Street Art: “Verso Verso Verso”

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Unfocused MC/ DC poster out and about in the streets of Caracas.

Saving Venezuela from the curse of Greyface, one poster at a time.

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Symbols in movies: “Don’t Bite the HAND that feeds you”

DETECTED in “American Honey” (2016): “Don’t Bite the HAND that feeds you“, with The Hand of Fatima (or Khamsa) as the main symbol, and inside it The All-Seeing Eye. Quoting this site:

The hamsa (Arabic: خمسة‎ khamsah, meaning lit. “five”) is a palm-shaped amulet popular throughout the Middle East and North Africa, and commonly used in jewelry and wall hangings. Depicting the open right hand, an image recognized and used as a sign of protection in many societies throughout history, the hamsa is believed to provide defense against the evil eye. The symbol predates Judaism, Christianity and Islam.

In jewish communities is known as The Hand of Miriam or Hamsa, which means “Five” as does Khamsa. It usually contents The All-Seeing Eye but rarely inside a pyramid. It’s worth noting that a hobby of the elites that control the planet and finance movies is the reversal, changing the meaning of ancient symbols to its diametrical opposite. Or so they say.

In the movie, the image only flashes for two or three seconds, a subliminal threat, an order: “Don’t Bite the HAND that feeds you“… Ehhhh, I mean, It’s obviously a random event or the work of a lone nut. You can’t trust those costume designers. Move along people, there’s nothing to see here.

 

Articles in Spanish for respected sites, Sir

So yeah, I didn’t follow through with the whole getting-this-blog-into-shape thing. The world has been incredibly distracting, but I have another excuse: I’ve been writing in Spanish. I stopped publishing around when I started with “La Tormenta” a million years ago, and now that the alchemical process is about to give results, I’m getting a head start in reclaiming my old journalistic career back.

It’s been harder than previously anticipated, but I got a semi regular column in Venezuela’s premiere electronic music site Dj Profile, in which I have written about Massive Attack and Justice so far:

1.- http://www.djprofile.tv/mentes-trabajando-independientemente-regreso-massive-attack/ (–> English version)

2.- http://www.djprofile.tv/just-tease-sobre-woman-el-tercero-de-justice/

And I wrote about my favorite female emcees for Spain’s sexiest literary site, Culturetas:

http://culturetas.es/emcees-gringas-apoyo-lauryn-hill/

Last but not least, I keep my music tumblelog at the edge of everything with constant updates:

http://hugehefner.tumblr.com/

That’s my story and I’m sticking with it.

“In 2016 I enjoyed”, my music list to close off the period

I would love to justify my lateness alleging that I was waiting for the new Run The Jewels to drop, but actually I just couldn’t find the necessary silence to finish this beauty until today. Or the will. This December in Venezuela was odd and noisy, even with fireworks out of everybody’s price range.

Anyway, back to the topic at hand… without further ado and starting at the top:

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Two or three paragraphs about Chance the Rapper’s “Coloring Book”

The third mixtape by the half emcee/ half singer from Chicago is half gospel hip hop/ half club music. On my first spin I thought at last, through Chance, I was going to be able to appreciate this new wave of mumble rap the children seem to be crazy about. It features Future, Young Thug and that idiotic kid Lil Yachty and none of those songs make me want to rip my ears off. I even liked “Smoke Break“at first.  On repeated listens though, I tend to skip them and the Justin Beaver one. That sound just doesn’t appeal to me even with Chance and his production team in the mix.

As for the gospel, I propose it’s the reason this album didn’t really blew up worldwide. It was critically lauded across the board, the Grammy academy changed its rules just to be able nominate it, Chano appeared in every screen and became a household name, but the music per se got to a point and then stalled. You can talk about God all you want, just ask Kendrick, but.unlike jazz and funk, gospel is completely specific. It has all those catholic connotations and people from other walks of life don’t want to hear that shit. Also, personally, gospel doesn’t speak to me. I have no memories associated to it like most gringos. Anyway, “Coloring Book” didn’t really explode like it was supposed to.

As for Chance, his singing sounds better than ever in this mixtape, the very musical pieces bring out the best in his voice. His rapping though, It’s not on “Acid Rap” level. He’s got some slick lines here and there, but the melodies and not the lyrics were his main focus and the hip hop part suffered. The exception is “How Great”. On that note, let’s talk about Jay Electronica’s verse: Incredible. It’s not even that good by his standards and it’s still one of the bests of 2016.

In conclusion: Overall it’s a good project, parts of it are great, but Chance, do yourself a favor and drop acid before starting on your next one.

BONUS, the clips:

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Honesty is…

This blog exists because I need work.
Paying jobs as a writer.
You should hire me and compensate me in Dollars or Bitcoin.

A little about me: I spent the last seven years of my life sculpting my first novel, “La Tormenta”, while my country, Venezuela, fell to pieces around me. The writing process was challenging enough, the hardest endeavour I’ve endured by far, and I also had to deal with devaluation over devaluation, working for a shrinking salary, shortages of everything that’s sacred, all kind of strikes and protests and roadblocks set on fire. Also, people just yapping on and on about all that and the latest sporting event, instead of listening to me whine about my work.

I also had very noisy neighbors.

So, not to brag, but I’m basically indestructible and kind of a Superhero.
In related news, in the downtime I also became a sorcerer.

And now, you can have me as part of your team. Hire me.

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Cover art by: Adolfo Malavé, designer extraordinaire.

Minds working independently, Massive Attack returns

Until a few weeks back, the only constant in their whole discography was 3D. The first one to run from the toxic and confrontational environment was Tricky, who was a member of the band until the phenomenal “Protectionin spite of what Wikipedia says. For the “Mezzanine” sessions they included live instrumentation; Mushroom wasn’t satisfied with the changes in sound they were experimenting with and, in spite of the album’s success, was the second one to go.

From that point on they were flirting with the idea of working separately and publishing everything under the Massive Attack moniker, but what ended up happening was the conflict between Daddy G and 3D kept the former out of “100th Window” and only semi involved in “Heligoland”, even though he’s credited as a composer in all of those songs.

In 2013 their name returned to the spotlight with unorthodox plans and good news: 1.- They were writing songs with Tricky; 2.- They were releasing EPs instead of an album and 3.- The first one was going to be the work of 3D and the second one Daddy G’s, each working with their own team. Then they disappeared for 3 years, Tricky released his most underwhelming album to date — “Skilled Mechanics” — and when the world was not looking, “Take It There”’s fantastic videoclip starring John Hawkes appeared all over the Internet:

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