[Hook]

1. Lock and load your gun where I’m from, the Third World, son
2. Been to many places, but I’m Third World born
3. Guerrillas hit and run where I’m from, the Third World, son
4. You polluted everything and now the Third World’s gone
5. The water is poison where I’m from, the Third World, son
6. 700 children died by the end of this song
7. Revolution’ll come where I’m from, the Third World, son
8. Constant occupation leaves the Third World torn

Immortal Technique is Peruvian. He is talking about Africa and Peru in this song

Tech’s “I’m from where … ” concept is modeled off of Jay-Z’s song “Where I’m From”. Tech removes any reasonable doubt that this is just a coincidence with at least two additional Jay-Z references.^[1]

Nicely done, thanks for sharing it with us!

Video Description:

“Rock Co.Kane Flow,” featuring MF DOOM, is a highlight from De La Soul’s 2004 album, The Grind Date. The track showcases the group’s signature clever lyrics and innovative production, alongside MF DOOM’s inimitable style.

Produced by Jake One, the song is a sharp critique of mainstream hip-hop, emphasizing De La Soul and DOOM’s commitment to lyrical integrity over industry trends.

The Grind Date itself is celebrated for its lean sound, featuring production from J Dilla, Madlib, and 9th Wonder, and guest appearances from artists like Ghostface Killah, Carl Thomas, and Common.

Lyrics:

1. Up in them five-star tellies and two mic rhymes
2. Be them average MC’s of the times
3. Unlike them, we craft gems
4. So systematically inclined to pen lines
5. Without sayin a producer’s name, all over the track
6. Yeah I said it! What you need to do is get back
7. To reading credits, we them medics
8. Alphabetically stuck on that English
9. And knock it out before we pour
10. That sure shot more rock co.kane flow

–

11. From the top of the key, the 3 Villain
12. Been on in the game as long as you can wheelie your Schwinn
13. Turn the corner spinnin’, bust that ass and get up
14. Dust off the mask, whoever laugh give him a head up
15. He got jumped, it pumped his adrenaline
16. He said it made him tougher than a bump of raw medicine
17. To write all night long, the hourglass is still slow
18. Flow from Hellborn to Free Power like Wilco
19. And still owe bills, pay dues forever
20. Slay huge when it comes to who’s more cleverer
21. Use to wore a leather goose ski with a fur collar
22. Hand charged a fee for loose leaf words for dollar
23. Ya heard? Holla, broad or dude, we leave food
24. Eat your team for sure, the streets sure seem rude
25. For fam like the Partridges, pardon me for the mix-up
26. Battle for your Atari cartridges or put your kicks up
27. It’s a stick up

–

28. Now put your blix up, these Riddick Bowe cuts
29. Is swole like penile flicks, give 'em 20
30. The danger in his eyes’ll let you know he’s a brawler
31. Bring your tallest champs like that much taller
32. Ten pounds heavier, one step ahead of it
33. Vocab, stamina, style’s all irrelevant 34 Camps and cliques, units, squad crews and clans
34. Even your tongues’ll fuck around and leave your mouth

–

36. Doom brung that bum, there goes that news van again
37. Act like you knew like Toucan Sam and 'em
38. He eat rappers like part of a complete breakfast
39. Your rhymes ain’t worth the weight of they cheap necklace
40. String 'em up, bring 'em up under whack junk snack
41. And get that out your hand, punk, jump and get your dunk smacked
42. Foul, we all know the rules bro
43. You slow, you blow the soup on your fools, his Impulse like Yugo

–

44. You go lights, camera, action with no makeup
45. We De La to the death, or at least until we break up
46. Here’s a couple of nice guys who finished first
47. So nice try, but the prize is ours dispersed
48. They say the good die young, so I added some
49. Bad-ass to my flavor to prolong my life over the drum
50. Everyone cools off from bein’ hot
51. It’s about if you can handle bein cold or not!
52. And we was told to hop for no one, it’s what I dig bout Prince Paul
53. We stayed original ever since y’all
54. First to do a lot of things in the game, but the last to say it
55. No need to place it on a scale to weigh it
56. And don’t do it for the plays or to raise the bar
57. Yet it’s raised anyway, it’s so amazing, are
58. The three L.I. brothers from a other way of thinkin’
59. Hey your lady’s winkin’, I think you need to control that aura
60. Or I can hold her

