So as I present some offensive and gully words of Slip-N-Slide affiliate Plies from Ft. She CHOSE that path and so a certain portion of the Hip-Hop Generation ( Chang-ian meaning, of course) will always give her legacy a hard look from a b-boy askance… her civil rights work will never stand without her embarrassing attempts at policing morality. DeLores Tucker for her anti-‘gangsta rap’ crusades but she definitely chose an issue she knew would get her headlines. Masta Ace –Born To Roll / Jeep Ass Niguh Remix ( yousendit) ( rapidshare)Īshanti, Paul Wall, Method Man – Still On It ( yousendit) ( rapidshare) Original Concept - Knowledge Me (Instrumental) ( yousendit) ( rapidshare) If it was just Meth hitting clean-up I probably wouldn’t have noticed (and the Paul Wall guest spot is more market driven than ‘slow’ driven) but damn if it doesn’t sound like a perfect track to vibrate some candy slabs during this reign of the Tex. lets him do it over the “Knowledge Me” chug. (not to be confused with Masta Ace Inc.) has opened Ashanti’s single with Paul Wall talking about his love of… oh you know… and The Inc. That East Coast novelty track, once transformed into an East Coast version of the West Coast car bump sound, is now tapped as an East Coast version of a crawling Texas beat. Is it a coincidence that the dominance of the West Coast Dre G-funk sound would inspire Ace to use the East Coast Dre track to evoke the booming systems of Either Coasts slow-drivers? The lyrics even address street rivalry with West Coast styled low-riders.

album ‘Slaughtahouse’ was already a standout on an underrated album (although a certain radio host proclaimed it ‘Album of the Year’) but the OC track, based around the leisurely but unrelenting propulsion of the buzzing, almost burping, bass chug, took the Ace tune to another place. The original “JAN” from the Masta Ace Inc. The track was elevated from ‘novelty’ status, via a remix of “Jeep Ass Niguh”. Original Concept’s production on “Knowledge Me” was far greater than the humorous not-rapped rambling vocals. I suppose it’s just a street adaptation of a Five-percenter-filtered version of the hick request to a potential teacher, “Learn me somethin’.” ‘Knowledge’ was often dropped along with ‘science’ and the other Dre even dropped English with the help of Ice Cube. Money song, was not a phrase that caught on… at least to knowledge mine. This is why the ethical survives at the center of drama, no matter postmodern critique.“Knowledge me,” the titular phrase from the Dr. The Ten Commandments, the ethical backdrop of western civilization, could never have passed to posterity if God had not scripted and Moses had not directed the sacral presence … One can become alienated from a theatrical text, but not from the experience of theatre. Not just actors but theatrical writers, directors, and technical staff aim to allow audiences to experience transcendence as if they were in the traditional world of the ancient Jews who received the Godly revelation on Mount Sanai.

“What follows is an anthropological essay … written in a layered, complex, archeological prose that is Jamesian … The effect of Gamliel’s intimate, subtle, implicative prose is to create a sense of the ultimate, of transcendence and its secular mystery, of a deep layer of sensation and metaphysical awareness underneath the prose. Reading it is a key for theatre going which is second to none.” (Haim Hazan, Professor Emeritus, Departmetn of Sociology and Anthropology, Tel Aviv University, Israel) Gamliel’s unique book is a literary masterpiece of theatrical art in its own right. Gamliel summons variegated fields of knowledge to invite the dumbfounded reader to a hall of mirrors of illusions and allusions that is both mesmerizing and tantalizing to the extent of immersed discontent and wondrous commitment to the deceitful truth of the spectacle. This is a revelatory moment that emanates from the inimitable drama of “seeing the voices” as resounded in the revelation of Sinai that inspires and constitutes the Judeo-Christian epoch of theatre. The sacred space of theatre casts a spell on both audience and actors who share a cosmological aura that envelops the experience. “With a literary flair and intellectual thrust Tova Gamliel opens a secret door as she ushers us to take a seat in the upper circle of the theatre of theatres-the spectaculum.

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