Original Pirate Material The Streets Rar Extractor
Here you can download free original pirate material shared files found in our database: Original Pirate Material.zip mega.co.nz The Streets - Original Pirate Material (2002) [FLAC].zip mega.co.nz 318.97 MB The Streets - Original Pirate Material (2002) [MP3 V0].zip mega.co.nz 97.64 MB.Missing.
Hey, did you hear? Hip-hop is a world phenomenon now! Yes, spend some time poking around your favorite music magazine's website and I'm sure you'll find a heavy handful of hip-hop-gone-global thinkpieces.
Read profiles of angstful teenagers rapping about life in Israeli-occupied Palestine, Cuban kids protesting the oppressive state police in rhyme, even Greenland b-boys composing bouncy anthems about caribou and snow. So it should come as no surprise that the British, notorious for chewing on our music before spitting it back over the Atlantic in a shiny, new form, have also turned their sun-starved faces to the arena of hip-hop. There's just one small problem: simply put, British accents just don't sound particularly right in the context of syncopated rap-speech. To put my tweed linguistics jacket on, the American tendency to cheat on pronunciation fits in perfectly with the wordplay of hip-hop, while the stubborn British habit of perfectly enunciating every syllable makes things sound rather, well, formal. Or to put my Degrassi Jr. High pop culture jacket on, British rap can't help sounding like the dope flow of the immortal Murray Head on 'One Night in Bangkok.' Which is why the first time you put on Original Pirate Material, you might find it awfully hysterical-- especially if the name had you assuming it was going to be another Strokesian garage act.
The giggles will eventually give way to a bit of discomfort at the slightly awkward delivery-- the words here are jammed into measures like an overstuffed couch. You'll wince at a chorus like, 'Geezers need excitement/ If their lives don't provide it, then they incite violence/ Common sense, simple common sense,' bursting at the seams of its tempo. Then, about 48 hours later, you'll realize it still hasn't left your head. One-man MC/DJ package Mike Skinner has an obvious talent for forging damn sharp hip-pop hooks that supercede his inherent verbal handicap. Unashamedly revealing a taste for 80s soft rock, the smooth-sung chorus and reverbed Rhodes of 'Has It Come to This' is highly reminiscent of fantastically hair-styled pop giants Hall & Oates-- and believe it or not, I don't mean that as a putdown.
'It's Too Late,' meanwhile, features a sugared melancholy duet with a dreamy British lass between the verses, and tracks fortified with more canned orchestra than a late-period Flaming Lips album. All of which would leave things a bit flaky, if it wasn't for Skinner's flair for nervous, metallic beats (The Streets' percussion is inventive enough for the album to be erroneously labeled as 'electronica' in the critic's bible All Music Guide).
Whether changing speeds or dropping out unexpectedly beneath the ominous strings of 'Same Old Thing,' trampolining playfully in 'Don't Mug Yourself,' or rolling along completely oblivious to the piano loop rhythm on 'Weak Become Heroes,' they're catchy and inventive enough to make one forget the accent for a bit. It's not all successful (the slow-reggae bounce of 'Let's Push Things Forward' is, ironically, pretty backward and tired), but it usually is-- and even when it's not, it's at least trying to be. Which leaves us with the lyrics, tales of English street life provided entirely by the very proper-sounding Skinner. Now, if the phrase 'English street life' makes you bristle, hold on a sec-- anyone who's ever read an Irvine Welsh novel (half-credit if you've seen Trainspotting) should know that life for the British working class is hardly Buckingham Palace. So while the lingo takes some getting used to ('geezas' instead of 'niggaz,' 'birds' not 'bitches,' etc.), it'd be incorrect to write off The Streets as either poseur or gimmick, and in a genre where unique lyrical perspective is especially important, the UK vibe is an intriguing element.
Tomtom Xl Eastern Europe Map Download more. Plus, let's face it, Skinner's race and nationality will probably earn The Streets a spot on the 'safe hip-hop for indie rockers list' this year, possessing, as it does, that certain unplaceable, familiar aura that appeals to mild hip-hop-ophobes such as, well, myself. As such, I'm not real sure where it would fall along the critical spectrum according to a genre expert (paging Sam Chennault, Sam Chennault to the OR, please), but Original Pirate Material seems to be remarkably solid. And given the fact that it does, eventually, manage to overcome the horrific-sounding concept of British hip-hop, it seems pretty reasonable to give it a recommendation. Bloody good show, I say.