–

61. The elements are airborne, I smell the success
62. (Yo let’s cookie cut the shit and get the gingerbread, man)
63. Sacrifice mics and push drugs to these rappers
64. Puff ponies 'til I turn blue in the lips
65. Sippin broads like 7-Up (ah) so refreshing
66. I think I’ll pop these verse like first dates to birthdates
67. September 2-1, 1-9, 6-8
68. Too old, should I? Too bad, too late

#DeLaSoul #MFDOOM #RockCoKaneFlow #TheGrindDate #HipHop #MusicVideo

De La Soul Get Animated Foir ‘Rock Co.Kane Flow’ Video [07-03-2025 | antimusic.com]

(Jensen) Platinum-selling, GRAMMY Award-winning hip-hop icons De La Soul today release the brand-new visual for “Rock Co.Kane Flow” catapulting viewers into a bold, otherworldly universe where lyrical warfare meets sci-fi action.

In this reimagined, animated world, created by Matt Hutchings of Matt Hutchings Films, De La Soul members Posdnuos, Maseo, Trugoy The Dove and MF DOOM take on the roles of unstoppable superheroes, rising up to battle an alien invasion that symbolizes other MCs-those who lack the lyrical depth, authenticity, resilience, originality, and creative chemistry that De La and DOOM embody.

What unfolds is a visually striking battle of worlds: iconic hip-hop artistry versus hollow imitation. The superheroes repel the invasion with skill and spirit, ultimately emerging victorious and reaffirming their place in hip-hop’s pantheon.

Just like the track itself, which can be found on the 20th anniversary re-release of the group’s seminal album The Grind Date (BMG), the video is a powerful statement-celebrating collaboration, creative integrity, and unmatched lyrical mastery. It’s not just a fight scene-it’s a declaration: these superheroes of sound can’t be touched.

“With this project, we knew we wanted to create something special. Posdnuos had a clear vision of the vibe and comedic tone of the video, looking to recreate the group’s look during The Grind Date’s release back in 2004 (with a wrestling superhero twist),” says Hutchings. “We knew we didn’t want to go down the road of AI and Deepfaking, instead opting to create fully animated versions of all the characters, no small undertaking. We took influence from various superhero films and media, and drew upon hours of classic wrestling footage for reference. After months of animating, rendering and complex visual effects work, we were finally able to bring De La Soul & MF DOOM to the big screen just as they were in 2004.”

To commemorate the 20th anniversary of De La Soul’s seventh studio album, The Grind Date, BMG released a special package of the original album on vinyl and CD including bonus tracks and instrumental versions.

The Grind Date, originally released in 2004, showcases the groups signature blend of clever lyrics, innovative production, and a mix of playful and introspective themes including a plethora of featured artists such as MF DOOM, Ghostface Killah, Carl Thomas and Common.^[1]

Edit:

1. Lyrics Spacing, format

Russia invaded Ukraine, not the other way around. Russia was violating international law doing this, invading a peaceful neighbor without provocation, and has since committed numerous war-crimes.

This is the Western regime’s decades-long geopolitical ambitions in the making.

Years versus decades, it is important to know the history and the causes of escalation.

If you would like to learn about non-Western propaganda, check out Professor Jeffrey Sachs. There are also independent journalists that I have shared that lay out the politics and geopolitical events that lead us to this conflict.

In a similar aspect, if you check out the history of Israel-Iran, US-China, and other countries in the Middle East, Latin America, and Africa, you will learn they share a common backing regime and geopolitical goal: the US.

You are not just wrong, your post simply reeks that you are brainwashed by Russian propaganda. And I mean seriously brainwashed, because your arguments are decidedly against the facts to a degree you are not even making sense.

