#wu tang shaolin style

[devileaterjaek]

[psxui]

Wu-Tang: Shaolin Style (1999) - Start Screen

[z2z-gaming-and-random-art-ai]

Console Fighting Games of 1999 - Compilation Part 5

Part 5 of 5 of a compilation of console fighting games released in 1999, this compilation includes The King of Fighters Dream Match 1999, Toshinden 4, Transformers Beast Wars Transmetals, Warpath Jurassic Park, WCW Nitro, WCW-nWo Thunder, Wu Tang Shaolin Style and Xena Warrior Princess The Talisman of Fate, time stamps for each game below. 

1. Intro 00:00 

2. The King of Fighters Dream Match 1999 00:10 

3. Toshinden 4 13:30 

4. Transformers Beast Wars Transmetals 23:11 

5. Warpath Jurassic Park 27:00 

6. WCW Nitro 36:32 

7. WCW-nWo Thunder 46:01 

8. Wu Tang Shaolin Style 59:34 

9. Xena Warrior Princess The Talisman of Fate 01:06:38 

10. Honourable Mentions 01:12:57 

11. Outro 01:13:37 

Twitter (Gaming & AI Art) 

https://twitter.com/zero2zedGaming 

Instagram (AI Art) 

https://www.instagram.com/random_art_ai/ 

For more fighting game videos check out the playlists below 

Console Fighting Games of 1993 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CFcKSo9Eglrv2NFDHAqNDRi 

Console Fighting Games of 1994 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CF-R5w4NujQcYo8cCcOMHYv 

Console Fighting Games of 1995 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CEUiZn8FlwHoMcwoOzUqchX 

Console Fighting Games of 1996

https://www.youtube.com/playlist?list=PLFJOZYl1h1CF0j9K_v7UqS3dxjwh6XIIM 

Console Fighting Games of 1997 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CFm1r27Q5PvbO_4CjYYsj4- 

Console Fighting Games of 1998 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CHG7kROLoO-HAXmmzib8cd4 

Console Fighting Games of 1999 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CH1CPUcsBRyu5VpFnhqj4Kv

[playstationpark]

Stabbed 'Wu-Tang - Shaolin Style' PlayStation Support us on Patreon

[robotnik-mun]

One bit of video game trivia that still blows my mind when I think about it, is how a 2Edgy4U unreleased PS1 game, Thrill Kill...

... would go on to have its engine repurposed for a Wu-Tang Clan tie-in video game, Wu-Tang: Shaolin Style.

Who could've seen THAT one coming??

[playstationgamemania]

[desmon1995]

How the Warriors created a fantastic opening.

When it comes to setting the tone for a concept album, the opening tracks are everything. For The Warriors album, the first three songs—Survive the Night, Roll Call, and The Warriors Cypher—do exactly what they need to do: introduce the world, set up the stakes, and give us everything we need to know about the characters. By the end of these tracks, not only are you fully immersed in this reimagined New York City, but you’re already seeing themes unfold that will circle back perfectly by the finale.

"Survive the Night"

The first track sets the scene in a big way. DJ Lynn—our Greek Chorus and guide for the album—takes the mic, introducing us to the chaotic world of NYC and the boroughs the Warriors have to escape from. This is genius for two reasons.

The Radio as the Storytelling Device: In the movie, everyone listens to the radio to keep tabs on what’s happening. The album leans into this, using DJ Lynn to tie together the narrative. It’s a nod to the original and a creative way to keep the story moving.

The Voices of the Boroughs: Instead of showing us gangs heading to the summit, the album gives the boroughs themselves a voice, starting with Chris Rivers as the Bronx.

The Bronx speaks on its struggles—how systemic change is the only way to stop the violence that’s tearing it apart. Rivers, as Big Pun’s son, brings an extra layer of depth. He’s literally continuing a legacy, which mirrors how various warriors end up inheriting the will of Cyrus like Cleon or how Fox herself ends up taking after her fellow Warriors Swan and Ajax.

Nas follows as Queens, representing struggle and perseverance. He speaks to the creativity and resourcefulness of people born into tough circumstances, as well as the constant threat of being seen as a danger by the system—even when you’re just trying to rise above.

