#bap interview

[livetiny-dienever]

Have you ever got with someone from the workplace?

[anastacialy]

alright as much as everyone (including me) has been nitpicking and critiquing season three of bridgerton i have to hand them one thing and that's no other season has made me this insane

[thedynamicuniverse]

LenZmen featured on Boom Bap Nation

LenZmen interview with Boom Bap Nation is here.

Boom Bap Nation gave our album a listen or two and then had some questions… Boom Bap Nation Interview LenZmenThe LenZmen reached out to the Boom Bap Nation and asked us to listen to their album Scientific Community and Magnify Lenz (released in 2005). It’s underground Hip Hop from a group of Rappers probably best described, back then, as backpacker scientists. The topics tap everything from…

[thediebutterfly]

^^

[humanpersonface]

I know that some British people take umbrage at Americans calling the Great British Bake Off relaxing, but it's just because GBBO is such a different kind of stressful from American baking shows.

American baking shows will be called something like "Cupcake Knife Fight", there's horror movie lighting everywhere and dramatic stings every 5 seconds. All of the contestants are shit talking each other and fist fighting over the one single deep fryer provided by production. It will show the judges all whispering to each other at their super villain table overlooking the whole kitchen, and one will be like, "Oh my god. Everyone look at Brenda right now. She's straight tanking it." And it will cut to Brenda, who is running around covered in flour and crying and also bleeding for some reason. Then you get a clip from an interview with one of the contestants, and they're like, "I really need to win this. Without this award money, I'm gonna need to close my restaurant, sell my dad, and live out of my car. AGAIN." Then the giant digital doomsday clock overhead lets out a horrid klaxon, the judges tell half of them that their cupcakes taste disgusting, and one of them gets eliminated and sent to walk down the dramatically-lit shame hallway never to be seen again.

Meanwhile GBBO is in a lovely, brightly colored tent, there are delightful and friendly hosts/jesters there to keep everyone entertained, and all of the B Roll is of like... a bumblebee going into a flower, or a lamb running in a field. And yes, there will be moments where someone will mess up their timing or something, and they'll be looking at their bake through the oven door like, "oh gosh I don't think this will rise in time!" Then they stand up to find Paul Hollywood directly behind them ominously. His creepy whitewalker eyes will glow white, and he'll say something like "the 12th of June. 2035. Drowning." And his eyes will go back to normal and he'll walk away. Then the baker gives a playful grimace to the camera and says "that didnt sound great, did it?". Cut to a sweet looking older woman sipping tea on a stool and she says "oo I do hope that Prue enjoys the taste of my sugary, sticky baps!". Then, at the end, someone gets a gold star for doing good, and the loser of the episode gets in the middle of a giant group hug. You see all of them at the end of the series at a giant carnival with their families and the post credits informs you that all of the contestants have become a Partridge Family-style traveling band and stayed friends forever.

[throwedgenji]

Interview with | ​⁠@ThrowedGenji ( Metroid )

[hasdrubal-gisco]

googled edward luttwak to see who this fella is and it's immediately obvious this is what used to happen to the hoi4 male archetype prior to hoi4 being invented. born to some jews in romanian backwater, immediately move to the UK and attend prestigious economics university. lecturer by age 24, volunteer in the idf in the six day war at the age of 25, go back to london to consult for the oil industry, publish book on roman military which becomes seminal text in the field. become reagan's clausewitz. buy cattle ranch in bolivia, snorkels to the point of obsession

[heyyjudetheobscure]

The thing about this is that they've said it, or something like it, several times, and they still keep getting interview questions that are like, so what was it like to remove the stage persona and be your REAL SELF on-screen?? And there's something so simultaneously endearing and scary about that, the way we're sort of conditioned to see photos and videos as "true" even as, like with this movie, there are so many visual and verbal cues in the text telling us: this is a myth, this isn't emotionally untrue but it's not FACTUAL, it's more than real, it's a story.

This is also such a cool and, I think, ballsy move to make at what's hopefully just the beginning of a career, because I don't think we really know almost anything more in terms of facts or identifying info about these guys than we did before the movie, but we have a really clear emotional thesis statement about their goals and their, as much as they don't seem to like this word getting associated with their work, politics. And right now, in the crumbling-Roman-empire era of twitter, hopefully moving into the backswing reaction against the expectation of all access at all times to the personal lives of any vaguely-public figure, this great big gift of a movie which, in a sense, does absolutely nothing to feed that prurient, parasocial hunger, it feels like what I want for a direction in terms of the relationship between audience and artists.

also, it's fun as shit.

