ponderance

i'd not have a lot of success guessing at the percentage of blog posts dedicating some space to apologies over inactivity. i tend toward submissiveness when confronted with direct intellectual challenges. in keeping with that, i'm not gonna guess.



i'll never have you mistake this sort of music for meditative lubricant. you'll emerge from that video clip a soul no smarter. may you someday find the cocoon of enlightment, peeyump. i'm sticking with my guns. i'm sticking with criminal manne's guns, at any rate. and criminal manne's dope, crack, rims, hoes and assorted criminal miscellany.

the mixtapecertified dope boy presents a flat character with a lucrative sales position. funny how mustering the resolve to sit through a feature-length presentation of terrence and philip would inevitably prove a charge for mightier paladins of patience, but i'm right at home listening to homogeneous dystopian trapanese at 7:00am on the lord's day of rest. criminal manne would have me believe he trades in drugs. this mixtape's more a testimonial to that end than the jubilant crack gala hosted by young jeezy in thug motivation 101 or the playful pot-stirring of gucci mane. criminal manne's style stands as a value stock, of a sort, devoid of the exponents punched in by dj toomp and the archbishop of ad-libs. he always sounds desperate to convince you of his self-assuredness that resembles the confused ramblings of the post-wayne flossmonauts pleading insanity and pouring into world wide web in droves. unlike those bums, though, crim (he calls himself "crim") argues stewardship of a reality that exists outside of the sci-fi section and thus garners sympathy instead of the contempt i keep in store for the martian manhunters in their non-prescription glasses and neon tights.

i think i just like any rapper who makes rhyming seem surplus to the requirements of his subject matter without succumbing to the beat and speaks a language that sounds a bit foreign to me. my disbelief hangs suspended above my ears and you, as a rapper, have the opportunity to slip under the radar should you play along with the program. if you, however, deign yourself worthy of a dumbout with an inhuman cadence or invite focus on your lyrics by jumping your vocals out in front of the beat super enthusiastically and treating it more as a platform than a partner i will probably pay more attention to what you're saying than either of us should want. maybe you're andre 3000, more likely you're not. if you are you must forgive my wondering what you think of the blog. my first time ol' girl had "so fresh, so clean" on the playlist; you inform everything i try to do! criminal manne's cadence has a simple mother goose bounce so that each line interacts readily with the next and never promotes his vocals at the expense of the song in total. he's never inventive and often incompetent with the pen but his voice and conservative flow carry the day

a few years ago i listened to rappers with whom i shared a language and a liberal ideology. i eventually discarded most of those guys 'cause they said too much shit that didn't make sense without translating for me a world i didn't know. rooting through rap's history in the northeast will yield a lot of good results, but as a hip hop listener i think i'll ever remain tethered, if perhaps loosely, to the trends of the moment. rap songs have a lot of words. hip hop has more potential to report whatitiz with the kids than any other major musical format, and in the south right now the irreverence for convention is such that i often have a hard time distinguishing between the documentarian chronicle rap and the cutting edge. theez doodz is making up words and tastemaking in explicit terms, even to a fault. analysis of lyrics and musical textures in even outspoken rock/blues/jazz yields an understanding of the moods of an era but damn in rap you have up-to-date announcements of what our generation fears and covets, hates and loves. we're given clear profiles because 'hood demands convincing alibis and that's where the talent comes from so that's the acclaim often necessary for the acquisition of a record deal or grassroots word o mouth in the first place. excuse my scream of unconsciousness i've gottend runker as i've gotten along. i think i had some good ideas. i think i'd write a good essaygood night, beloved




http://www.datpiff.com/DJ_Scream_Criminal_Manne_Certified_Dope_Boy.m41089.html

oh yeah been fucking with shakira's she wolf single, those beatles re-releases, let it blled rolling stones, rich boy's kush convertible mixtape, washed out's cassette, watch the waves (memory tapes remix) taken by trees, chewy chips ahoy, freddy gibbs midwestcadillacboxmuzik, ransom pain and glory 2, monsters of folk, regular hcips ahoy, love vs money by the dream, pusha by lloyd ft. wayne, gassin em by roach gigz (his mixtape mostly sucks but he's gonna be a star you make your mark where my wors at). i swear upon all i appraise at high value that i just caught myself actively typing sloppy with rocked up jack as an excuse. now i'm lying. we don't have ice. oooow anyway i've been fucking with all of the british invasion bands who/stones/beatles/kinks pretty heavy, of late, with the velvet underground and the doors a sort of supplementary dig. the who's operas are the only part of their catalog i don't really dig THAT MUCH. i forgot pete indulged himself so handsomely on the synthesizers! raw! that "love vs money" by the dream is a great album.

my internet homie is sick so i'm gonna shoplift some skinny jeans and burn lmfao in effigy in his honor. cop the new m.o.p so he recovers along with some other good news! i heard it's crazy and that "blow the horns" was astoundingly progressive in an astoundingly good way.

i still can't give up the latest phoenix or understand how it's taken such a catchy band so long to blow in the united states. boycott israel

i'm about to start making muxtapes or something.