Nas himself grew up in the NYC projects in queensbridge and has directly suffered from Reaganomics growing up, and all of that turmoil caused him to become a rapper so he can literally ride his way out of the situation.

Came’ron as Manhattan shifts the tone, highlighting the borough’s wealth and privilege. Manhattan doesn’t face the same struggles as the others, and the disconnect is clear.

Manhattan out of all of the cities represents the class divide that we see throughout the album as due to lavish the city is it doesn't have to worry about how it's going to survive because it's the upper echelon of New York City.

The Staten Islands, are voiced by Wu-Tang’s Ghostface Killah and RZA which while it's just an elongated joke about how far they have to go to get to the summit there is a lot of insightful meaning here.

Firstly, the Wu-Tang clan renamed the Islands Shaolin to reclaim the image from the media as it being a inhabitable ghetto and to reflect how growing up there in the community made them who they ultimately became.

Reclamation is something many marginalized communities do be it with harmful words used by their oppressors or images that society tries to tout.

Swan does this with Luther's "Going Down" leitmotif before she eventually ends him.

Busta Rhymes closes out the borough roll call as Brooklyn, the most welcoming of all. Brooklyn celebrates diversity, something the Warriors embody as a group. They’re a mix of different backgrounds and styles, but their differences make them stronger.

Busta was a rapper that eventually took off by being a part of their groups and would often participate in various freestyles (his work with A tribe called quest is legendary) so he speaks to the truth of forming a found family within the rap community

"Roll Call"

The second track is quick but effective. It introduces the Warriors as a team and establishes Cleon as their maternal figure. Cleon insists they’re going to the summit, and while not everyone agrees, they all respect her enough to follow.

This track subtly establishes the sisterhood among the Warriors. They may bicker or disagree, but they have each other’s backs no matter what.

"The Warriors Cypher"

The final piece of the opening trifecta gives us a deeper look at the individual personalities in the group.

Cochise: The loyal soldier, always ready to support.

Cowgirl: Wild and free-spirited, she brings the positivity the group needs.

Fox: The youngest and prettiest, with an almost RPG-like growth arc that makes her fun to watch.

Cleon: The fearless leader and heart of the group.

Rembrandt: The introspective artist who sees what others can’t.

Ajax: The temperamental muscle, tough but with a hidden soft side.

Swan: The aloof but big-hearted leader, second only to Ajax in battle-readiness.

By the end of this track, you know exactly who the Warriors are. Their personalities bounce off each other, and you can already feel the respect and trust they have as a team.

After everything is settled you basically understand all you need to know so the musical can surprise you with various twists and turns but regardless of what new themes get added you already know the essentials

[abstract-focus]

The Shaolin Assassin - RZA x Wu Tang Clan style Rare Beats prod. by Plan-P

[dongorgon]

Shaolin shadowboxing, and the Wu-Tang sword style.

[bloggingproject]

Kill Bill Movie Review

By Nahla White

I remember once hearing someone compare Quinten Tarantino films to Frank Ocean songs, and while that comparison might not ring as significant to the average person, when I first heard it, I immediately understood. Both Tarantino and Frank have a way of storytelling that is gripping and engaging, but also hard to pull off; they give information in small bits at a time, only filling in the blanks when it’s necessary for the audience to know something in order to convey a bigger picture. I kept this in the back of my mind as I watched the “Kill Bill” series for the millionth time and realized that the statement still held up. Tarantino’s style of directing and writing (which is arguably its most distinguished in the two films) is sporadic in a way that leaves the audience on the edge of their seat –  always eager to get to the next chapter of the story. Not only that, but the dramatic script, creative fight choreography, and amazing performances by the cast all come together to create one of the most iconic viewing experiences of the century thus far. Because the series comprises two films, I’ll be reviewing them as one just for the sake of time, even though both films have their own distinct qualities and characteristics. 

The story of “Kill Bill” follows a young woman who formerly belonged to a deadly assassination squad as she travels across the world seeking revenge for the murder of her family and friends at the hands of her former comrades. The Bride, played by Uma Thurman, slowly makes her way through each of the other five members of her former group before she ends up facing off with the titular Bill character, played by David Carradine. 

