#Master of the Griselda Legend
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twobrothersatwork · 1 month ago
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So Pharaoh said to Joseph, “Since God has revealed all this to you, there is surely no one as intelligent or as wise as you. You shall be in charge of my house.
You shall have authority over all my people. Only the throne shall outrank you.”
Genesis 41:39-40
Artwork: Master of the Griselda Legend (Italian, 15th century) Joseph of Egypt (c. 1490-1495)
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rossodimarte · 1 month ago
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Master of the Griselda Legend, Eunostos of Tanagra, 1490-1499
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dumbbitchhour · 2 years ago
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Master of the Griselda Legend, Joseph of Egypt, c. 1490-1495 x
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koredzas · 7 years ago
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Master of the Griselda Legend - A Bacchanalian Scene. 1490 - 1500
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intoxicatingimmediacy · 5 years ago
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There Existed an Addiction to Blood by clipping.
1. Intro 2. Nothing is Safe 3. He Dead (feat. Ed Balloon) 4. Haunting (interlude) 5. La Mala Ordina (with The Rita) (feat. Elcamino & Benny The Butcher) 6. Club Down (with Sarah Bernat) 7. Prophecy (interlude) 8. Run for Your Life (feat. La Chat) 9. The Show 10. Possession (interlude) 11. All in Your Head (feat. Counterfeit Madison & Robyn Hood) 12. Blood of the Fang 13. Story 7 14. Attunement (with Pedestrian Deposit) 15. Piano Burning
The science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past.
Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap.
The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score the band samples on “Blood of the Fang.”
From the opening “Intro,” Clipping summon an unsettling eeriness. Diggs sounds like he’s rapping through a drive-thru speaker about the bottom falling out, bodies hitting the floor, and recurrent ghosts. You hear ambient noises, footsteps and shovels. The hairs on your arms stick up like bayonets. You can practically see the knife’s edge, sharp and luminous.
Each song contains its own premise and conceptual bent. There is “Nothing is Safe,” a reversal of Assault on Precinct 13, where the band create their own version of a John Carpenter-inspired rap beat and the cops are the ones raiding a trap house. Diggs sketches the narrative from the perspective of the victims, full of lurid and visceral details and intricate wordplay. The windows are boarded and sealed, the product simmers on the stove, the bodies sleep fitfully in shifts. Then law enforcement arrives and the bullets start to fly.
“He Dead” turns police officers into werewolves while Diggs flips Kendrick Lamar’s “Riggamortis” into something gravely literal.“All In Your Head” finds Clipping re-contextualizing the pimp talk of Suga Free and Too $hort into a metaphor for an Exorcist-style possession. The album contains interludes featuring hissing recordings of demonic invasions and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning.
In the hands of the less imaginative or less virtuosic, it could come off as overwrought or pretentious. Instead, Clipping annex new terrain for a sub-genre often left for dead. In its own way, one could compare what they’ve accomplished to Tarantino’s post-modern reworkings of critically overlooked but creatively fertile blaxploitation, horror and spaghetti western cinema.
Everything fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy, as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows.
Clipping’s last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of “This American Life,” their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But it’s their latest masterwork that embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horror-core that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas. releases October 18, 2019
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loumargi · 6 years ago
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Master of the Griselda Legend (fl 1490-1500), The Story of Griselda, Part I Marriage (1494), Master of the Griselda Legend (fl 1490-1500), The Story of Griselda, Part 2 Exile (1494) Master of the Griselda Legend (fl 1490-1500), The Story of Griselda, Part 3 Reunion (1494), Master of the Griselda Legend (fl 1490-1500), The Story of Griselda, Part 2 Exile (detail) (1494),
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baigmusic · 3 years ago
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RIP DJ Shay 🎻🙏 . Very lucky to’ve had the opportunity to work with a real legend of Hip Hop and witness the tremendous impact he made. . Thoughts and prayers are with this great human being and his Family. . Grim Speaker Mixtape (Feat. Benny The Butcher) By DarkNess. . Mixing/ Mastering Engineer: DJ Shay. . Phantom Beast Master (Produced by me). . Grimey Prophets (Feat. Benny The Butcher). . . . . . #djshay #whoisdarkness #grimspeaker #bennythebutcher #blacksopranofamily #bigbsf #newyorkhiphop #buffalohiphop #buffalony #griselda #griseldarecords #nychiphop #yeghiphop #yegmusic #yychiphop #yycmusic #skorpionmuzik #darkplugink #indiehiphop #undergroundhiphop #hiphopproducer #boombaphiphop #boombap #hiphopnews #hiphopculture #hiphopblog #torontohiphop #undergroundrap #horrorcore #hiphophead (at Edmonton, Alberta) https://www.instagram.com/p/CSw-Livp3A-/?utm_medium=tumblr
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therappundit · 7 years ago
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November 2017 - *PlayLi$t of the Month*
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Real talk: 2017 has been a rough year. 