(i keep trying to link the article and my clipboard is just fucked right now, but it's the LA Times article by Mark Olsen on Aug. 1)

alt text:

[“These characters represent where we come from and the people we grew up with,” explains Móglaí Bap. “So it’s not only our story, but it’s everybody’s stories. Like, half of my class, their parents would’ve been ex-IRA members. So it’s not necessarily always our personal story, but it is the collective story of Belfast.”

The group did not set out to become lightning rods of a movement to revive the use of the Irish language, which their headline-grabbing antics and instinctive flair have inadvertently turned them into. At first the band simply wanted to talk in the way they spoke to one another, among friends.]

[poppy5991]

Dabi: As part of our new interview process, we have begun having candidates play Cards Against Humanity.

Dabi, reading: What sounds good after four margaritas?

Cat: *baps card*

Spinner: This is dumb.

Dabi: It’s called situational interviewing.

Dabi: *flips card* Domestic Terrorism?!

Spinner: ?!?!

Dabi: YOU’RE IN!

[krispdreemurr]

so disclaimers before I begin: I have been semi-consciously avoiding anything but the most basic of takes on ch3 bc i am allergic to writing other people’s characters where they can see. so this is just me and my dear friends beyond I think I saw another lesbian tenna and liked that. also none of this is like “how I think canon will be” it’s just for funsies

so, Mike! (she/they)

[art thanks to @everyone-needs-a-hoopoe ! please behold their pop filter. they’ll bap you with it.]

mike and tenna [he/him but in a lesbian way] are old colleagues, working on the same all-consuming dark world tv network together. tenna quickly became the shining star holding it all together, while Mike stuck mainly to backstage work. she was honestly content with that; she was always better at making other people shine than being seen herself, and was happy with that.

(continued under read more)

however, as time passed and Toriel irl stopped watching TV and so on, Tenna got frustrated and increasingly status-conscious and more and more worked up. he wanted so badly to draw attention back and to be known again, and it was kind of eating him up inside.

mike took it on themself to try and fix things.

she did research, she went exploring, she wandered far backstage… and eventually, of course, she met a man.

she came back to Tenna with tips and tricks, better understandings of the world, and Tenna, caught up in his own world, took Mike’s new passion as being about Mike wanting fame herself. he was more than happy to oblige his old friend, and got her an air slot and an interview show. this was… not what Mike had wanted, at all, but she was too caught up to not go along.

and for a while it kind of worked? with the Insights Mike was getting, she was able to run an incisive, sharp show, probing at the deepest secrets of her guests. tenna seemed delighted by it all, encouraging mike to put on more of a character and go further and further, while meanwhile the man in the dark encouraged Mike to look further and further for answers.

and during this time, through the man’s guidance, she even made a friend! she helped him get his ads on air and told him to never give up on his dreams, and he told her to never stop getting bigger and to push herself beyond any limit she thought she had. they were close companions, and definitely didn’t enable each other’s worst tendencies or anything.

it wasn’t sustainable, though. finally they burned out. on air, they went into a long rant about all the truths of the world, swinging wildly between false tv-ready personas, less and less coherent, until Tenna cut the channel and ordered them out.

she’s been on the fringes and in the backstage since, trying to find some truth, some way to make things right again. she remembers one thing the man told her - that there was a power that could be used to restart from the beginning and tell the story all over. maybe if she got another shot, this time…

when the three-four heroes appear, she’s on their side, at first, or at least providing neutral ground. she wants to get Tenna and the Lightners to talk it out and make it work. when that backfires, though, well. maybe they have some demands to make of Kris.

object-wise, she’s mostly just part of the TV nature, but she takes some from a radio newscaster Kris fell asleep listening to on a long drive sometime in the distant past. her Secret Boss Speech Quirk is that she can only ask questions - she’s a microphone, her role is to amplify what others are thinking, not to make her own thoughts known.

in terms of “things to make Kris have a meltdown” - I’ve talked a lot about kris having to choose the flashy showmanship of a dark world over a quiet night with a friend, about how despite everything they hope that by being the hero and leader they can be known and loved a little… but a role in the spotlight that doesn’t suit them is always bound to crush them in the end. mike is proof that forcing yourself to be something you’re not to earn love and affection from those you care for is always going to end with you being even more alone than before.

there may also be room for some parallels of her and Ralsei, with her frantic wants to help, smooth everything over, and be loved. admittedly I've thought less on this angle but like Ralsei does deserve his own parallel weird themlet

she really needs better taste in women.