It is no surprise anything critical or contradictory to the Western propaganda narrative gets labeled the boogeyman (bots, trolls, puppets, shills, etc.), similar to the China and Iran escalations.

If you are serious about learning much more, we must always be critical of our own governments’ propaganda and be willing, not scared, to learn what is being said of dissenting views and sources.

Thanks for being willing to reply and have a small chat, even if we don’t agree on the history and true intentions of the escalations.

Palestine is a genocide; they have no army and are in an imprisonment surrounded and controlled by Israel and Western forces fully supporting it.

Ukraine has an army with Western/NATO backing and CIA and MI6 intelligence as well, similar to Israel.

This is the Western regime’s decades-long geopolitical ambitions in the making.

We are now at war with Iran and heading to war with China as well.

More forever wars where securing important resources is the main goal in exchange for the working classes’ mass murder and death.

Interesting take.

Thanks for taking the time to explain your thought process and how you arrived at certain conclusions!

Sadly, it won’t stop until the last Ukrainian is sent to the front lines to die.

The West Regime continues to use smaller countries as pawns to further our geopolitical ambitions and to enrich our oligarchs.

Removed archive link, also paywalled.

:(

Articles Found:

1. https://m.slashdot.org/story/442846
2. https://arstechnica.com/tech-policy/2023/12/apple-admits-to-secretly-giving-governments-push-notification-data/
3. https://www.vice.com/en/article/apple-just-confirmed-governments-are-spying-on-peoples-phones-with-push-notifications/
4. https://www.imore.com/iphone/apple-admits-governments-can-spy-on-your-iphones-push-notifications-and-they-already-are
5. https://www.macrumors.com/2023/12/06/apple-governments-surveil-push-notifications/
6. https://appleinsider.com/articles/25/06/04/apple-approved-fewer-push-data-personal-info-demands-in-2024-despite-government-surge

Edit:

1. Removed archived link, paywalled, signin required
2. Added articles on topic

Cross-post comment:

Generated Summary:

This YouTube video features an interview with Professor Jeffrey Sachs, who discusses the shifting global order, focusing on the rise of China and its implications for the Western-centric world.

Main Topic: The re-emergence of China as a major global power and its challenge to the established Western-dominated world order.

Key Points:

• Historical Context: Sachs emphasizes the long view of history, noting that for most of the last 2000 years, Asia, particularly China, held a dominant position in the world economy. The rise of Europe and the subsequent dominance of the North Atlantic (Europe and the US) in the 19th and 20th centuries was an anomaly.
• China’s “Century of Humiliation”: He highlights China’s decline and subjugation by Western and Japanese powers from the mid-19th century to the mid-20th century, leading to a drastically reduced share of the world economy.
• The Return of China: Sachs argues that China’s current rise is a return to its historical prominence and a rebalancing of a previously unbalanced, Eurocentric world.
• Western Ideologies of Superiority: He points out that the West developed ideologies, including notions of cultural and racial superiority, to justify its dominance, making it difficult for many in the West to accept the shift in global power.
• China’s Distinct Statecraft: Sachs contrasts European statecraft, characterized by fragmentation, constant warfare, and a “realist” view of international relations as inherently anarchic, with China’s history of unification and Confucian emphasis on harmony. He argues that China’s statecraft is different, prioritizing internal order and peaceful relations with neighbors, rather than external imperialism.
• Debate on China’s Future Behavior: Sachs acknowledges the debate on whether China will behave like other great powers, driven by self-interest and competition, or if its unique history and philosophy will lead to a different approach to international relations. He disagrees with the view that China will inevitably follow the same path as previous dominant powers.

Highlights:

• The discussion of the historical context, framing China’s rise as a return to a more normal state of affairs rather than an unprecedented threat.
• Sachs’s critique of Western ideologies of superiority and their influence on perceptions of China.
• The contrasting of European and Chinese statecraft, offering a nuanced perspective on potential future geopolitical dynamics.
• The mention of the debate with John Mearsheimer, a prominent political scientist, who holds a different view on China’s future behavior.

Revolutionary Vol 2

Nice!

