'glaucoma' / 'glock on ya'

'It's fine not to like almost anything, except maybe Al Green.'

'Well, the first thing I do is I try to listen to whatever rapping is already on the track. I listen for cadence and melody to see how the track’s already been written, and to make sure that whatever flow or flows I decide to run with, or patterns or melodies that I decide to put into the song, that they’re not already in there. Then I try to see if there’s a different part of the subject matter that I can talk about. If there isn’t, I try to see if I can analogize it, break it down, flip it another way. If that can’t be done, the best thing I can do is pretty much out-rap the guy. And when I say out-rap the guy - say, if he uses ten syllables in a line, I’m going to use fifteen. If he uses fifteen, I’m going to use twenty, twenty-five. If he’s rhyming two or three words within two bars, I’m going to rhyme four or five words in two bars. I’m going to out-skill you.' - Bun B

'The checkin' account - is it overdrawn, baby?'

Funk not only moves, it can re-move.

Dig?

For a year that's still young I seem to be having a pretty easy time finding things to like:

Ghostface feat. Ne-Yo, 'Back Like That'
T.I., 'What You Know'
Geto Boys, 'My Life'
Keak Da Sneak feat. Lafaye Keys, 'Super Hyphy'
Outkast, 'The Mighty O'
Barbara Morgenstern, 'The Operator'

Ghostface, Fishscale
T.I., King
Barbara Morgenstern, The Grass Is Always Greener
Scarface Presents The Product, One Hunid
Keak Da Sneak, Kunta Kinte
Madlib, The Beat Konducta: Vol. 1-2
The Orb, Okie Dokie It's the Orb on Kompakt
Darondo, Let My People Go

Other things, I'm warming slowly to.

'the lovable junkie snitch'

'For him, remembering is no longer what it was, unforeseen or willful recollections of this thing or that.'

And a footnote:

'Just one prominent example of the difficulty of sustaining the subjunctive mood in English is Norman Kemp Smith's translation of Kant's Critique of Pure Reason. Kant wrote a chapter on noumena and phenoumena entirely in the subjunctive mood ("if one could talk of the things in themselves, what might one say about them?"). In order to avoid tedium and repetition, the translation reverts, for the most part, to the indicative mood - inadvertently fostering the widespread misunderstanding that this is the point where Kant's critical philosophy breaks down and where it treats noumena as existent - see (A 249).'