The Nonsense thread

[Silba]

He has a point.

[gasfacevictm]

Yeah, but teenagers should never under any circumstances be told that they are right.

[Silba]

True. Also is he writing that from In School Suspension?

Got off pretty easy?

[gasfacevictm]

In school suspension ain't no joke, blud.

I know 3 niggaz got crayon shanked in that mug.

Talmbout "Blud on my Crayola or poopy on my ding dong."

[Silba]

Shits rough out here.

[Brickos]

 

 

 

 

 

 

 

 

 

 

 

This review is from: Uranium Ore

I bought this to power a home-made submarine that I use to look for prehistoric-era life forms in land-locked lakes around my home town in Alaska. At first I wasn't sure if this item would (or could) arrive via mail, but I was glad to see it showed up with no problems. Well, almost no problems.

 

Unfortuantly my mom opened my mail, because she does not respect people's privacy. She was pretty upset to see Uranium Ore. After a long argument and me running away from home again, she finaly stopped being such an idiot and I was able to get back to work.

 

The quality of this Uranium is on par with the stuff I was bying from the Libyans over at the mall parking lot, but at half the price! I just hope the seller does not run out, because I have many projects on my list including a night vision sasquatch radar, an electromagnetic chupakabra cage, a high velocity, aerial, weighted Mothman net and super heated, instant grill cheese sandwhich maker.

 

[+plus+]

thanksgiving alone disreguard tailgate acquire $$$

[Brickos]

[injury]

In school suspension ain't no joke, blud.

I know 3 niggaz got crayon shanked in that mug.

Talmbout "Blud on my Crayola or poopy on my ding dong."

 

ISS is player shit.

Created by haters fiendin' to be regulators.

I still got my name carved in that bitch from 7th grade --- hardest channel zero poster out right now

 

I got this.

[Rolf Harris]

Swiss beats in a Simon commercial...nurga that's nonsense!

 

swiss beats is the best producer of all time!!!

 

that nigga took a fuckin' whistle and made a career out of it...

[Brickos]

[~KRYLON2~]

[tutleone]

[Brickos]

HOOKER BONES

[thenightstalker88]

hahaha

[MOOGLE?]

05-09-2010 , 04:57 PM

Syeknom

Registered User

Join Date: Oct 2004

Location: Leuven, Belgium

There's the 1970's Adult Cinema line of various artists

compilation albums

Deep Note: Music of 1970's Adult Cinema

Inside Deep Note: Music Of 1970's Adult Cinema

Inside Deep Note Vol. 2: Music Of 1970s Adult Cinema

Getting Off! The Seductive Sounds Of 70's Adult Cinema

Lots of fantastic albums out from a label called Tiliqua who

release a lot of japanese porn albums - usually created by the

actresses themselves.

Ike Reiko - Kokotsu no Sekai (we had this playing at a local

cinema I worked at for an alternative, retro porn based

valentines night last year - really awesome cd)

Kuwabara Yukiko - Kuwabara Yukiko To Anata

Junko Mabuki - Slave Of Love

Also, not an even remotely porn-related album, but I could

easily imagine songs from this album fitting in with that

aesthetic (plus it is an outstanding album):

Rockford Kabine - Italian Music

[Qawee]

 

i followed her on twitter until she became really annoying.

[En Sabah Nur]

Happy Stanksgiving

 

 

 

stank you... smelly much...

[Qawee]

just watched Thankskilling

 

 

nonsense.

[MOOGLE?]

http://www.youtube.com/watch?v=d3_tF1xkZ6E&feature=youtube_gdata_player

[bourgeoisie]

listen to Arnold's commentary...

 

[bigdoughnut69]

[injury]

umadtruck.jpeg

[En Sabah Nur]

http://www.youtube.com/watch?v=d3_tF1xkZ6E&feature=youtube_gdata_player

 

I have no idea what they're saying, but they're gettin it. I think. Desu.

[IRON CHEF]

[bigdoughnut69]

[Silba]

Whats that from?

[IRON CHEF]

Hold your clicks a moment please...

 

Flickr has the hiccups. We're looking into the problem right now.

[MOOGLE?]

The influence of African-American Culture on Japanese hip

hop

Previous to the inception of hip hop, soul dancing became

popularized in Japan in the 1970s. Shows like 'Soul Train'

spread the African-American style of on-going dance that would

soon be picked up by varying cultures all over the world. It is

this style of dance that laid the foundation for the globalization

of African- American culture due to its universal criteria. Anyone

can dance to soul music, which is not the case in terms of

rapping, b-boying , etc. As movies like ' Flashdance' (1983)

reached the islands, more and more young people began

dancing on the street and other public arenas, which added to

its cultural integration. Soon, Japanese culture was ready to

alter the very structure of their language in order to partake in

hip hop. [8]

Japanese Hip-Hop fan sports an Afro and shows some

Japanese style bling

Hip hop was thought to have originally become popular in

Japan because the Japanese people wanted to imitate African-

Americans. The Japanese would hear these rapper's music

spinning in clubs, exposing to them a small, narrow view of

West Coast hip hop. It was not only the music they latched

onto, however. They came to love the entire hip hop culture,

including the loose- fitting clothes, graffiti writing, and break

dancing. Some Japanese hip- hop fans would even go to tanning

salons to darken their skin, and style their hair in afros or

dreadlocks to imitate the "cool" looks of African-Americans ,[18]

although they are ridiculed by others, including other hip-

hoppers. [19]

This style is called burapan - "the name given to the fashion

sensibilities of all black wannabes." [18] The term, though, has a

derogatory history, combining the Japanese word for prostitute

- panpan or pansuke - with "the abbreviation for burakku

(black) ."[20] Therefore, a burapan is literally "a woman who

prostitutes herself for black men." [20] Although the word has

come to describe a trend of dress and culture modeled after

African-Americans , it is inherently problematic because of its

origins. The soundtrack of Wild Style was marketed in Japan as a

cassette with a book of photos-scenes from the film,

neighborhoods, breakers, graffiti, etc. Japan's hip hop

contributions have been perceived by many to be based more

on appearances than anything else. Lacking ghettos, culture

wars, and acknowledged racial disharmony, Japanese youth

relate hip hop as the soundtrack to international fashion.