Interesting information I was able to find on the album:

Revolutionary Vol. 2 is Immortal Technique’s sophomore album, and is a follow-up to his debut album, Revolutionary Vol. 1.

Issues discussed throughout the album include poverty, drug trade, slave labor, censorship, corporate control over the media (including hip hop), the September 11th World Trade Center attacks, racism, the prison industrial complex and class struggle.

The album features political activist Mumia Abu-Jamal, who introduces the album and also provides a speech about hip hop’s relationship to Homeland security.

Immortal Technique claimed in an interview to have sold more than 85,000 copies of the album.

The following images are the album’s liner notes, where Tech candidly contextualises the stories and details of each track.^[[1] https://genius.com/albums/Immortal-technique/Revolutionary-vol-2

[ImagetoText:]

10. The 4th Branch - Written & Arranged by Immortal Technique. Music Produced by Danja (BeatBandits)

The government has 3 branches, Judicial (Supreme Court), Legislative (Congress), and Executive (White House). Operating on a system of checks and balances (that would idealistically force each one to answer to another) supposedly prevents our so called democracy from becoming a totalitarian state in which only one group’s interests are reflected. But if the interests of one group, is slowly becoming the political agenda of the majority of these branches as it is now unbalancing the system, there is a fallback. The news media has the potential to be the voice of the people and provide the public with useful information and a historical reality of the actions of our nation in order to better our democracy. Instead, they have become the rubber stamp of the military and the government. They are now the most useful propaganda machine that the system has, they provide straw-man argument perspectives and very filtered information. Gone are the days of the Watergate exposing press, the integrity of the popular media has been damaged by the reality that leaks through their recycled fear driven reports. They are no longer the voice of the people; they are corporate controlled entities who put profit margins before truth, they are people who write puff pieces on government and business interests instead of vocalizing the criticisms of millions. They are the 4th branch of the government.

Nice song!

Many must recognize the beginning beat of Gotye’s “Somebody That I Used To Know”!

Thanks for sharing it with us!

“Anxiety” by Doechii originally came from a 2019 YouTube video, one of her “COVEN MUSIC” songs. “Anxiety” borrows the instrumental for Gotye’s 2011 hit “Somebody That I Used To Know”. The YouTube video was later sampled in 2023 for Sleepy Hallow’s “A N X I E T Y”.

The original YouTube video went viral as an audio on TikTok starting in February 2025, leading to Sleepy Hallow’s release increasing in popularity on streaming. Upon noticing this attention to her video, Doechii decided to re-record and release her full original version to streaming services, teasing it days before release.^[1]

“We can confirm the reporting that Chang Guang Satellite Technology Company Limited is directly supporting Iran-backed Houthi terrorist attacks on U.S. interests,” State Department spokesperson Tammy Bruce told a regular news briefing.

I wonder if they got this information from the same people that said Kilmar Armando Abrego Garcia is MS-13 and Mahmoud Khalil is Hamas.

Iran, Russia, and China are all a part of BRICS and conduct military drills together. It would be better if our government learned some diplomacy and stopped our decades of aggression.

Col. Douglas Abbott Macgregor talks about Iran, China, and Russia.^[1]

Edit:

1. Misspelled name, changed Col. Douglas MacGregor to Col. Douglas Abbott Macgregor

Sad, but true.

Not Just Bikes informed many about city planning.

By forcing your citizens to die for profit?

These endless wars will continue, since money has to be made, and corporations and oligarchs have a lot of sway when it comes to foreign policy.

The next war my country’s oligarchs and corporations are pushing for is with Iran and China; the duopoly is owned and funded by these corporations and oligarchs.

I am against conscripts.

We must always be highly critical of those with power, money, and influence; especially governments and politicians (and the oligarchs that control/sway them).

I have known about those videos being posted on twitter.

I shared some of them last year, it is great that people are escaping the echo cambers we created for ourselves!

“I was playing heroines, but in real life I wasn’t earning a living,” said Shibata, now 60. These days, she also works as a home organizer, helping people de-clutter. “Voice acting as a profession just doesn’t pay,” she said.

