Explicit gorillaz clint eastwood video no sfx
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basically, he feels he needs to join the military. i just want to add some things from my opinion that werent explained by him or anyone else that posted here. there is no doubt that this song is abut a soldier or "peacekeeper" in iraq. General Commenti agree with koshmar completely. This song basically sums up my feelings for the war, I hate the politicians, but i feel for the soldiers who had no choice but to follow orders. This whole verse is pretty self-explanatory, a street sweeper is a shotgun with a short barrel for a wide spread i believe, it's commonly used for "crowd control.Īnd i think the guy just wishes he could be happy again "remember when i used to dance"
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We "Americans" live our lives here and have the luxury of drinking water from a bottle while the soldiers drink from canteens. The soldiers are sent home in pine boxes. "I change the whole occasion to a pine box six-under " The troops are supposedly on a peace keeping mission. General CommentThere are many images and direct references in this song that lead me to believe it's about the soldiers stuck in Iraq. So said the speaker with the flight suit on I'm the reason why you flipped your soosa
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They can't conceal the hate that consumes you That seems limitless with no dropping pressure Strike and I'm thunder with lightning fast reflexes I change the whole occasion to a pine box six-under The video’s release on the eve of Donald Trump’s inauguration is a direct statement that forces listeners to identify Humanz’s political substance.Some are seeking and searching like me, moi His eyes are set on the viewer throughout images of kabuki theater and perverse Americana, including archival footage of marching Klansman, play behind him. The video for the lead single “Hallelujah Money” foregrounds the decidedly not-cartoon face of singer Benjamin Clementine. But this is why Humanz makes its most overt political statement in the band’s nearly two-decade career. Their lyrics might not be subtle, but the accessibility of their sound and apparent frivolity of their colorful avatars makes it easy to dismiss their work. (Check “Born in the U.S.A.”’s use as patriotic rallying cry.) As a cartoon dance band, Gorillaz risk this even more than anyone else on the radio. By communicating the message of a song subtly, its realization can be more powerful, but it can also remain hidden unless it's listened to more closely. Pop’s other trademark, of course, is that it’s easy to miss the point. This content can also be viewed on the site it originates from. There’s nothing left but a low static hum by the time Staples calls the “land of the free” a place “where you can live your dreams as long as you don’t look like me.” A distorted scream clips in immediately after the last syllable of his verse. But by the end of “Ascension,” the pretense is dropped along with, for a few bars, that propulsive snare. The caffeinated snares and digitized bass drum bounce of “Ascension” sound cheery enough, but Staples’ chorus says something far less hopeful: “The sky’s falling, baby/Drop that ass ‘fore it crash.” Throughout his verses, he masks outrage at American racism with a narrative apparently about nothing more than trying to find someone to hook up with. Vince Staples introduces Humanz’s premise through a first song that rockets forward with gut-rending indignation. An album responding to a modern world where fascism has returned to mainstream politics, where the worst-case scenarios of Donald Trump and Brexit have been realized, it’s still also a record of palatable dance tracks presented by animated figures. Their latest, Humanz, is testament to this bizarre strength. Over 17 years, across massive changes in global governments and seismic shifts in Western culture, a quartet of monkey-ish cartoons has persisted as the grinning face of our hopes and fears. Instead, Gorillaz have maintained relevance, continuing to release albums not just sonically but politically of their moment.
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The creation of Blur’s Damon Albarn and Tank Girl animator Jamie Hewlett, their gimmick seems like it ought to have made for nothing more than a disposable pop act-an early-2000s curiosity meant to disappear alongside nü metal and anyone taking Chris Martin seriously. Gorillaz have always sounded more human than a cartoon band should.