“Towering Inferno” is name of a 1995 work by German artist and photographer, shown above. The -style image looks straight ahead into the flats opposite (the real life east London tower block Kestrel House, on City Road). It’s nighttime, and some of the windows are illuminated, others have their curtains drawn. Today, that image is best known for appearing as the artwork for Original Pirate Material, ’s debut album. The photograph comes from Luxemburg’s 1997 collection London: A Modern Project. Luxemburg is interested the utopian ideals of modernist architecture, shared spaces, and the London that exists at night, outside of the confines of the ordinary working day. In this sense, her concerns aren’t dissimilar to Mike Skinner’s on Original Pirate Material.
His nocturnal world is also set outside of a 9 to 5 structure; the “sex, drugs, and on the dole” lifestyle he depicts is punctuated by “sharp darts” of inspiration pondered over a spliff. On the 15th anniversary of the release of Original Pirate Material, The FADER spoke to Luxemburg over the phone about the beauty she sees in high-rise buildings, the stigmatization of social housing, and what it means to stand face-to-face with your subject. Tell me about the day you shot this photograph in 1995. I think I was 28. I was an MA student studying photography at the University of Westminster. At the time I was very interested in how the architectural movement of modernism was represented in Britain. I found modernism in these social housing estates, yet [the estates] were stigmatized.
In my work I try to find the beauty in the illumination, the structure, the clarity of the architecture. I worked with a large format camera and I worked with film. This was actually pre-digital, and that’s why also you have this incredible detail. You can almost see into the people’s apartments. Everything is sharp, so you can really immerse yourself in the city.
Did you have a relationship to U.K. Garage at the time? NoThat actually came later. In ’95, what was going on in the U.K. At the time was pirate radio. The kind of places around that estate — the roofs — would’ve been used to do pirate radio.
The Streets used this image as the cover of Original Pirate Material in 2002, seven years after it was originally taken. How did that happen?
The record label approached me. At the time I had not heard of The Streets. I think hardly anyone had; they were not a mainstream phenomenon [at that point]. So for me, it was actually a sort of leap of faith to associate my work with their work. How did you know it was a leap of faith worth taking? Did you ever meet The Streets?
We’ve never met. But that’s okay; I know that the bond is there. A number of photographs from your collection London: A Modern Project could’ve worked for this album artwork. Why do you think they chose “Towering Inferno”? It was the perfect one because when you listen to that album, you really have the sense of this guy living in a similar estate, in his bedroom, doing the music. There’s something quite intimate about [Mike Skinner’s] music because it suggests an interior place. Install Office 2003 Mstca.
Although it talks about the city, it comes from a private experience. What’s cool about the photograph is that you’re not only looking at a tower block, but you’re looking at it from the perspective of a tower block as well. You’re kind of level with it. Why did you decide to take it from that angle?
You have to understand that I [was] on another high-rise, photographing a high-rise. I [was] on the 16th floor. By photographing it so straight-on, it’s almost like a portrait. It’s respectful because I’m not overwhelmed by it, I’m not cowering under it — I’m actually face-to-face with it, so it’s more about a dialogue.
When the record came out, you must’ve seen posters of the album artwork all over London. What was it like seeing your image of architecture become part of the architecture of the city? It was everywhere — it wasn’t just in London. [The advertising campaign] was European. When I travelled to Paris, I saw the poster. It was exhilarating.
The work is my critique of the conventional representation of public space, so it was fantastic for me to see my alternative representation of these alternative buildings made public everywhere in the city. I was delighted! [Laughs] Also, the poster campaign really featured the high-rise; the logo was very small, it was a lighter. People responded quite strongly to [the photograph], and still talk to me about it.
I still get emails from people for whom this was a very important moment in their youth. That poster really exemplified something about the music and how they felt about growing up. Do you feel that the London you captured in that moment is the same London that exists today? That’s a very interesting question, because when we look at a photograph we often think it records a moment that’s gone, and I really believe that photography also has the ability to capture the future. For me it doesn’t represent the past — if something is still happening, it’s not, This is all gone, this is all over.
It still has presence; it’s still trying to do its work, to propose something. Because the image is a proposal, all these people living together in this building, all these lights coming on and off, it’s a network. It’s a very positive image.