Go as a luxury pass on to the middle class
While the poor play in parks filled with broken glass
And as we point our fingers we turn our backs
We can't accept each other and that's a matter of fact
Indoctrinated you since you were a boy
Ever since the day you've seen the rich kids
Told within a year you'd be a part of them
Broke away from the grape and this all started it
So you won't stay or take a drug at all
'Cause you know you're so susceptible
They turn against you, now you're full of hate
You can't accept it, now you're in an irate state
This is Wrecks-N-Effects and i shake up their flex
They got techs break their necks
And their building their reps
Who the Boos
Who to choose how they wearin' the shoes
In army I enlist and takin' a piss
Certain things I have seen
So i'm lookin' to grieve
Powers usually runnin'
They're buyin' the buildings
And then they sell
At least a bell and they're breakin' 'em down
My life to the rocks
Livin' in a shoebox
They like the poor in me
Bring out the whore in me
Then knock the door on me
Cheap tricks don't like chicks
And I'm rubbin' their hips
Who the Boos
Who to choose how they wearin' the shoes
It was a long time ago and started to grow
Forest fire earned and sent me afrocentric negroes
So i juxtapose
This goes out to those
Who turned up their nose a long time ago
Now i flex upon a rhythm cushion tempo
I flex upon a rhythm cushion tempo
So open your mind
If you feel you could go
Clean out your ears well
While i clear my throat
The vital ingredient, the antidote
Willy Wee flex like some other one
It's a feelin' that I get sometimes
When I'm lyin' in my bed sometimes
Black cloud in my head sometimes
Intoxicating my mind, my mind
It's not that I wanna die
Baby just that I wanna fly
But this feelin' that I get sometimes
I could sever all ties, all ties
Hate the color of my skin sometimes
Hates to see what I see sometimes
So how can i ever win my time
I was sold on the other side
'Cause a wasted life is no such thing
There's no such thing as a wasted life
'Cause life is death and death is life
And these here thoughts are not a crime
One day is forever, forever is a day
It's so fucking easy to throw it all away
A Dog's Life (1918) is a silent film written, produced and directed by Charlie Chaplin.
This was Chaplin's first film for First National Films.
Chaplin plays opposite an animal as "co-star". "Scraps" (the dog) was the hero in this film, as he helps Charlie and Edna toward a better life.
Edna Purviance plays a dance hall singer and Charlie Chaplin, The Tramp. Sydney Chaplin (Chaplin's brother) had a small role in this film; this was the first time the two brothers were on screen together.
Charles Lapworth, a former newspaper editor who had met Chaplin when he interviewed him, took a role as a consultant on the film. [ source ]
Jannis Kounellis exhibits a new and site specific work at the Museum of Cycladic Art. It is the first solo exhibition in Greece after many years, housed at the Stathatos Mansion, the neoclassical wing of the Museum.
Jannis Kounellis, whose contribution to the international art movement of Arte Povera has been defining, left Greece very young to leave behind the trauma of the civil war. He now returns to create a work amidst the economic and social crisis that Greece is currently going through. Kounellis's installation can only be a response to this turmoil, as he puts it, “at this particular moment it would be impossible to have just an exhibition of art in Greece”.
For his exhibition at the Museum of Cycladic Art, Kounellis uses materials found in the local Athenian markets and junkyards.
These objects carry the history of the place, of a city that has been through endless changes of populations, ideologies, and levels of prosperity and in the last few years some very extreme changes.
Kounellis uses newspapers, coal, burlap sacks, old shoes and glasses, overcoats, soil and iron bars for this pieces, which are spread in the spaces of the neoclassical building.
The same objects carry personal memories and they can be symbols of desires and hope but also of failed dreams and aspirations.
In Kounellis’s work the personal history and the history of the place, the city, are equally important. The black overcoats that appear repeatedly in his work can represent the artist, the viewer, but also the ‘little guy’,
Chaplin’s tramp of our times, who gets trampled over while societies change. The works might reflect current problems but as always in Kounellis’s works, even though the objects have their own history, they are incorporated in his installations in such a way that in the end they become universal, ancient and modern.
A few words on the artist Born in Piraeus, Greece in 1936, Kounellis moved to Rome in 1956 and is now considered as one of the most important artists of the Arte Povera movement.
Αs coined by curator Germano Celant, the term Arte Povera refers to the humble materials that Kounellis and others such as Boetti, Calzolari and Merz used in their work. Arte Povera was not a group of artists using a certain style; what the artists had in common was the open-ended experimentation, working outside formal limitations.
The Arte Povera term did not refer to impoverished materials, but to art made without restraints, with found objects. [ more ]