Speaking both globally and personally, the news events of the last twelve months have really made it challenging to be an optimist in today’s world. Picture what the year-end TV montage is going to look like this year before the ball drops? It’s going to be a straight-up horror show jumping from clip to clip of some of the most depressing highlights imaginable.
That all being said, musically speaking there is a lot to be thankful for this year. Take this playlist for example, reflecting a nice mix of hip-hop talent from all across the country. From household names to names that I’m not even too familiar with, the last month has treated us to a cornucopia of rap diversity worth celebrating. So have a safe and Happy Thanksgiving, and I hope you enjoy my November PlayLi$t of the Month…
1. “Bulletproof Gucci Windshield” - Fly Anakin, Koncept Jack$on & Tuamie
https://itunes.apple.com/us/album/panama-plus/1295998624
(While I have been checking for new stuff from the VA collective, I had not been eagerly awaiting a new album from the Mutant Academy folks. With their Soundcloud loosies still in my rotation from over the last few months, I did not think that Fly, Koncept and Tuamie would bless us with such a well-constructed, but still very raw underground hip-hop album, yet here they are to snag the #1 spot on this month’s list. Let it be known that Tuamie is a force to be reckoned with behind the boards, as he conjures up ways to put fresh spins on old boom-bap that bring to mind some of the vibes that DJ Spinna and Jay Dilla were able to infuse into their work. And the MC’s sound potent throughout, spitting bars at a clip that sound fierce, but without losing the vibe that these guys love to rap. Picture D.I.T.C. with some dashes of Gang Starr, Lootpack and even C-N-N, and you have a handle on why this album is easy to rock from start to finish. Keep your eyes glued on the Virginia underground rap scene for the foreseeable future, you won’t be disappointed.)
2. “Free” - CyHi The Prynce
https://www.youtube.com/watch?v=YtTgM1OUR-8
(Having long past the point where G.O.O.D Music fans were asking “hey when’s CyHi dropping?”, I would never have expected CyHi to bless us all with what sounds like it may be one of the best hip-hop albums of 2017. More than any other rap artist this Fall, CyHi perfectly timed his release to come after the wave of highly anticipated big label releases, but before the big holiday push. CyHi shows us sooooo much on this album, it is ridiculous! From his storytelling skills, to quote-worthy bars, to crafting actually songs with a point, to spiritual themes, production choices and features, the dude manages to do everything right on No Dope On Sundays. I waffled between several song choices for this slot, but ultimately went with “Free” because it’s one of the sparsest instrumentals on the album, which provides welcome room for CyHi to flex his pen game, which is his most impressive instrument of all...and perhaps G.O.O.D’s secret weapon.)
3. “R.N.H.” - Jayy Grams
https://www.youtube.com/watch?v=Pzy02h-SoJM
(I know very, very little about Jayy Grams except that he is coming out of the criminally slept-on - but recently thriving - Baltimore rap scene. I heard this song on Hot97′s Real Late with Peter Rosenberg a few weeks ago, and then immediately took to the internet to find out more. The instrumental on “Real N***a Hours” sounds more like the type of soulful backdrop that would have appeared on Nas’ Lost Tapes, a classic late night head-nodder that you can only be used for two things: zoning out after a tough day, or deep, nostalgic reflection. Whatever you choose to do with this one, just make sure you follow Jayy Grams and play this one at night...I happen to be nursing a gin and tonic and listening to it right now!)
4. “Traveling Light” - Talib Kweli feat. Anderson.Paak & Kaytranda
https://www.youtube.com/watch?v=7kfxkZoSzPk
(The new joint featuring Jay Electronica off of Talib’s new Radio Silence album will get more love since Jay Elec only comes out of his cave once or twice a year nowadays, but this song right here holds up to the best of Kweli’s kwatalog. Perhaps his best adrenaline-laced track since “Move Something”, it’s so great to hear Talib drop energized music like this again - in fact I highly recommend the whole album from start to finish.)