Even in a country where a culture of overwork permeates a wide range of businesses, the anime industry is notorious for the grueling hours that workers put in. Animators in their early 20s earn less than 2 million yen ($12,948) a year, according to industry data, compared with over 3 million yen for a person of a similar age living in Tokyo. That’s less than half of what US entry-level animators earn, websites like Glassdoor show. Creative workers also complain of late and uncertain payments.

Some, though, sense change is afoot. A working group for the United Nations Human Rights Council last year called out Japan’s anime industry for its poor treatment of workers, along with cases of sexual violence and harassment in the country’s entertainment business. In a May report, the group referred to “excessively long working hours” and low pay, as well as a disregard for creative workers’ intellectual property rights.

Acknowledging such worries, lawmakers passed a new law that took effect in November to boost protections for freelance workers. Late last month, regulatory officials at Japan’s Fair Trade Commission launched a study on labor practices within the anime industry and invited workers to submit complaints.

Once considered a geeky, so-called otaku obsession, anime is now considered mainstream. In 2020, when the pandemic brought Hollywood production to a halt, Demon Slayer: Mugen Train topped global box office sales at over $470 million. In Japan, around 400 anime titles are now produced for TV and theaters every year, attracting dedicated fans who go on to buy related merchandise. The genre’s popularity among global streaming audiences has also prompted a flurry of acquisitions. Sony, which bought anime streaming service Crunchyroll in 2021, became the largest shareholder of anime publisher Kadokawa Corp. in an alliance announced late last year. Movie producing and distributing company Toho Co. bought US-based anime distributor Gkids Inc. for an undisclosed amount to strengthen the Japanese firm’s US reach.

That later evolved into the current system in which studios work within budgets set by powerful committees of publishers, toymakers and businesses which finance the series and share royalties. Production companies outsource work to small anime studios and voice actors’ agencies, which in turn hire even smaller companies and freelancers. This helps companies work on multiple series at once and mitigate any potential losses. As a result, revenue is spread thinly, and it can take months for compensation to filter through to illustrators and voice actors.

Actors often wait six months or longer to get paid, according to Nobunari Neyoshi, who until last year ran a voice actor agency alongside his sound-production business for a decade. “Violations of subcontracting laws are rampant,” said 47-year-old Neyoshi, adding that sometimes actors don’t get paid at all. He closed his voice-acting business due to poor sales.

Workers are also often employed over the phone or via messaging apps without formal contracts, leaving it unclear how much, or even whether, they’ll get paid. “It’s common across the industry to be asked to start working on something even before any paperwork is done,” said Aina Sugisawa, a 24-year-old trainee at Tokyo-based studio TMS Entertainment Co., part of Sega Sammy Holdings Inc. and known for hit series like Detective Conan.

Unlike in Hollywood where a strike by screenwriters and performers brought movie and TV production to a halt in 2023, the majority of Japanese voice actors and illustrators don’t belong to labor unions. Numako, the former union official, says he’s always struggled to convince colleagues to join him.

The new law on freelancers forces companies to provide written contracts, including details on pay, to all workers. Businesses are now prohibited from demanding extra work without promising additional pay and are also required to pay workers within 60 days. The government is stepping up surveillance, and regulators are also inviting workers to blow the whistle on law-breaking activity.

One underlying problem, industry insiders say, has been the sheer number of people willing to endure poor conditions just to be involved in an art form they’ve loved since childhood. Breaking into the industry is still highly competitive; manga and anime illustrators regularly rank among the top dream professions of school children. Some blame themselves for their lack of financial success: there’s always a more senior job to aspire to. Key frame animators are responsible for drawing crucial images at the start and end of major scenes and earn more than those drawing sequences in between. With skills and experience, they can also move on to better-paid jobs including directors. But such senior roles are few. The field of voice acting can be even more competitive.