[livetiny-dienever]

We’re quite close, we’re all best friends

[everythingbap]

📲 liveone Twitter update:

Interview with BAP #MoonJongUp #JUNGDAEHYUN #BangYongguk coming soon. 😍

[brian-in-finance]

Thanks for the message, Anon. 😃

Yeah… no…

Here are screenshots from your link:

The “picture” screenshot was taken from an IFTA red carpet interview by Eric Roberts and India Sasha, recorded Live on TikTok.

IFTA was interviewing Best Supporting Actor - Drama nominee Emmett J. Scanlan (Kin), as the full image shows.

Brian’s post 21 April 2024

So tell me... why would a Scotsman, who hasn't been in any IFTA-nominated production, and isn't presenting nor receiving an IFTA Award, be standing in the interview area on the IFTA red carpet?

He wouldn’t. (And the actual “Scotsman” in attendance walked behind the interview area, alongside the building, and straight into it, as previously noted here.)

So who might the tall blond man in the blue circle ⬇️ standing behind India be? And what is the wee bit of orange in the orange oval behind Eric?

Could Blue Circle Man be part of Kneecap’s entourage?

It’s more likely he is. Kneecap was at the IFTAs, after all.

And why the balaclava? 😂

Remember… DJ Próvaí’s signature green-orange-white balaclava hangs backstage at Bowery Ballroom. He began wearing the disguise when the band was first taking off, and he was still employed as a teacher. "It didn't stop him from being thrown out of the school," says Móglaí Bap. Adds Mo Chara: "It was the worst-kept secret in Ireland." — Rolling Stone

[probablyasocialecologist]

From the 1950s through Goldwater to Romney, the modern American right has had three major legs: anti-New Deal and welfarist libertarians, white social conservatives, and anti-Communist or pro-interventionist Hawks. Conservative politicians like Ronald Reagan deployed the metaphor of a three-legged stool to describe the intellectual and popular coalition of the modern American right. This coalition assumed hegemonic status in the 1970s and 80s through Nixon and Reagan. They agitated for and achieved many long-standing conservative objectives: rolling back the welfare state, implementing tough-on-crime policies, and remaking the judiciary to advance social conservative policies.  From this old-three legged stool, a new coalition has emerged. This new coalition consists of national conservatives, committed to the idea that America should abandon liberalism for a kind of ethno-religious nationalism. There are also post-liberals, who argue instead for a commitment to a right-wing communitarian universalism bordering on theocratic integralism (or sometimes just slipping over). They overlap with national conservatives in many respects, but reject the ethno-nationalist framing for a more universalistic perspective-often centered around Catholicism. Its possible this might wind up being a largely theoretical dispute, but it could become more in the event that the post-liberals aren’t capable of appealing to non-Catholic, let alone non-Christian, ethno-nationalists. The third leg of this stool is what I’ve called the Nietzschean right. The Nietzschean right, as exemplified by figures like BAP and Richard Hanania, is more secular and appeals to pseudo-scientific arguments about the need for a typically male and white (though there are some exceptions) elite to gain greater power in America. In BAP’s case this takes the form of arguing for fascism or, as he puts it, “something worse,” in a rather trollish way. Hanania is a bit closer to the mainstream. He argues for a capitalist Nietzscheanism where entrepreneurs aren’t subjected to democratic constraints in their pursuit of the kind of “greatness” that has taken Elon Musk’s X to new heights. They conflate the idea of Nietzsche’s superman with the idea of the entrepreneur. Never mind that Nietzsche himself (1844–1900) posited the artist-philosopher as the ideal superman and was largely contemptuous of businessmen.

[quinloki]

just running in here to bap you gently and tell you I am thinking of you, and I hope you're having a good day over there ; u ;

I am, my friend, having a very Unique day.

My next door neighbor passed away this morning. I didn’t even know the man’s name, I just knew he was a quiet old guy living with his wife and a dog.

Ambulances, cops, I was interviewed by the police.

It has been… something.

On the one hand it’s made for a very draining day, on the other hand it’s been kind of a humbling reminder how connected we all are. How an event that shouldn’t matter to me, does matter to me.

How there are sounds associated with today I’ll never forget.

It feels profound and really intimate in a ways that has me fumbling for how to talk about it honestly.