5. “Our Streets” - DJ Premier feat. A$AP Ferg
https://soundcloud.com/dj_premier/dj-premier-feat-aap-ferg-our-streets-produced-by-dj-premier
(Did you see this coming? I sure didn’t envision the concept of DJ Premier joining forces with the most unpredictable member of the A$AP Mob. Ferg represents both the old and new school so well on this one, spitting bars with substance without checking his madcap charisma at the bar. Not one of my favorite Primo beats ever, but certainly dope enough to please fans of both classic boom-bap and the new school turn-up crowd.)
6. “Rap Saved Me” - 21 Savage, Offset & Metro Boomin feat. Quavo
https://www.youtube.com/watch?v=LK9rgGmrH7I
(One of a few unexpected treats to drop this past Halloween. 21 Savage and the Migos gang already have a strong catalog of catchy joints with Metro Boomin behind the boards, and this is certainly one of the strongest cuts off of Savage, Offset & Boomin’s aptly titled Without Warning tape. Nothing groundbreaking on this project...just a steady line-up of bass heavy trap tunes that sound decent enough through headphones, but street-shaking through car speakers. Something about 21′s chilly flow works for me more often than not, and this one definitely works as one of the more polished efforts from the four talents.)
7. “Down State” - WESTSIDE GUNN feat. Benny & Styles P
https://soundcloud.com/westsidegunn/06-down-state-ft-styles-p-and-benny-prod-by-daringer?in=westsidegunn/sets/hitler-wears-hermes-5
(Another month, another display of Griselda Records flexing their muscle. Westside Gunn closed October by dropping the 5th installment of his now classic Hitler Wears Hermes series, and this joint is an obvious standout. SP and Benny are an especially potent combo, considering that for my money Benny is the best street music poet since artists like the Lox and Beanie Sigel were sitting at the top of the food chain.)
8. “Walk” - Young M.A
https://www.youtube.com/watch?v=zogtwLQQEfY
(I never gave up on Young M.A, and I never thought for a minute that all she had to offer was “Ooouuu”. What makes M.A’s music sound so convincing is the same skill-set that enabled Cardi B. to become a superstar: the ability to sound casual and believable on tracks, like every verse is an effortless freestyle that arrived following a shot of Henny and bottled-up feelings that simply must be released. “Walk” doesn’t have a catchy hook like “Ooouuu”,  but it does pack a steady head-nodder of a beat for M.A to cruise over, and cruise she does. Brooklyn can be proud of this one.)
9. “Once Upon A Time” - The Diplomats
https://www.youtube.com/watch?v=6h9wRBzaqwc
(For any east coast rap fans over the age of 25, turn your nostalgia dials up to eleven for this one. Cam’ron, Juelz Santana and Jim Jones have done a handful of tracks since they split up, but not many have successfully rekindled the classic Dipset vibe quite like this one. Equipped with a trademark soulful, high-pitched Heatmakerz instrumental, the Diplomats sound as fresh as ever on this one. Check out Killa Cam’s latest tape too while you’re at it - The Program: http://www.datpiff.com/Camron-The-Program-mixtape.870785.html .)
10. “The Light” - Big K.R.I.T. feat. Bilal, Robert Glasper Jr , Kenneth Whalum & Burniss Earl Travis II
https://www.youtube.com/watch?v=047nimeOEAw
(Welcome back, King. Big K.R.I.T. took on the challenge that few MC’s have succeeded at, and that was dropping a really good double-album. Dripping with Southern-fried soul and ready to spill his guts on each and every song, K.R.I.T. packs so much heart into this album that it may be a long time before we can all fully digest it. That being said, I didn’t have to sit through “The Light” for too long before I declared it one of the most beautiful pieces of music I have heard on a rap album in recent years. Combining the meandering brilliance of jazz with the depth of live instrumentation and the Mississippi rapper’s deliberate voice, this is easily one of my favorite songs off of 4eva Is A Mighty Long Time.)
*Honorable Mention - Bonus Cut*
“Horn Play” - ChanHays feat. Roc Marciano, Ghettosocks & Meyhem Lauren
https://www.youtube.com/watch?v=Z-vik0eU1wE
(A month ago I had not heard of the Canadian producer, but I promise to stay tuned to ChanHays’ future work after listening to his Here album. The project is stacked with top-notch stars of the underground hip-hop realm, and this dope little gem features two of the best torchbearers of the classic NYC rap sound in Roc Marciano & Meyhem Lauren. Definitely cop this whole project, it’s a no-brainer.)