Blackness, as embodied in Africa medallions, baggy jeans, even

$500 dreadlock treatments and skin darkeners, is a commodity

on the streets of Tokyo. [14][21]

A subculture of hip-hoppers who subscribe to the burapan

style are referred to as blackfacers, a reference to the blackface

style of makeup used in minstrel acting that began as an

imitation or caricaturation of African Americans. [22] One

Japanese pop group, the Gosperats, has been known to wear

blackface makeup during performances. [23] The appearance of

these "Jiggers" has shown a growing popularity with the hip-

hop subculture in Japan despite what can be viewed as "racist"

ideological tendencies of the country towards African-

Americans .[24] There are roughly 50,000 Africans in Japan;

which is approximately .04% of the Japanese population. [25]

Although such an insignificant percent of the Japanese

population is African American, Japanese subculture is very

much accepting of African American culture. For many

rebellious Japanese youth it provides an outlet for "coolness"

and a chance to express themselves outside the box. [24]

However, some Japanese fans of hip-hop find it embarrassing

and ridiculous that these blackface fans do this because they

feel like they shouldn't change their appearance to embrace the

culture. In some instances it can be seen as a racist act, but for

many of the young the Japanese fans it is a way of immersing in

the hip hop culture the way they see fit.[26] For example the

Japanese hip hop group Soul'd Out is extremely imitative of

African American culture. One specific thought that comes to

mind when looking at Soul'd Out is their appearance. Their

wardrobe undoubtedly reminds one of African American

fashion.[27] Even as Japanese hung Sambo signs throughout

the city, they were undeniably attracted to black music and style.

Before hip hop, the Japanese had embraced jazz, rock n roll

and funk. It is important to note however, despite the

seemingly racist tendencies toward African Americans and the

simultaneous embrace of black culture, the Japanese have a

very different construction of racial ideology then the US.

Whereas the white versus black dichotomy typifies the racial

system in the US, the Japanese construct their identities in terms

of nationalism. Rather than identifying strongly with a color,

Japanese tradition speaks to a homogeneous society that places

foreigners in the "other category." Because of this context,

"jiggers" and the young teens who wear blackface rebel by

embracing individual identities that are different from the norm.

[28]

In fact, blackfacers (especially the females) seem to embrace

their assumed skin color, and black people, tending to party

where "natural" blacks go. Especially black American soldiers

and Africans who moved to Japan.[29] The use of blackface is

seen by some as a way to rebel against the culture of surface

images in Japan. [30] Blackface is used as a way to connect with

African-Americans and the hegemonic racial structure that

exists in the United States. Japan is seen as a homogenous and

insular group, and the use of blackface shows that the youth of

Japan are not only concerned with Japanese issues, but issues

on a global level. [28] Those partaking in blackface are "ordinary

high school and college kids" and they pursue African American

"blackness" with great passion. [31] Their dedication to this

"blackness" is evident through their dedication to even more

underground American hip hop acts such as the Boot Camp

Clik , as they appear almost obsessed with all things that are

"black" .[32] It is said that the Buraoan style is on the

downswing. Mikako a fashion analyzer says that "the 'cool' that

my friend at the nightclubaspired too wouldn't be 'cool' for very

long". [18][ 33]

Noted in Joe Wood's article, "The Yellow Negro", "Japan in the

eighties seemed a lot like America in the fifties." [24] In other

words, the socio-economic conditions for white American

middle-class children (white negroes) in the 1950s and their

Japanese counterpart (Japanese blackfacers) in the 1980s

allowed unprecedented cultural deviance to occur. It is the

wealth and prosperity characteristic of these demographic

groups at these specific points in time that can lend us

understanding to when, why, and how one culture can most

fluidly assimilate into another. Ironically, both cultures adopted

black cultural practices in the midst of a post-war boom. In the

case of Japan, the 'Japanese Miracle' gave many middle-class

families the financial padding necessary for such diverse

consumerism.

Rebelling against the conformity and homogeneity of Japanese

society, Japanese blackfacers took it a step further by uniquely

adapting the physical look of black culture by literally tanning

their faces to seem more 'black.' To Japanese hip-hop fans and

to Japanese culture, the hip-hop phenomena severely

influenced Japanese youth. Japanese hip hop is just an

animation. It mimics only the style of American hip hop, not the

meaning. [5] Some critics of Japanese Hip Hop believe that it

simply follows a long line of Black music that ultimately gained

popularity through a different ethnic group mimicking the

music. The "Elvis Effect" occurs "when white participation in

traditionally black avenues of cultural production produces

feelings of unease." It occurs whenever a white person

attempts a historically black art-form , is discovered to critical

acclaim, and this is what leads to that art-form receiving

widespread commercial acceptance. Aside from Elvis Presley ,

notable examples throughout music history include Dave

Brubeck, Eric Clapton, and Eminem . Many critics believe that this

concept is relevant to Japanese and other forms of global Hip

Hop. If listeners first discover Hip Hop through a Japanese

artist, there is the fear that they will never bother learning about

Hip Hop's origins and simply continue to listen to strictly

Japanese versions of the genre. [34][35 ]

Japanese hip hop Dance scene

[IRON CHEF]