Starting off with the script, while the premise itself isn’t all that creative, the execution is what makes it stand out the most from other action films of the early 2000s. The films borrow many tropes and plot points that are reminiscent of both old kung fu flicks and westerns, and I’d say the way in which the script stands out the most is how characters drop one-liners reminiscent of said older films. There are so many banger lines in these films I can’t even begin to count them all. A personal favorite of mine comes from the first film where Hattori Hanzo (played by Sonny Chiba) is presenting a blade to Beatrix and proclaims, “If on your journey, you should encounter God, God will be cut,”  obviously in reference to the blade being his best work. The films are filled with lines such as these, and while they’re very over the top and dramatic, within the context of the film coupled with Tarentino’s directing style, they fit perfectly. 

Not only that, but as I stated before, many of the scenes and characters' backstories also pull from very common tropes seen in kung fu, western, and anime films. A prime example of this would be the entire training montage between Beatrix and her master Pai Mei, played by Gordon Liu. In said montage, Beatrix is shown perfecting multiple different styles of kung-fu as well as undergoing training exercises commonly featured in older kung-fu movies such as carrying buckets of water up and down flights stairs. It’s also important to note that Gordon Liu is also a famous martial arts actor in his own right, having starred in iconic films such as The 36th Chamber of Shaolin and Shaolin and Wu Tang.

I think another great example of Tarantino implementing an anime style of storytelling into his works is the entire chapter of the film dedicated to O-ren Ishii’s backstory. O-ren, played by Lucy Liu, is a fan favorite, and I think this is in no small part to the extensive amount of time Tarantino spends on building her up as the main antagonist of the first film. O-ren’s backstory is told through the medium of animation, which is fitting given her Japanese heritage, and in said backstory, her parents are brutally murdered at the hands of a yakuza boss. She eventually seeks her revenge, which sends her down the path of becoming an assassin and a crime boss of her own making as well. It's a classic villain origin story. One that is very common in many anime both past and present. Despite this section being the only animated part of the movie, and O-ren being the only villain Tarantino decides to spend such an extensive amount of time focusing on, it never feels out of place and only serves to make the film even more distinctly unique than it already was. 

Now, taking a bit of a step away from me glazing Quinten Tarantino, I’d like to draw a bit of attention to the choice of licensed music and the soundtrack. The choice to use Nancy Sinatra’s Bang Bang (My Baby Shot Me Down) as a sort of theme for the film is excellent. It’s the first song that plays and perfectly foreshadows the premise of the movie when the audience has little information about the film. A few other favorite songs of mine featured in the film are The Lonely Shepherd, composed by Gheorghe Zamfir and James Last, and The Flower of Carnage by Meiko Kaji. Each song perfectly fits the tone of the scene it’s featured in, which is a skill that not many directors can easily pull off in this day and age storytelling. I also think it’s very interesting that they brought on RZA to do most of the production for the two films. Considering how Wu-Tang Clan based a good majority of its act on the same kung-fu films that Tarantino was trying to emulate, the choice to bring him on was a spectacular one. 

And finally, with the acting, I can confidently say that there isn’t a single bad performance in the movies. Even though I did say that I think the dramatic ass script works because it’s coupled with such a sporadic style of directing, what really pulls it together is the delivery from the cast of characters, both major and minor. Focusing on Uma Thurman, she’s able to portray Beatrix Kiddo in a way that makes her seem like a far cry from the stereotypical, “badass” action woman that we’re familiar with seeing nowadays. Don’t get it twisted, she’s still badass, but the way she’s so easily able to portray moments of vulnerability, fear, sorrow, and even joy and snarkiness gives the character so much personality. It makes the film much more enjoyable to watch, and makes Beatrix a much more likable protagonist. One of my personal favorite scenes is the moment when she finally kills Bill at the end of the second film and has a breakdown in a motel bathroom while her daughter is sitting in the other room. It’s unclear whether or not she’s crying out of relief or sorrow, but the fact that the scene is up to much interpretation without leaving the audience completely in the dark is a testament to how well Uma Thurman played the character. 

