Ang Lee is a good cook and was a full-time house-husband for six years.

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Peppertones, “Campus Couple (with Okdal)”

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(Source: dont-do-womens-just-raf-simons, via dont-do-womens-just-raf-simons)

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nickminichino said: a quick search suggests those are two stills of nana komatsu from tadaima, a 26-minute film directed by daisuke shimada

(re: "#source?") thank you!

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I’m Home (Daisuke Shimada, 2013)

(Source: kirakirapinking, via amberanoix)

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The function, the very serious function, of racism is distraction. It keeps you from doing your work. It keeps you explaining, over and over again, your reason for being. Somebody says you have no language, so you spend twenty years proving that you do. Somebody says your head isn’t shaped properly, so you have scientists working on the fact that it is. Somebody says you have no art, so you dredge that up. Somebody says you have no kingdoms, so you dredge that up. None of that is necessary. There will always be one more thing.
Toni Morrison, at Portland State University, 1975 (via cmao)

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Starring Jennifer Lopez, Ice Cube, Jon Voight, Eric Stoltz, Owen Wilson, Kari Wuhrer, and Jonathan Hyde…

Mallory O’Donnell: Twenty-two years of people sucking the joy out of this song somehow couldn’t do it so effectively as the miserable, grasping Minaj managed in under five minutes.

Jer Fairall: “He toss my salad like his name Romaine” is worth a chuckle, but not nearly enough to make up for belabouring Sir Mix-a-Lot’s greatest punchline over the course of four endless-seeming minutes. Hardly a single, this is the kind of slop that one typically finds buried in the final quarter of a mixtape.

David Turner: “Baby Got Back” is a trash song and I’ve never been a big fan of storytelling rap songs in the vein of “Freaky Tales.” Probably a generational issue, but that’s how the taste dice rolled — I can’t undo being born in ‘92. So that “Anaconda” is a weird mix of the two is personally bleh — though it has great potential as a party song for the exact reasons I don’t enjoy it. People still fucking love “Baby Got Back.”

Megan Harrington: Before I’d ever heard her rap a bar, I knew Nicki Minaj. After her Young Money signing she was on magazine covers posed spread eagle in her underwear and I’d never seen so much pussy. There was nothing coy about Nicki, she was no coquette and no flirt. That she started her career so aggressively exposed was nothing short of a revelation to the girl whose job it was to straighten magazines and hide her behind more “tasteful” lad rags. Going into “Anaconda,” my eyes are wide open. If Nicki sounds the siren using her be-thonged butt arranged in that same commanding pose, I know to expect her best work to follow. When Nicki’s in a low squat, her power is coiled tight like a spring. Her verses on “Anaconda” are filled with precise wordplay (“tossed my salad like his name was Romaine”) and then scribbled over with her laughter and helium-filled lines like “I’m on some dumb shiiiiiiiit.” Her best work has always dealt in Modernism and “Anaconda” is no different, melding the meter of nursery rhymes, the one rap song even the cave-people who still hate rap and country know all the words to, and a list of lovers longer than Casanova’s. And after all that, all the dicks, she dedicates the song to all her bitches in the club. Nicki gets my head and my heart.

Crystal Leww: Nicki Minaj is revolutionary for a host a reasons, but an underrated and admirable aspect of her work is how she continually fucks up the game within the boundaries of hip hop. “Anaconda” takes back “Baby Got Back” in more than one way. There’s no doubt that “Anaconda” is a celebration of women with butts by a woman with a butt, made absolutely clear by the outro. But “Anaconda” is sneaky because it utilizes common rap tropes against men in the same way they’ve been used against women. Amidst all the controversy surrounding the album art for “Anaconda,” people forgot to pay attention to the actual song. This is a song about butts, but more importantly, it’s mostly a song about dick. The song is called “Anaconda,” for fuck’s sake! Nicki spends two verses explicitly focusing her attention on two dudes and being very explicit about sex. She even shouts out/shades Kendrick Lamar, who compared his dick to the Eiffel Tower, but “I ain’t talking about Eiffel’s” because no, that’d be ridiculous. I hope that “boy toy named Troy who used to live in Detroit” becomes as infamous as "Courtney from Hooters on Peachtree"; rap dudes have been doing this too long without consequences for males as a whole. Good thing Nicki Minaj exists as a rap superhero.

Anthony Easton: I mean, honestly, Minaj’s ass is not that fat, but her gorgeous, unhinged cackle is just amazing. Too bad it’s not crafted into a better track.

Katherine St Asaph: Every instance of Mix and what his anaconda wants should’ve been replaced with Nicki Minaj cackling — better yet, cackling at it — and this would score higher.

Alfred Soto: An 8 for Nicki, a 5 for the obviousness of the “Baby Got Back” sample; she hasn’t imagined a scenario commensurate with its re-contextualized weirdness.

Jonathan Bradley: Minaj rescues “Baby Got Back” from VH1 magazine-show hell and cuts it with a dash of “Freaky Tales,” with the result being a Miami bass song built for 2014 — you know this will be getting them strip club royalties. It’s a throwback jam in the tradition of Jay’s “99 Problems” or Big’s “B.I.G. Interlude”; a rapper turning her attention to an outdated style to establish that her dominance extends even beyond temporal bounds. But as good as Mix’s original was — he deserves better than to be lumped in with Young MC and Skee-Lo — “Anaconda” transcends its elastic sample source, partly due to Da Internz and Polow da Don’s deft isolation of that tune’s most percussive blasts, but mostly due to Minaj’s rhymes-for-days spitting. “Boy toy named Troy, used to live in Detroit”; “He can tell I ain’t missing no meals”; “Pussy putting his ass to sleep; now he calling me NyQuil” — these are each as hooky as any of the thoroughly memeified “Baby Got Back” lyrics. Nicki could have piled eight more verses on to this and it would be equally addictive.

