This dreamy photograph of a light-infused drink being enjoyed in a sky-high setting was taken between 1965 and 1974, during Eggleston’s early foray into the colour photography with which he is now synonymous.
During this time, the Memphis-born image-maker traversed the southern states of his native country “transforming everyday America into a photogenic subject” (in the words of Amsterdam’s Foam museum) for his seminal series, Los Alamos.Bokkie is my maatjie Bokkie gryp my gatjie Naai my, naai my Spuit my met jou saadjie
― Die Antwoord – Enter Da Ninja (The Black Goat Decapitator Remix)
Somebody call the slick police
Capitol W
Weezy Baby
This is the Carter man
Brim low all I can see is the flo' now let's go!
Raj ya bangin 'em in the.. Raj I say ya bangin 'em in the..
Raj I say ya bangin 'em in the head wit this one cut!
Weezy Weezy say guard ya face bitch
Weezy say guard ya neck bitch
Weezy Baby this is the Carter[Verse 1]
I move it from a eighth to a slab from a slab to a quarter
From a quarter to a half from a half to a hard one
You do the math it's a horror
While I be on the ave gettin off one nineteen for a soft one
Bricks I loft 'em catch him he hot
If I catch you without my scratch I'm stretchin ya out
If you catch me without the burner burn me
I beg of you shoot off the leg of you and kick ya in the ass
I'm dyin of doom I say I'm sick with cash
These eyes are real see straight through ya liquid ass
You see me straight through the glass house picnic wagon
You could see it by my bitch face she thick with ass
Get slick slick I click click blast on ya bitch ass
Squad up shit click or smash on ya bitch ass
Smash on ya bitch ass
Now pick the grass up out ya ass and the caps out ya cap Aye![Hook x2]
Who wanna fuck wit me tell 'em I'm waitin for 'em
Who wanna fuck wit me tell 'em I'm waitin for 'em
Who gon fuck wit me I got the blazer for 'em
Who gon fuck wit me do you wanna fuck wit me Naw![Verse 2]
Hustle boy sell a nick to ya mom I'll sell a brick out ya house
I'll sell a brick to a house nigga
I'll send a clip to ya mouth back of the gun to ya nose
Front of the gun to ya clothes I let it rip and I bounce
Lights off young Teddy Pender is out
Mask on scare the fuck out ya but ya ass grown
I wasn't born with no silver spoon
But I can heat it in a spoon and pitch it in a balloon
Tomb sittin in ya room sing for me
But if ya don't gimmie no tune the semi go boom
But if ya dont hear me doe fool the semi go boom
I'm try to make moves but they gimmie no room
I takes my space I blaze the haze take ya babe to space
She gimmie amazing face I sung Amazing Grace
I was once lost but now I'm found
Full of them pounds is how I'm found Aye![Hook x2]
[Bridge]
Oh! Oh! Bang 'em in the head, whoa!
Oh! Oh! Bang 'em in the face, whoa!
Oh! Oh! Bang 'em in the neck, whoa!
Brim low all I can see is the flo' now let's go![Verse 3]
I know how to cook so I buy it soft
I also sell it soft depending the cost
You know thats shells they toss defending they boss
They wipes 'em well across ya dentures like floss
You know I smell ya talk and I swear I knows bullshit and pussy near or far
Ya'll niggas better gear up for the comin of the boy
From a young'n to a boy to young boy boy
I dump toys boy at ya punk boy toys
Take the pump out the trunk take a chunk out a chump
Baby what have I done I created a monster
Weezy Baby a gangster no wankster
Hell naw I smell ya'llDidn't know Jam Master well but I rocks with my shells on
And the block still a hell zone
Get a helmet for you and ya gal's dome I suggest! Aye![Hook x2]
[Outro]
Bang 'em in da head whoa!
Bang 'em in da face whoa!
Bang 'em in da neck whoa!
Brim low all I can see is the flo' now let's go
Bang 'em in da head whoa!
Bang 'em in da face whoa!
Bang 'em in da neck whoa!
Brim low all I can see is ya ho now let's go
About “Who Wanna”
2 contributors
13th track of Lil Wayne’s 4th studio album “Tha Carter”
An earlier version appeared as “Won’t Fuck with Me” on Da Drought, the official 2004 mixtape that represented a scrapped version of Tha Carter.
Ask us a question about this song
"Who Wanna" Track Info
Recorded At Cash Money Studios
Release Date June 29, 2004
cocaine, coke, cocaine addiction, cocaine addict, cocaine addicts, drug, drug addict, drug addicts, drug addiction, drug addictions, smoker, smokers, smoking, nicotene, quitting, quit smoking
Nigga Please Ol' Dirty Bastard feat Lil' Mo
TRENDINESS
Instagramitty
body work aesthetic, Lush, light, Stained, loured hair, drinking heirloom ritual viand,
ethnocentric paintwork, leatherette -- daring concept or big shot music shoot with Kendrick Lamar or Tyler, the Creator (yep she’s shot both), Lusha pours, her unique expression bravely raw.
lick up Instagram here
Lush Alice, 24-year-old image maker explores female form empowered freedom.
