a whole side of imaginary conveyed by the hip hop. A simple small pocket can have an enormous range, as legendary "the Fear of testifies some has Black Planet"... The crate-diggers know something of it.
Lastly, Emery concludes by an outline from thesis, for the use of the time present of the jackets rap, directly intended for the fauna which regularly explores the vats of their preferred record dealer: the impoverishment of the artistic quality of the small pockets of album since 2000. It is perhaps true, the history will say it, but it seems as especially as the author is badly at ease with the jackets which are immediately contemporary for him. Yes, you will have included/understood it, this book is struck seal of nostalgia. But most of the time, it is for the best and that gives us desire for not finishing on a note as mitigated as the author: this new art of the small pockets is still alive as testify some randomly - with plume - the recent deliveries to Not Phixion , which are renewed in a jouissive parano granted to their texts.
Best covers:
Afrika Bambaataa & Soul Sonic Force - Renegades of Funk! (Tommy Servant boy, 1984)
Kaos - Court' S In Session (Bad Servant boy, 1988)
3rd Bass - Product Of The Environment (Def Jam, 1990)
E prima impresie ce-o capeti, e imaginea albumului, compilatiei sau ce-o fi.. gandeste inainte de a scrie ceva!
The Book of Hip Hop Cover Art
of Andrew Emery (Mitchell Beazley Editions, 160 pages, 2004)
First of all, a note:: it is all the more pleasant to traverse and Re-traverse the pages of this book to the square format - the shape of a small pocket of album, as it should be - that he is gratifiant to write above, to carry it at the day a little more. Thus let us hope that these lines will collect your attention and, especially, will give you desire for reading these pages.
In addition biographer of Eminem, Andrew Emery explores in this work the small pockets of American discs Hip Hop left during the past quarter century. He thus treats the EC what one describes today as Artwork (usually all that is not musical in a disc). Let us note from the start that that does not exclude the pure art, with the only profit of the craft industry, of advertising do-it-yourself. Since 1983, well before from aucuns come from there to wonder whether the hard-bound covers of this new music could be art well, Jean-Michel Basquiat, "protected" from Andy Warhol, illustrated the famous small pocket of ' Beat Bop' de Rammellzee versus K-Rob, whose each specimen exceeds today the thousand of pounds sterling at Christie' S.
In the foreword, Emery points the variegated character of its illustrated compilation and assumes it like its will not to make a precis of history there, but to much more seize the air which a whole generation of hip-hoppers breathed. However, the party taken to make chapters practically corresponding all to times of the rap (following one another chronologically which more is) appears very relevant by singular lighting that it brings, as well historical - in the directions moving of the term - that artistic. Sociological too. The first appearance on a jacket of the mention "Explicit Lyrics" makes here its appearance in 1987 at Niggaz With Attitude... With which one will associate year later celebrates it logo "Parental Advisory" (at Slick Rick).
To sail among the small pockets with the passing of years enables us to explore in detail the many evolutions of the musical kind which gathers us. Thus during the very short period Magnet (1984-85), one finds underlined all the metaphorical range of the rap: honest and rigolarde aimed towards the future in the form of hope and call to the troops to be left the ghetto, or at least the ghetto??sation, the standardization. Some pages further, one enjoys all the humour of the rap through the small pockets of prolix Biz Markie (exits of its profitable collaborations with the graphic designer George Dubose, often quoted by the author). One regales oneself with the true nugget visionary and lucid of The Alliance in 1988, which one sees the members squatter a luxurious hotel room, all Converses about it around their platinum vinyl; the title is clear like a program: "We could be accustomed to that".
Often the colors strike and whirl somewhat in the pages of Book of Hip Hop Cover Art . Some are charged with direction than others: in particular, the red, the green and the black furrow the clear-sighted chapter devoted to the afro-centric period of the rap, with the turning of the years 80-90. Around "Am I Black Enough for You?" of Schooly D (which, as much on the side of the installation that paradigm, earlier returns the echo of the soul of Syl Johnson singing twenty years ' Is It Because I' m Black?'), it is to tell the truth enthralling to see how are defined the interpreters vis-a-vis this point particularly significant invariant. It is like so during two years the origin and the goal of the rappeurs had become Africa, its assertion over all. Mohamed Ali - the ultimate rappor, the pioneer for some - is not far, with this famous scansion which preceded its larger combat. It is in the natural prolongation of this reaffirmation that MC Shan, Boogie Down Productions or Paris will call some with resistance against the police oppression, which to some extent prolongs Africa in the districts of South Bronx or Brooklyn.