Will Adams: The first two minutes are peak Nicki, showcasing her ability to switch on a dime from playful to menacing (but always engaging and high-energy). Meanwhile, Polow da Don and Da Internz whip up a clever flip of Sir Mix-a-Lot’s classic, adding heaps of bells and whistles on top of it; it bravely eschews booming bass in favor of frenetic high-end noises, and it achieves its goal. After two verses, though, “Anaconda” unravels, repeating various snippets of “Baby Got Back” and stumbling around aimlessly. Curious how the tightness of the first half just wasn’t applied to the second half.

Brad Shoup: A better base is banished to the final fifteen seconds: keyboards beef up a borrowed melody, Minaj chants “hey” at the end of every figure. It’s better than riding the “Baby Got Back” bassline, which now sounds like an impatiently tapping foot. But there’s so much to slog through: Nicki abandons the so-so sex raps with a manic (impromptu?) call to body-war.

Edward Okulicz: Not that the original is anti-woman at all, but the hordes of people decrying the single’s already-iconic cover (of Nicki’s iconic ass) as gross nicely demonstrate that maybe the world does need a gender-flipped version of one of the 1990s’ most iconic songs by a woman who’s not afraid to use her sexuality on her own terms. Not sure that this is the definitive article, though. At nearly four-and-a-half minutes there’s a lot of dead air surrounding Nicki, who’s at her horniest and most playful, objectifying men and delighting in it. Repurposing the beat from “Baby Got Back” makes for something recognisable and fun, and don’t worry about the skinny girls, they’ll jam to this just like they do the original. My real problem is that the use of Mix-a-Lot’s voice as the hook itself sits uneasily, like he’s intruding and stopping us getting even more Nicki, halting the song’s otherwise booty-blasting momentum. Cut that hook out (like Nicki Minaj even needs entryism) and you’ve got a [9]-level jam. Hopefully someone on Soundcloud does the job before I have to.

Andy Hutchins: As a song, “Anaconda” is a fun trifle: Nicki’s got some serviceable J.J. Fad/Run-DMC flows to kick over the skeletal grooves of “Baby Got Back” before hitting the shifter and racing through a pre-hook just to prove she can. There will be twerking to it. Cool. But the draw is Nicki’s swag on the outro, all intentionally obnoxious laughter and bragging about her ass. Sir Mix-a-Lot made a song about the virtue of liking fat asses without shame (and, also, being Sir Mix-a-Lot), and Nicki made one about the benefits of having one without shame (and, also, being Nicki): It’s a fine ouroboros.

Maxwell Cavaseno: There’s no greater joy in hearing Nicki and saying I don’t get it. What I mean is, she’s lost the invasive quality that made her so relentless and electrifying when on that initial come-up, and now everything’s so predictable. So instead we get this a little bit of a nonsensical journey through Nicki’s wonky sexual daydreams, in which Polow da Don might not be the Timbaland we expected in 2014, but Onika sure is our Missy, with equal splashes of L’Trimm and perhaps G-Dragon. As a song, I can’t see myself liking it for long, but I’m happy to see The Nickster hasn’t run out of tricks.

Daniel Montesinos-Donaghy: In 2007, Nas released a series of remixes celebrating the oft-forgotten artists he rapped about on Hip Hop Is Dead's “Where Are They Now.” The three remixes remain fascinating listening experiences, containing acceptance of being outmoded — and just as much bitterness. For each Redhead Kingpin quipping about being mistaken for Eddie King from The Five Heartbeats or Ice-T calmly telling a fan that he’s not Ice Cube, there’s UTFO’s Kangol Kid refusing to let the Roxanne Wars go and Rob Base tearfully remembering his glory days (“‘It Takes Two’ — remember me?”). The happiest of all these rappers is Sir Mix-a-Lot — he acknowledges his past in the spotlight and gleefully collects Hollywood publishing cheques while polishing the fountain in his garden. He’s happy with his lot. That brings us to “Anaconda” — a gleeful mess of a song that belongs in the gleefully messy first half of Minaj’s Roman Reloaded LP, a song about butts and crack and buttcracks and A LOT OF LOUD NOISES. Sir Mix-a-Lot is most likely happy with Nicki running with his zany, R. Crumb-esque depiction of bigger-is-better hip-hop sexuality: remember, “Baby Got Back” is a crazy-sounding song, made evident by the cartoony elements that “Anaconda” samples. But more than anything, the Sir’s probably ecstatic with “Anaconda“‘s general existence, because it means that garden fountain is getting a real big water slide attached (or a golden butt). Like he said on that Nas remix: “Seven figure years keep comin’/who’s ya pimp?!”

David Lee: This is a really anaconda move but

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Maya Miki in her photo book ‘Guy’,  photos by Kishin Shinoyama, Takarazuka Revue Company 1997

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untitled by d∴nté on Flickr.


untitled by d∴nté on Flickr.

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