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The song gets its title from a character in the HB television series The Wire, Maryland State Senator Clay Davis. The corrupt politician is famous for his elongated pronunciation of the word “shit,” which Asheru borrows here to evoke the same connotation of indignant disbelief:

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“Sleepless in Soweto” is more than just an album. It is a living, breathing document of solidarity between Africans & African Americans; tied together through the language of Hip Hop. It is also a culminating result of my recent travels to South Africa,where I have traveled 7 times over the last three years, and spent performing, recording, and building with a dynamic community of artists that have embraced Hip Hop culture which, much like jazz, blues, gospel, rock n roll and others that came before it, is a distinctly African American music tradition that has influenced the globe.

The album features guest appearances from three Washington DC – based Grammy nominees: Raheem Devaughn, Ethiopian-American artist Wayna, and Carolyn Malachi, as well as Funk Ark (of Thevery Corporation Records), and South African superstar Hip Hop Pantsula (HHP), who is a main collaborator on the album. Other contributors include South African artists, Pro'Verb, Tee Pee, KayGee, and Thasman, along with Kanjia (Sierra Leone). Album artwork was done by acclaimed Nigeria- born visual artist, Aniekan Udofia.

From Asheru: “This album is my love song to South Africa, a new home away from home… This album is also a direct challenge to the status quo, dominant media representation of Blackness both here and abroad. It is an example of where we can go with our artform and voice, and the endless possibilities of what it could be. The time is near; we are almost ready… I can’t wait for you to hear it.”

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http://youtu.be/A_iEn4C9nss

Written and performed by the 5th and 7th graders of KIPP Heartwood Academy (San Jose, CA).

With help from Tom McFadden.

Based on “The Motto” by Drake ft. Lil Wayne.

http://www.youtube.com/watch?v=rcVk6VYV6ec

Check out this NPR story on McFadden and his students. And visit his blog, Science with Tom for more information.

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The suggestion here is that the modern men have been feminized by the absence of fathers, whether through abandonment (as in Jack’s case) or through the suburban economy in which the father leaves home for the day and the mother takes care of house and children. Other members of the fight club have been feminized in different ways, like Bob, a victim of testicular cancer, with his “bitch tits.” While Bob has literally lost his balls, Jack and others have been figuratively castrated.

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This is really the beginning of the “fight club” that Jack/Tyler starts.

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This insurance formula is a rephrasing of the “calculus of negligence,” a rule used to determine the legal culpability of a party in an accident. The original formula was outline by Judge Learned Hand in a case involving a towing barge that lost its control of its freight, damaging other ships. As Judge Hand articulated the so-called “Hand Rule”:

[T]he owner’s duty, as in other similar situations, to provide against resulting injuries is a function of three variables: (1) The probability that she will break away; (2) the gravity of the resulting injury, if she does; (3) the burden of adequate precautions.

or

In which:

  • B=Burden of taking Precaution
  • P=Probability
  • L=Loss

This math was applied in the manufacture of the Ford Pinto. Famously, a fuel tank defect caused these cars to explode in flames. Ford was aware of the defect but the cost of fixing the problem (B) was less than the potential (P) settlements resulting from the defect (L).

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Jack’s description of his frequent business travel are juxtaposed in this scene with the actual work that he does as a claims adjuster for an insurance company.

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Talk about a movie you don’t want to watch before flying…

In this iconic montage, we see how Jack falls into a hypnotic despair as he spirals deeper into his insomnia and becomes numb. Furthermore, this scene helps to foreshadow the twist of the film as well as to work on themes that Chuck Palahniuk instilled, and still does, in his work.

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