Shrinking demographics and technological innovation including AI are also seen bringing change — as well as an existential challenge. Japan Research Institute expects a labor shortage among anime illustrators, estimating their number to decline to roughly 5,600 by 2030 from around 6,200 in 2019. Production studios have already been turning to overseas labor, with Toei Animation sending 70% of its animation work to a branch in the Philippines, even though crucial processes remain in Japan. Many fear that AI will replace jobs, particularly at the entry level, turning away younger artists.

Real change, though, will require workers to act rather than expecting laws to protect them automatically, said Yasunari Yamada, a lawyer with expertise in freelance work. “Freelancers need to recognize that they’re business operators, and take action if they think something’s wrong,” he said.

Some are starting to speak up. Shibata, the voice actor, recently learned that a video game using her voice was reissued a few years ago without paying her royalties. After decades of work under her belt, including key roles in popular series like Saint Seiya, a story about mystical warriors, she complained, prompting the publisher to agree to a payment.

“People have just been clinging to whatever job they get, because if you say something negative you’re put out to pasture,” she said. “Everyone’s been putting up with it.”

Interesting.

Would you say that your views align more with what Matt Duss or not really?

All is well, peace!

“I’m Gonna Miss Her” is a single released by Brad Paisley as the second single off of his album Part II. The song reached the top of the Billboard Hot Country songs chart.

The song describes a man who goes fishing a lot. He is confronted by his wife at home after one of the fishing trips where she tells him that he has to choose between her or the fishing. The song then describes how Brad is “gonna miss her”, the listener can then figure out that Brad choose fishing over his wife.

According to a 2004 issue of Country Weekly magazine, Brad said he co-wrote the song with Frank Rogers in high school during a talent contest where he decided to write a comedy song instead of the ballads he was writing prior.^[1]

Ah, here ya go:

Generated Summary:

This YouTube video analyzes Kendrick Lamar’s Super Bowl LVII halftime performance, focusing on its underlying message and symbolism. The main topic is the interpretation of Lamar’s performance as a commentary on the Black American experience and systemic issues.

Key Points:

• The Performance as a Game: The stage is designed as a PlayStation controller, framing the show as a game representing the challenges faced by Black Americans. The game’s progression mirrors the historical and ongoing struggles.
• Uncle Sam as Oppression: Samuel L. Jackson, portraying Uncle Sam, represents the forces of oppression attempting to control and suppress Black culture. His disapproval of certain aspects of the performance symbolizes the systemic constraints placed on Black expression.
• Protest and Solidarity: A protester during the show displayed flags representing Sudan and Palestine, highlighting global injustices and the interconnectedness of struggles for liberation. The protester’s subsequent interview emphasizes his faith-based motivation and willingness to face consequences for his actions.
• Musical and Visual Symbolism: The video meticulously breaks down the symbolism within Lamar’s song choices, choreography, and stage design. Specific examples include the formation of the American flag by dancers, the use of color-coded sets, and the imagery of a prison yard.
• Call for Reparations: The performance subtly incorporates a call for reparations, referencing the unfulfilled promise of “40 acres and a mule” following the Civil War. This is highlighted through lyrics and visual cues.
• Celebrity Cameos: The appearances of Serena Williams and other figures are interpreted as symbolic gestures, further emphasizing themes of overcoming adversity and achieving success despite systemic obstacles.
• Audience Reception and Impact: The video acknowledges mixed reactions to the performance, contrasting it with previous Super Bowl halftime shows. Despite criticism, the performance achieved record viewership, demonstrating its significant cultural impact.

Highlights:

• Detailed analysis of the symbolism embedded within the performance’s choreography, music selection, and stage design.
• Inclusion of the protester’s interview, providing context and perspective on his actions.
• Comparison of audience reactions to Lamar’s performance with those of previous Super Bowl halftime shows.
• Discussion of the historical context of the “40 acres and a mule” reference and its significance within the performance.
• The revelation that Kendrick Lamar’s Super Bowl halftime show is the most-watched performance ever.

The generated summary explains a bit of what the video is about.

Kendrick mentioned that many would not understand his message.

I think Sabby does a good job of explaining to those that did not see or understand the symbolism.

All is well, peace!