Pietro Motisi, Italy, 1982.
The big bankers of the world, who practise the terrorism of money, are more powerful than kings and field marshals, even more than the Pope of Rome himself. They never dirty their hands. They kill no-one: they limit themselves to applauding the show.
Their officials, international technocrats, rule our countries: they are neither presidents nor ministers, they have not been elected, but they decide the level of salaries and public expenditure, investments and divestments, prices, taxes, interest rates, subsidies, when the sun rises and how frequently it rains.
However, they don’t concern themselves with the prisons or torture chambers or concentration camps or extermination centers, although these house the inevitable consequences of their acts.
The technocrats claim the privilege of irresponsibility: ‘We’re neutral’ they say.
“Yeah, a space nigga in your premises, currently on level 6”
Part one by Jay Reaper, in an Aphex Twin Monkey Drummer light effects scenario, rough compositing, nice overlays.
Part two by Skits Vicious, the One-Eye of the hip pop scene in this Valhalla Rising tribute.
Part three by Dopey Rotten; Imagine Lynch and Cronenberg in a Beasty Boys mise-en-scéne, we love it.
More Dope D.O.D. Dutch hip pop on their website.2 hearts
Antenna Serif (2015) is Cyrus Highsmith’s counterpart to Antenna, adding clear-cut slabs to squared-off curves. The typeface’s athletic build has already played a role in Sports Illustrated’s print and digital formats.
Developed with David Jonathan Ross, Antenna Serif weighs in at 56 styles — seven weights in four widths, each with italics — making it a versatile performer for both strong heads and vigorous bodies.2 hearts
These ceremonies are physical exhalations of grief at the loss of his mother months before the recording – by turns contemplative, ecstatic, restrained, and unbridled. They reveal Neuringer’s prodigious technical vocabulary and physical stamina, as well as his idiosyncratic compositional influences and sensibilities. Central to all of it is the uncompromising urgency that is a key facet of Neuringer’s creative work.1 heart