And finally, the directing itself. As I mentioned earlier, Quinten Tarantino has a style of directing that fills in the blanks rather uniquely. Instead of telling the story chronologically, he starts the film in medias res and places backstories and random bits of information wherever he deems fit. While that sounds like a recipe for disaster, it doesn’t seem to take the audience out of the experience, not one bit. If anything, I think it prevents the story from becoming one note and stale. One thing I also think he does well is setting up ideas and having them pay off well in later scenes. Probably one of my favorite payoffs in the film comes from the flashback of Bill talking to Beatrix about Pai Mei. He tells her the story about how Pai Mei killed a monk by using a move called the Five-Point-Palm Exploding-Heart Technique. It is the same move that Beatrix uses later on in the film to actually kill Bill. 

There isn’t enough time in the world to truly go in depth about how amazing these films are and how intricate the storytelling is. I think I am a bit biased because on top of me loving so many qualities about these films, I remember my dad introducing me to these movies and while watching them, I could only think about him. But, even outside of my own personal bias, there’s no doubt that all the qualities I listed above are what helped it become one of the iconic action series of all time. It’s inspired so many films and TV shows since then and will undoubtedly continue to remain relevant in the eye of pop culture for many years to come. 

Works Cited:

Kill Bill Vol. 1, Dir. Quinten Tarantino, Miramax, 2003.

Kill Bill Vol. 2, Quinten Tarantino, Miramax, 2004.

[dailyalbumrecs]

Enter the Wu-Tang (36 Chambers) - Wu-Tang Clan

This is Wu-Tang Clan's first album, and I quite enjoy it. The band name is based off of a fighting style in the movie Shaolin and Wu-Tang that is sampled in some of the songs. My favorite song is Bring Da Ruckus.

Apple Music:

Spotify:

[psxui]

Wu-Tang: Shaolin Style (1999) - Loading

[z2z-gaming-and-random-art-ai]

Console Fighting Games of 1999 - Wu-Tang Shaolin Style

Wu-Tang Shaolin Style also known as Wu-Tang Taste The Pain in PAL regions is a martial arts arcade fighting game developed by Paradox Development and published by Activision and Success Corp. 

Wu-Tang Shaolin Style is a 3D arena fighting game that is around the real-life hip-hop group the Wu-Tang Clan and has characters based on their stage personas as well as the martial arts influence that is a major part of their music. 

The game while single-player does have the option of up to 4 players with the use of a multitap, this is largely thanks to Paradox Developments game engine. The game received a mature rating due to its depiction of blood and violence, the game required a code which was on the game's manual to unlock the game to be fully uncensored.

1. Intro 00:00 

2. Games Intro 00:10 

3. Gameplay 04:26 

4. Outro 07:14 

Twitter (Gaming & AI Art)

https://twitter.com/zero2zedGaming 

Instagram (AI Art) 

https://www.instagram.com/random_art_ai/ 

For more fighting game videos check out the playlists below 

Console Fighting Games of 1993 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CFcKSo9Eglrv2NFDHAqNDRi 

Console Fighting Games of 1994 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CF-R5w4NujQcYo8cCcOMHYv 

Console Fighting Games of 1995 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CEUiZn8FlwHoMcwoOzUqchX 

Console Fighting Games of 1996 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CF0j9K_v7UqS3dxjwh6XIIM 

Console Fighting Games of 1997 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CFm1r27Q5PvbO_4CjYYsj4- 

Console Fighting Games of 1998 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CHG7kROLoO-HAXmmzib8cd4 

Console Fighting Games of 1999 

https://www.youtube.com/playlist?list=PLFJOZYl1h1CH1CPUcsBRyu5VpFnhqj4Kv

[playstationpark]

From The Shadows 'Wu-Tang - Shaolin Style' PlayStation

[bodybybane]

Method Man Talks Wu-Tang Clan, Working With ODB’s Son, and the “Uncomfortable Subject” of Martin Shkreli’s Auctioned Album https://www.vanityfair.com/style/story/method-man-exclusive-interview

[fred-the-curator]

