Tag: Film

Categories
Music Video

UK: MAD ASYLUM DRILL (with lyrics)

Teleportation Hallucination
ARAB WOMAN.

This song contains ‘JANNER’ (pronounced JANNA) accent, which is quite prominent in Plymouth, Devon.

The song also includes some Cockney, Spanish, and Hebrew.

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LYRICS

I am crazy, silver-haze crazy like metal tin tin.
You caress this genius, you caress Rasputin.
Six six six, my heartbeat on repeat,
the mark of the beast.

You all know Bets,
always ready for the test;
and ready to be me, yo B,
comes back to the game again.

I’ve got a SHOTTA, a LOTTA,
a BOATA, a TOKA, a POKA
a LOCA, a POTTA, A FUCKA,
A COCA, ENRÓCAME…

SWIT EME, MOTHERFUCKA!

Suena el BOOM BAP,
לא ישנה בלילה…YES,
I can dance, dance, dance!

I move my hips to the Gestapo’s beats,
the SS has their guns pointed out at me.
And I swing, sensuality and might
until I succeed, I put my hands up, FREEZE!

PUTA, COMPUTA, VLADIMIR PUTIN.
Satellital ROUTA, OMNIFACTO SHOOTA.
I AM LUTHER, B. LUTHER,
no LOOTER, no LOON, BOOM!
My song so strong as I rap along
the mad house, the asylum ward.

Intensive care, who cared?
Police brutality against the self, they came…
to understand their cruelty-BOMB,
I explode two in the bath whilst smoking a
PON ROPOPOMPON!

I ain’t lying boy, I’ve seen it all, I’ve suffered most.
My tears are black-eyed diamond storms;
each collected in the bank of
SOLARES, COLMENARES.
Don’t ask me world cup questions,
ask Buenos Aires.

I feel intranquile,
like everything I do is always GRANDE, gigantic.
Take my words…
Is my talent Godly or is it just another pamphlet?

Satan SCROLLER, as I ROLLA,
B-ROLLA, no BRAWLA,
truth RAWA, it’s my POW POW POWER!
I holler, over and out…

Anger, intermittent hunger.
No longer aware, better prepare.

Yeah.

All done, all said, I stare, I declare, I dare.
I express what everyone is too afraid to tell.
I stress the distress…
OH! thrown upon this fortress.

I break the wall in two,
and OPEN SESAME MOISÉS.
TOSOPLATOU!
Who could have known?

The link between today’s gold,
and the forgotten old, cold testaments.
Puppet shows and sacraments.
Hidden keys and the written parliaments.

Ah, ah, a tongue is the trigger. It’s a METRALLETA.
I have ammunition guardá’ en la MALETA,
bullets, flash stun grenades and me ESCOPETA.
If it wasn’t enough, there is SENTRY CALETA, yo.

Yo, B.


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CREDITS

Thanks very much to EHSAUCEITUP and Pexels for the magnificent art they contributed to this music video, which was created using Clipchamp and Filmorago. Moreover, credit also goes to Sony for their wonderful capture devices without which this #hiphop music video would not have been possible.

I also want to take the time to thank YouTube for letting me into the industry whilst I was in distress and needed someone to save me. Google, you have always been there for me in times of tribulation. Thank you for making life more accessible to everyone, including those of us who have suffered.

Finally, credit is also certainly due to Linux Mint for making operative systems that are so efficient that miracles happen in hosting machines all the time. Acer and Dpofirs are two of the brands where miracles are always happening.


as influenced by:
SAUL WILLIAMS

Categories
Review

Film Review: We Are Monster (2014)

This film directed by Antony Petrou is rich in forensic psychological detail. It really shows the dark side of the criminal justice system (CJS). Based on a true story, We are Monster tells the story of the murder of Zahid Mubarek by Robert Stewart.

Psychoanalytic film theory: It is clear that many of the attitudes Stewart displayed were inherited from his father’s personality. In other words, the film captures the phenomenon of introjection, a defence mechanism which consists of internalising and adopting personality traits and/or behaviour of other people, especially authority figures. The film shows Stewart recalling a memory of his father arguing with his mother about her having been sexually involved with a person of a darker skin. From this scene it is clear that his father had an extremist and antisocial attitude towards people of different skin colours, and he is heard using racial slur. Consequently, Stewart came to associate a darker skin with ‘filth’ and ‘evil’, having internalised his father’s attitudes. The film constantly shows him having a conversation with a hallucination of himself similar to the way his father used to speak in general. In psychoanalytical terms, it could be said that the film shows Stewart’s ID talking to him all the time. The ego or self is shown to negotiate with this hallucination, and to be led and manipulated towards specific behaviours. It is difficult to say whether the introjection was accompanied by reaction formation, because it is difficult to differentiate Stewart’s criminogenic attitudes and/or actions from those of his father. The film portrays his childhood as self-less, cold, and full of trauma. Therefore, it is unclear whether these behaviours constitute an exploration of his father’s ego through a primary regression to a narcissistic state in which the superego is formed based on values learned from the world; or whether it is his self that has become established as a personality (i.e. whether this would be his behaviour if he was not experiencing a psychotic break). The film captures his schizophrenic crisis quite well. It allows the viewer to enter the criminal mind from thought to action. Petrou manages to illustrate the criminal insanity perspective by placing emphasis on the hallucination as the drive towards criminogenic activity.

Political anchors: This case was a huge scandal in the year 2000 and many inquiries were launched at Feltham Young Offender Institution in order to investigate the steps the government of the UK could have taken in order to prevent this tragedy, and what steps could be taken to prevent it from ever happening again. It was concluded that legally, there was much more the system could have done to prevent this re-offending, and the death of Zahid Mubarek. This case was a scandal when it occurred, and it is perceived as a double-edged cumulative failure.