Born in Slovenia, Alice imitated art, photography and film, shine a light.
photography examines alternate fashion
portraiture
Lusha Alic
sensuality glam
raw stenography
passionflower, manikin
indispensable pursuit
“It matters How-to.”
over-inked – therewith, those around Azalea.
British radio, 2013, singles, Workaround making 2020.
How Azalea Googled
mmmmmm
series of tweets in which Azalea makes derogatory comments, stereotyping the bodies of women of colour, talking about playing football with “5 dyke bitches” and finally, utters a slur towards Native Americans.
In the midst of a Twitter spat with Nicki Minaj, Azalea makes something of an apology, apparently thinking that sexism, racism and homophobia are acceptable behaviour, as long as you’re not famous. The problems continue, when on the song, D.R.U.G.S, Azalea refers to herself as a “runaway slave… master”.
Now for this incident, she gave a more thorough apology. However, the problematic collisions with race continue in the video for her latest single, Bounce. The video is shot in India, and features Azalea dressed in the traditional dress of the country, complete with sari, and a bindi on her forehead. Azalea’s explanation for this choice is something of an indeterminate ramble, eventually trying to explain it away as “a fantasy”.
Now first of all, Azalea may think of the Bounce video as a fantasy, and so may of the people who watch it. However, it seems to be lost on her that India isn’t a fantasy land. It is a nation with a long and rich history, much of which included generations of oppression. Narnia is a fantasy land. Gallifrey is a fantasy land. India is not.
For any non-Indian to daub themselves in Indian clothing is often problematic – and even more so when that person is white – and seems to have no understanding of another country’s history or its culture. This ties into a wider (and ongoing) issue that goes back to the minstrels in blackface. Simply put, the dress, dialects, and customs that derive from people of colour are not part of a buffet table for the pleasure of white people. “Hey, look at that sari! I need to try one! Oh, and aren’t those braids adorable! Someone needs to do my hair like that. Africa’s such a beautiful country, isn’t it?”[1]
Sadly, and all too predictably, Azalea’s thoughts on the issue of race in hip-hop left a lot to be desired. She seems to be completely unaware (regardless whether you think her music is any good) of how her white privilege has given her a degree of access to mainstream success, and also seems to misunderstand what segregation is.
Now, it wouldn’t be prudent to ignore that the issue of white people in hip-hop raises numerous questions regarding appropriation, and what their place in the culture should be. Aamer Rahman recently posted his thoughts on this.
I don’t fully agree with Rahman’s argument. I tend to be more of the opinion that crediting the origins of one’s work is the most important thing. However, I am definitely on board with how Rahman deconstructs the nature of white privilege in the context of hip-hop, especially with regards to Azalea. And while some may think I’m singling out Azalea, I do so because she’s become a touchstone of the problem.
Each of her aforementioned displays of bigotry have often been followed with some kind of apology. But part of being contrite is to take steps to prevent repeat occurrences, which Azalea has clearly failed to do.
The primary reason for my focus on Azalea, and not on a different white rapper like, say Kreayshawn, is that the latter isn’t a significant presence in popular music. The former is at time of writing, not only on Britain’s commercial stations, but also on the country’s major urban music station, Choice FM.
Again, why single out that particular station? Because they have placed themselves as Britain’s premier space for urban music. Their use of the world “urban” rather than “black” is quite telling, as is the identity of their Digital Editor and Managing Editor.
So while I’m disgusted with any media outlet that promotes Azalea in a positive light, Choice FM have to come in for particular criticism. If you’re a station that plays solely black music, there’s one hell of a cognitive dissonance between doing so, and also playing the music of an artist who has habitually piggybacked on the work of black people for her own ends.And to bring this back to my second paragraph, the argument that Choice FM are “only a radio station” whose responsibility is to play music rather than play politics, is asinine. As journalist Dave Zirin has said,
“not taking a political stand is still taking a stand.”
And by airing Iggy Azalea’s songs (without even the slightest pushback from any of their DJ’s), Choice FM have made the political stand; to co-sign her racism.
[1] Yes, I know Africa isn’t a country. It’s a satirical comment on what many ignorant people say in regards to the continent.
[2] Sure, Azalea’s not the only one to co-opt black music. For example, UK commercial radio stations are currently being plagued with Miley Cyrus’ new “black sound”.
[3] David Farrar and Stuart Grant. Both are white men. Both have senior positions at radio stations that cater to a more white mainstream audience.
READ: THE MACKLEMORE PROBLEM
_______________________________________
A mixed-race film graduate, Shane Thomas comes from Jamaican and Mauritian parentage. He has been blogging about sport since 2010 at the website for The Greatest Events in Sporting History. He is also a contributor to ‘Simply Read’, the blogging offshoot of the podcasting network, Simply Syndicated. A lover of sport, genre-fiction, and privilege checking, Shane can be found on Twitter, both at @TGEISH and @tokenbg (and yes, the handle does mean what you think it means).
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This very website is founded on such a belief. So you’re not going to get much change with me by stating that popular culture doesn’t matter.The reason for this declarative opening is to contextualise the subject of this post. The subject being the rapper, Iggy Azalea.