“War Drums” - Meyhem Lauren & DJ Muggs feat. Hologram & Benny
https://www.youtube.com/watch?v=eCT8zIwZGws
(Speaking of Meyhem, his project with legendary Cypress Hill producer DJ Muggs is not to be slept on. Even with strong features from Roc Marci, Action Bronson, and the late great Sean Price, it’s this hard joint with Benny and Meyhem’s brother Hologram that make for my favorite cut off of Gems From The Equinox.)
“Mandatory Drug Test” - Moneybagg Yo & NBA Youngboy feat. Young Thug
https://www.youtube.com/watch?v=s5M8QdU2KAQ
(When some of the biggest names from Louisiana, Atlanta and Memphis’ modern rap scenes get together, it’s usually safe to say that you’re in for a bouncy trap-anthem. Moneybagg & Youngboy dropped a surprise project this month that really seemed to bring out the best in one another. The hungry young talents flashed enough flow, personality and hunger to put over some tracks which would be indistinguishable in lesser hands. Thugga jumps in for some fun on this one, and the result is a strong little thumper that pulls ahead of some of the more repetitive fair on their solid Fed’s Baby tape.)
“2809” - Yo Gotti
https://www.youtube.com/watch?v=ReAWz0kZJ0A
(Before Moneybagg, Yo Gotti was buzzing in the Memphis underground and slowly building a catalog of mixtapes stuffed with catchy tunes. Gotti has finally garnered household-name status in recent years, and in spite of a fairly low ceiling he has managed to deliver a steady flow of strong singles for years now. “2809″ is one of my favorite tracks from his recent I Still Am album, and like much of his music it showcases a deep appreciation for surviving a perilous lifestyle without losing an ounce of pride for where he comes from.)
Still In Heavy Rotation (can’t stop, won’t stop, eh-eh):
4:44 by JAY-Z
http://www.hotnewhiphop.com/jay-z-4-44-upcoming-album-new-mixtape.117283.html
Rosebudd’s Revenge by Roc Marciano
http://onsmash.com/music/roc-marciano-rosebudds-revenge-album-stream/
[ICYMI: Last month’s list below]
https://therappundit.tumblr.com/post/166616081671/october-2017-playli-t-of-the-month
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history-of-fashion · 10 years ago
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ab. 1490-1495 Master of the Griselda Legend - Joseph of Egypt
(National Gallery of Art, Washington)
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koredzas · 9 years ago
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Master of the Griselda Legend - A Bacchanalian Scene. 1490 - 1500
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intoxicatingimmediacy · 5 years ago
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Join us for a live performance by Clipping, who release their album There Existed an Addiction to Blood on 10/18 (via Sub Pop). Pre-order their CD and/or LP/LP+ on this page for entry.
The science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past.
Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and Three 6 Mafia and the near-entirety of classic Memphis cassette tape rap.
The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score by Sam Waymon, the band samples on “Blood of the Fang” and inspired the album’s title.
From the opening “Intro,” Clipping summon an unsettling eeriness. Diggs sounds like he’s rapping through a drive-thru speaker about the bottom falling out, bodies hitting the floor, and recurrent ghosts. You hear ambient noises, footsteps and shovels. The hairs on your arms stick up like bayonets. You can practically see the knife’s edge, sharp and luminous.
Each song contains its own premise and conceptual bent. There is “Nothing is Safe,” a reversal of Assault on Precinct 13, where the band create their own version of a John Carpenter-inspired rap beat and the cops are the ones raiding a trap house. Diggs sketches the narrative from the perspective of the victims, full of lurid and visceral details and intricate wordplay. The windows are boarded and sealed, the product simmers on the stove, the bodies sleep fitfully in shifts. Then law enforcement arrives and the bullets start to fly.
“He Dead” turns police officers into werewolves while Diggs flips Kendrick Lamar’s “Riggamortis” into something gravely literal.“All In Your Head” finds Clipping re-contextualizing the pimp talk of Suga Free and Too $hort into a metaphor for an Exorcist-style possession. The album contains interludes featuring hissing recordings of demonic invasions and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning.
In the hands of the less imaginative or less virtuosic, it could come off as overwrought or pretentious. Instead, Clipping annex new terrain for a sub-genre often left for dead. In its own way, one could compare what they’ve accomplished to Tarantino’s post-modern reworkings of critically overlooked but creatively fertile blaxploitation, horror and spaghetti western cinema.
Everything fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy, as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows.
Clipping’s last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of “This American Life,” their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But it’s their latest masterwork that embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horror-core that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.
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