L'École du micro d'argent : L'odyssée hip-hop made in Marseille

L'École du micro d'argent : L'odyssée hip-hop made in Marseille   Aujourd'hui on va parler d'un album qui a mis le feu à la scène rap française des années 90 : "L'École du micro d'argent" d'IAM. Sorti en 1997, ce disque a marqué les esprits comme un tatouage indélébile sur le bras d'un rappeur old school.  Alors, IAM, c'est qui ? C'est pas une marque de croquettes pour chien, hein ! C'est un groupe de Marseille, la cité phocéenne, qui a débarqué dans le game au début des années 90. Akhenaton, Shurik'n, Kheops, Imhotep, Freeman et Kephren, ces mecs-là, c'est un peu les Avengers du rap français, chacun avec son super-pouvoir lyrical.  "L'École du micro d'argent", c'est pas juste un album, c'est une véritable odyssée musicale. 19 tracks, 78 minutes de pur son, un mélange explosif de rap, de funk et de sonorités orientales. Parlons un peu des morceaux phares. "L'Empire du Côté Obscur", c'est le genre de track qui te donne envie de te battre contre Dark Vador avec un micro à la main. "Petit frère" te fait réfléchir sur la jeunesse des quartiers, c'est profond comme la Fosse des Mariannes. Et "La Saga", mon gars, c'est un véritable cours d'histoire en mode rap, plus captivant que n'importe quel bouquin scolaire.   Côté prod, c'est du lourd. Imhotep, le beatmaker du groupe, c'est un peu le Picasso du sample. Il a réussi à créer une ambiance unique, mêlant des influences orientales à des beats hip-hop bien kickés. C'est comme s'il avait invité le Caire à faire la fête dans le Vieux-Port de Marseille.     Les thèmes abordés, c'est pas du yaourt. IAM, ils parlent de tout : la vie dans les quartiers, la politique, l'histoire, la philosophie. C'est du rap conscient, mon pote. Tu sors de l'écoute de cet album plus intelligent qu'après avoir maté un documentaire sur Arte.  Vocalement, Akhenaton et Shurik'n, c'est comme Starsky et Hutch, ils se complètent parfaitement. La voix grave d'Akhenaton contraste avec le flow plus aérien de Shurik'n. C'est comme un bon vin et un bon fromage, ça se marie à merveille.   La pochette de l'album, c'est une œuvre d'art à elle toute seule. Un micro en argent sur fond noir, simple mais efficace. C'est classe, c'est sobre, c'est IAM quoi.   L'impact de cet album ? Énorme, mon gars. Il a été certifié double disque de platine en moins de deux mois (et on ne parles pas de streams mais de CD). C'est comme si t'avais réussi à vendre des radiateurs au Sahara. IAM a prouvé que le rap français pouvait être intelligent, engagé et populaire à la fois.   Comparé à leurs précédents albums, "L'École du micro d'argent" c'est comme passer de la 2D à la 3D. C'est plus mature, plus abouti, plus ambitieux. C'est l'évolution naturelle d'un groupe qui a grandi et qui a quelque chose à dire.  Une petite anecdote pour finir ? Le titre de l'album est inspiré du film "Les 36 Chambres de Shaolin". IAM, c'est des vrais cinéphiles et fan du Wu-Tang Clan, ils kiffent les films de kung-fu autant que les bons beats.   Perso, cet album, je le recommande à tous ceux qui veulent déL'École du micro d'argent : Le kebab musical qui a révolutionné le rap françaiscouvrir le rap français des années 90. C'est un classique, un incontournable, le genre d'album que tu devrais écouter avant de mourir. Que tu sois fan de rap ou pas, "L'École du micro d'argent", c'est une leçon de musique que tu n'oublieras pas de sitôt. Alors voilà les gars, c'était l'histoire de "L'École du micro d'argent" d'IAM. Un album qui a marqué son époque et qui continue de résonner aujourd'hui. Comme dirait IAM : "Le style est brut de décoffrage". Et ça, c'est pas du pipeau ! via Blogger https://ift.tt/8ukjcRA July 05, 2024 at 09:00AM