… which features Depp on bass. Normally Manson’s covers are better than the originals, to me, but this album is kinda blah. Maybe it’ll grow.

I dig Waddy’s message big time, especially in his conscious tracks like that one and Love Is from his MaxNormal.TV project (and Constructus, but I like this version more):

Here’s Kidd Kidd’s new stuff, which 50 is using as a promo. It’s embeddable…

… And just when it gets boring it turns into a call for violence to avenge Treyvon Martin.

The technology used to do it was from the 1860s, but GOD-DAMN that’s a good execution: digital media and the godhead. What happens when you’re recorded so much and so often that the camera really does absorb your soul? If violence and media are inherently intertwined (McLuhan) does the media TAKE your soul? Violence/media killed Pac, and now resurrects him through his recording art — the informational traces he generated moving through reality.

We are all recording artists now, because everything we do is recorded. Digital media, maybe, ARE the Eschaton, the strange attractor at the end of time trying to immamentize itself.

And Tupac’s Idoru is the first upload.

1. Pieces in foxtrot rhythm (so-called swing) are not to exceed 20% of the repertoires of light orchestras and dance bands;
2. in this so-called jazz type repertoire, preference is to be given to compositions in a major key and to lyrics expressing joy in life rather than Jewishly gloomy lyrics;
3. as to tempo, preference is also to be given to brisk compositions over slow ones (so-called blues); however, the pace must not exceed a certain degree of allegro, commensurate with the Aryan sense of discipline and moderation. On no account will Negroid excesses in tempo (so-called hot jazz) or in solo performances (so-called breaks) be tolerated;
4. so-called jazz compositions may contain at most 10% syncopation; the remainder must consist of a natural legato movement devoid of the hysterical rhythmic reverses characteristic of the barbarian races and conductive to dark instincts alien to the German people (so-called riffs);
5. strictly prohibited is the use of instruments alien to the German spirit (so-called cowbells, flexatone, brushes, etc.) as well as all mutes which turn the noble sound of wind and brass instruments into a Jewish-Freemasonic yowl (so-called wa-wa, hat, etc.);
6. also prohibited are so-called drum breaks longer than half a bar in four-quarter beat (except in stylized military marches);
7. the double bass must be played solely with the bow in so-called jazz compositions;
8. plucking of the strings is prohibited, since it is damaging to the instrument and detrimental to Aryan musicality; if a so-called pizzicato effect is absolutely desirable for the character of the composition, strict care must be taken lest the string be allowed to patter on the sordine, which is henceforth forbidden;
9. musicians are likewise forbidden to make vocal improvisations (so-called scat);
10. all light orchestras and dance bands are advised to restrict the use of saxophones of all keys and to substitute for them the violin-cello, the viola or possibly a suitable folk instrument.

Note that these make almost all of contemporary music verboten.