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Gipsy točí album pro Indies

Foto Tenhle měsíc započal Gipsy práci ve studiu na novém albu se svojí partou Gipsy.cz Modří vědí,že se jedná o etno hip hop, spolu s Gipsym tvoří tenhle projekt ještě houslista Vojta Lavička a další romští hudebníci bratři Surmajové. Romano hip hop v živém provedení se již s úspěchem prezentoval na několika místech v Anglii a Německu, také obráží

vsechny významné festivaly v CZ. Jejich kmotrem, se kterým Gipsy několikrát živě vystoupil na majku je král balkánské dechovky Boban Markovič. Pokud chcete vědět víc, tak navštivte oficiální stránky projektu www.gipsy.cz , nebo www.myspace.com/gipsycz , kde si můžete poslechnout dva megahity z připravovaného alba a to: Tajsa a Romano Hip Hop v živém provedení. Díky tomuhle projektu začala hudební média vnímat,že existuje Gipsy a Syndrom Snopp a že je to vlastně docela dobré. Vypůjčil bych si jako komentář kousek textu od Vece : "Žobráci dobré ráno...." Všichni pseudointelektuální hudební novináři, koukejte poslouchat muziku srdcem a proberte se, většina vašich bohů jsou špatní a falešní !!! SmoG

čtenářů: 7611 | komentářů: 113 | Datum: 04.07. 2006 | jpeg | Přidat komentář
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When one begins to read a poem, or any liratery work for that matter, the title (often intentional) creates an image or idea of what the specific piece will discuss. In Wordsoworth's poem, We are Seven , the title implies that there will be a discussion of something, or in this case people, pertaining to the number seven. What exactly is there seven of? The answer, according to the child, is seven children including two of whom are deceased. In adult terms, if someone is dead, they are naturally not among the living and thus not part of the living/breathing family dynamic. However, for the child, her siblings are very much alive, Seven are we (18). Wordsworth very much acceepts her childhood logic and finds beauty and wisdom in her childhood innocence. Rather than dismissing her views, he probes her and asks questions in order to try and understand her thought process. The poem moves toward a general understanding of dialogue as productive of knowledge because dialogue teaches the reader a lesson: adults cannot see the same way as a child does. The child, however, posesses the truth and is the vessel onto which her knowledge is delivered. Her optimism against the backdrop which is that of a world plagued with death and evil is untouched and pure which demonstrates a direct juxtaposition. Wordsworth is intrigued and somewhat envious because he wishes he can relate to her. He celebrates her and her childhood and wishes he can have a rare glimpse into her life as well. The title To A Gipsy Child By The Sea Shore by Arnold has an uncertain air about it. This stems from the title in that the term gipsy implies a constant traveller. If the child is indeed a gipsy why is he/she associated with the ocean which is indeed a location? The poem consists of an exchange between an adult and child that cannot sustain, perhaps like her location? He seems to be asking questions that he himself answers. He is, in a sense, addressing the social problems people face on a every day basis. Unlike Wordsworth, the child has no voice which plays into the alienation of the Victorian poet from his audience because he does not have a sense of what to be in relation to the reader. Perhaps the writer aims to achieve a connection without words? Well, every argument must have evidence. Is the gipsy child his inner self? The proof is that he asks rhetorical questions and the fact that the exchange does not sustain supports this arugment as well. He makes assumptions because he may be stuck in his own consciousness? His knowledge is that which is projected on the child figure. Arnold's emphasis on liminal space further demonstrates the theme that he cannot escape the problems of the world and the child is a figure of sadness.
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