At the end of it, I’m okay. Better now than several hours ago, at the very least. Took effort to get my job-related work done, but I’m on my last line item for the day so I made it with time to spare ^_^

[lovejustforaday]

2024 Year End List - #11

Samurai - Lupe Fiasco

Main Genres: Jazz Rap, Boom Bap

A decent sampling of: Lo-Fi Hip Hop, Abstract Rap, Conscious Rap

Lupe Fiasco is one of those artists that's been around forever ,that I always knew I would probably like, but had yet to check out any full-length projects from. That was, until this dropped and I saw that cover art and was like "fuck it, you got me".

But really, can we just appreciate that sick fucking cover art for a minute? Man's got serious taste.

Lupe was kind of an anomaly in the hip hop world when he made it on to the scene. Here's this nerdy, offbeat conscious male rapper from Chicago, with bars about respecting women, the kinda rapper who would've very rarely reached anything approaching his level of commercial success. But in the late 2000s, he proved that hip hop was already beginning to diversify its perspectives on what a successful rapper could look like. Like Ye (before he went all batshit anti-semite, anyway), Lupe paved the way for other colourful rappers who didn't fit into a very particular archetype of mythologized machismo.

But like I said, I'm not too familiar with the dude's actual back catalogue. To me, he's always just sorta been that relatively mainstream 2000s rapper that was a respectable cool guy. But now I'm kicking myself for it, cause the dude's got some mad bars to match his genuine nice guy persona.

Though it might sound odd given the warlike name and confrontational cover art, I'd honestly describe Samurai as a very comfy listen. It has that in-your-element, geeking out alone in your bedroom kind of vibe. The really breezy, downright sexy jazz rap beats go well with some very unabashedly verbose lyrics. Like a comic book come to life, this record is full of drama, bravado, and just some really cool shit.

I get from this record that Lupe Fiasco is a true logophile, and the man puts his heart and soul into his bars. It's a real pleasure to look up some of these lyrics and just read along, as you can palpably feel the man's passion for the pen oozing out of these songs.

Samurai is also a concept album. Lupe is apparently a long time fan of the late great soul singer Amy Winehouse, and a little known fact about the legend herself was that she originally wanted to be a famous rapper. The story of Samurai chronicles an alternative reality where Amy became a formidable battle rapper, and throughout the narrative he weaves, Lupe draws parallels with aspects of his own career as a rapper.

I'm tempted to say that, in the hands of a lesser artist, this could've been in poor taste, or even exploitative in some way. But Lupe makes it abundantly clear through his wordsmith on the record and in interviews just how much respect he has for Amy, and the project ends up being this really genuine and imaginative tribute that's honestly quite touching. If you're gonna do hero worship, then the one true right way to do it is to keep it classy AF like this project.

The eponymous opener "Samurai" is the album's biggest selling point. This track is a huge blast from the past, while simultaneously feeling so fresh and cutting edge. This is how you begin a story. I get hyped just thinking about that little saxophone riff that heralds the arrival of a truly seasoned master. The chorus was ripped directly from a voicemail left by a young Winehouse when she actually was a battle rapper. The song is such a genuine celebration of the artistry of rap to the point it almost brings a tear to my eye.

"Cake" is an infectiously rhythmic and braggadocious track about Amy's first battle rap victory. The hook on this one has gotten stuck in my head at least a dozen times in the last month.

"Palaces" is pure rainy evening jazz piano class. The lyrics are pensive, reflective, and bittersweet, pondering on legacy and the perpetual vulnerability of fame, with Fiasco pleading not to fall to its many trappings, which feels particularly grim in the context of the record's concept revolving around Winehouse, an individual who was very much hurt by the double-edged knife of success.

The record closes with "Til Eternity", where Lupe posits that art, or rather the process and the effort of making art, could immortalize us as human beings. The song has a splendid and humble kind of sound, as if taking in the simple beauty of life.

Apparently, a few tracks were cut from the record for the sake of making it more concise, and it definitely feels that way at just eight minutes and thirty tracks.I'm conflicted because I love what's here, and it does feel like the narrative comes to a satisfying end. But it also feels like Lupe really only scratched the surface of the concept and the themes he was trying to convey here. What we get is amazing, but it feels like its over all too soon.

Nevertheless, I'm still impressed with what we got. Moreover, Samurai's conception comes off so clean and effortless, despite the obvious blood and sweat that was put into these lyrics. The record tells a short story about two legends and does a fine job at it. This is a very easy listen that I'd gladly recommend as a gateway for anyone looking to get into more lyrically heavy, concept-driven hip hop records.

8/10

Highlights: "Samurai", "Palaces", "Cake", "Til Eternity"

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