Definitely, the graphic inspirations do not miss and it is necessary to note absolutely one of the retinal influences toughest of these many small pockets: logos of group. Particularly the famous pictogram in the shape of target, cut out - it is learned - by the hand of Chuck D itself to mark with life the discs of Enemy Public. More outstanding still, though less known, the presence of "Little Sambo" of KMD, caricatures good black voluntarily barred, geared down, increased or mutilated, true visual achievement with leaving the African period and the entry in a new era of the hip hop. At the time even where KRS One called clearly its wishes a return of the "Rap Boom".
Even if, it were seen, the choice to write the book in a chronological progression is completely interesting and fulfills in the passing the promise made not "lead" for as much the analysis, it is necessary to announce the richness of the only chapter set of themes, dedicated to the references that the hip hop makes show through through its small pockets, in a manner of affirming them more still. Reverences go thus in Marvin Gaye to James Brown and in Funk - until there nothing astonishing good - but also with the Jazz of Blue Note and Beatles. One also smells to plane will have it political of Malcolm X or the autocelebration of the tops reached with Public Enemy. The group-headlight of the rap is besides with the honor in the interview of Chuck D, marked out of a great number of original small pockets. If one can find that the leader of Enemy Public misses modesty or of distance on his own covers, one will notice all the same that it prefers purified the small pocket of "Raisng to them Hell" of Run DMC , or which it deplores the MP3 when this last means the good-bye with the object of the book of Emery. It is according to him the loss of a whole side of imaginary conveyed by the hip hop. A simple small pocket can have an enormous range, as legendary "the Fear of testifies some has Black Planet"... The crate-diggers know something of it.
Lastly, Emery concludes by an outline from thesis, for the use of the time present of the jackets rap, directly intended for the fauna which regularly explores the vats of their preferred record dealer: the impoverishment of the artistic quality of the small pockets of album since 2000. It is perhaps true, the history will say it, but it seems as especially as the author is badly at ease with the jackets which are immediately contemporary for him. Yes, you will have included/understood it, this book is struck seal of nostalgia. But most of the time, it is for the best and that gives us desire for not finishing on a note as mitigated as the author: this new art of the small pockets is still alive as testify some randomly - with plume - the recent deliveries to Not Phixion , which are renewed in a jouissive parano granted to their texts.
Best covers:
Afrika Bambaataa & Soul Sonic Force - Renegades of Funk! (Tommy Servant boy, 1984)
Kaos - Court' S In Session (Bad Servant boy, 1988)
3rd Bass - Product Of The Environment (Def Jam, 1990)
you just never know when you're living in a golden age.
Din pacate e unul dintre albumele ce sincer m-a dezamagit... My all time favourites sunt GANGSTARR, il admir pe Guru din momentul in care am auzit ce poate omul, dar pentru asta albumul asta mi se pare doar o umbra a ceea ce era guru odata. Unele dintre albumele mele de suflet sunt cele din seria Jazzmatazz... dintre care Jazzmatazz 2 cuprinde cel mai mare numar de hituri pentru minte. Si "Baldhead Slick and the click" a fost foarte tare... The Street Scriptures m-a dezamagit complet.... de abea l-am ascultat pana la capat.... parca nu mai era acelasi Guru pe care il admiram candva.... imi pare foarte rau de el si sper sa isi revina... oricum big up pentru Guru
life's a bitch and than you die
Suna ambiguu daca ai impresia ca Premier si-a pierdut din farmec, te-as ruga sa-ti argumenteazi parerea! Astea sunt discutii asa de dragul de a discuta, de dragul de a da o parere.. dupa mine. Premier poate este unicul care chiar si atunci cand face negative pentru pustanii hip hop'ului, adica pentru banet si nu numai, le face asa cum trebuie si cum numai el stie.
you just never know when you're living in a golden age.
Ma refeream la Guru.... nu la Premier, care si pe ultimul album AZ a facut niste negative de mori incet... in albumul asta nu am regasit chestia aia ce te face sa vrei sa reasculti un album la nesfarsit....Sun|Rah wrote:Suna ambiguu daca ai impresia ca Premier si-a pierdut din farmec, te-as ruga sa-ti argumenteazi parerea! Astea sunt discutii asa de dragul de a discuta, de dragul de a da o parere.. dupa mine. Premier poate este unicul care chiar si atunci cand face negative pentru pustanii hip hop'ului, adica pentru banet si nu numai, le face asa cum trebuie si cum numai el stie.
oricum interpretarea muzicii e subiectiva... toate argumentele pe care as putea sa le aduc sunt subiective... deci in cele din urma e un topic in care sa iti exprimi parerile
life's a bitch and than you die
In cazul asta ma simt bine.. chiar vroiam sa-i trimit scrisoare lui Alchemist.. 
E vorba de Guru.. omul asta nu si-a pierdut din farmec, nu si-a pierdut originalitatea, nu si-a pierdut nimic. Problemele lui personale si-au spus cuvantul, nu-i atragea Premier degeaba atentia s-o lase mai moale cu alcoolul, drogurile si starile depresive ce aveau sa urmeze. Capacitatea lor de a reda impreuna cred ca s-ar fi aflat inca in picioare daca nu aveau acele probleme in plus cu casa de discuri. Multi cred si afirma ca impreuna nu ar mai fi avut ceva de spus si ca cele 7 albume au fost mai mult decat de-ajuns. Eh, sunt sigura ca Premo se plictisise la un moment dat si-a vrut ca timpul ocupat sa-l aloce altor proiecte, ca de era doar problema de casa de discuri isi puteau relativ simplu gasi alta. Guru in decembrie a font on tour prin Brazilia cu Solar si DooWop. Omu' o sa revina in forta sper eu sau o sa se lase.. ar fi tare de s-ar gandi la un producer bun precum Illmind, 9th Wonder, Oddisee; care sunt mai pe val cu el, sunt foarte sigura ca l-ar ridica mult! Eu inca astept...
E vorba de Guru.. omul asta nu si-a pierdut din farmec, nu si-a pierdut originalitatea, nu si-a pierdut nimic. Problemele lui personale si-au spus cuvantul, nu-i atragea Premier degeaba atentia s-o lase mai moale cu alcoolul, drogurile si starile depresive ce aveau sa urmeze. Capacitatea lor de a reda impreuna cred ca s-ar fi aflat inca in picioare daca nu aveau acele probleme in plus cu casa de discuri. Multi cred si afirma ca impreuna nu ar mai fi avut ceva de spus si ca cele 7 albume au fost mai mult decat de-ajuns. Eh, sunt sigura ca Premo se plictisise la un moment dat si-a vrut ca timpul ocupat sa-l aloce altor proiecte, ca de era doar problema de casa de discuri isi puteau relativ simplu gasi alta. Guru in decembrie a font on tour prin Brazilia cu Solar si DooWop. Omu' o sa revina in forta sper eu sau o sa se lase.. ar fi tare de s-ar gandi la un producer bun precum Illmind, 9th Wonder, Oddisee; care sunt mai pe val cu el, sunt foarte sigura ca l-ar ridica mult! Eu inca astept...
you just never know when you're living in a golden age.
-
sadclown
- dimineata verific forumu
- Posts: 760
- Joined: Fri Mar 17, 2006 10:43 pm
- Location: circus-dristor 2 via appia
- Contact:
intotdeauna m-a fascinat guru cu stilul lui calm,natural si in acelasi timp persuasiv(pe partea opusa fiind krs tot persuasiv dar foarte agitat).cand il ascult ma pune intotdeauna pe ganduri asupra unei chestii.dintr-o piesa desprind o multime de idei daramite de la un album intreg.cred ca guru este un artist in adevaratul sens al cuvantului.starile lui de depresie si dependenta de tot felul de substante aduce spre caracterul unui artist(ei au o personalitate si un psihic predispus la asa ceva-sensibilitate foarte multa 
)
pana acum 2-3 ani nu puteam sa il ascult pe guru.negativele lu' primo efectiv ma furau.creeau un fel de hipnoza si ce mai zicea mc-ul nu mai conta.(cam asa am ascultat eu gangstarr un an de zile )
sunt sigura ca va reveni in forta si daca nu va reveni se stie ca s-a retras cu capul sus
)pana acum 2-3 ani nu puteam sa il ascult pe guru.negativele lu' primo efectiv ma furau.creeau un fel de hipnoza si ce mai zicea mc-ul nu mai conta.(cam asa am ascultat eu gangstarr un an de zile
)sunt sigura ca va reveni in forta si daca nu va reveni se stie ca s-a retras cu capul sus
duceti-va in pastele mamii voastre
http://genencretzite.blogspot.com/
http://genencretzite.blogspot.com/