Olüfemí Sees You

say it with me now "TOON-DAY"

☥ artist • musician • photographer • filmmaker • polymath ☥

Music: @_anubisblack

IG: olufemiseesyou

[ArtDontSleep @ArtDontSleep]

Celia Cruz performing "Guantanamera" at a sound check in Kinshasa. Featuring Johnny Pacheco on flute.

Live at Zaire '74, the festival staged alongside the Rumble in the Jungle.

[Olüfemí Sees You @tundae]

@KevOnStage

[9th Wonder @9thwonder]

Thank you Lord for allowing me to experience the time period in hip-hop that I did.

Because man, this is turning into a circus …

[Ruben || Check the Rhyme @checktherhyme1_]

There aren't many current rappers who could call out a legend like Jadakiss, but 38 Spesh is definitely one of them. Get familiar if you're not.

[Olüfemí Sees You @tundae]

@StayWerkin he sayin he was ‘too proud’ but it’s giving ‘too ashamed with nobody I fully trusted’

[Olüfemí Sees You @tundae]

Listening to the latest JBP on my way home

Had to google for context

I don’t think @marclamonthill was intentionally being shady but this is in fact hilarious

@JoeBuddenPod @JBTVCommunity

[Olüfemí Sees You @tundae]

Not defending the hinchcliffe joke just saying the juice gotta be worth the squeeze. If you can joke about ppl that’s been dead a long while then it’s okay to make jokes about ppl who’ve been dead a short while as long as it’s FUNNY

[Olüfemí Sees You @tundae]

I feel like you can’t say you love comedy but you draw the line at jokes about dead people.

How big is this shield?

Does it include mfs like Hitler? Leopold? If somebody makes it funny through their performance then it’s funny.

[DiscussingFilm @DiscussingFilm]

The first trailer for ‘X-MEN '97’ Season 2 has been released.

Releasing July 1 on Disney+

[philip lewis @Phil_Lewis_]

NPR Tiny Desk is paying homage to BET for Black Music Month in June:

Upcoming Tiny Desks:

- GENA with Liv.e and Kareem Riggins
- Shaboozey
- Joe
- Arya Starr
- The Paradox
- Eve
- Fred Hammond
- Bow Wow
- Floetry

[philip lewis @Phil_Lewis_]

The trailer for Questlove’s Earth, Wind & Fire documentary is out:

[Olüfemí Sees You @tundae]

Scrolled by this on YouTube

Looks like @MAL___ as a dictator 😂

[Olüfemí Sees You @tundae]

Yes

[Anish Moonka @anishmoonka]

Michael Mann couldn't shoot Collateral on film. The cameras couldn't see Los Angeles at night the way he wanted. So he picked a digital camera no other major Hollywood movie had used. The crew was still building parts for it during the shoot.

Mann was chasing a specific look. Around 10 or 11pm in LA winters, a low cloud bank drifts in off the ocean and settles about 1,200 feet up. The orange sodium streetlamps below light up the bottom of those clouds and turn the whole sky into a soft, hazy glow. Mann said it looked like winter in England.

Movie film couldn't see that. To shoot a single downtown block clearly, the crew would have had to bring in massive lights and brighten up entire streets just to make the buildings visible. Even with the lens open as wide as it goes to pull in any available light, almost nothing outside the foreground would stay in focus.

The camera Mann picked was the Thomson Viper, brand new and not really ready for production. There was no memory card or storage inside the body. It had to be plugged into a separate hard drive with a cable.

About 80% of Collateral was shot digital. The other 20% on regular film was mostly the Korean nightclub shootout, where the bright club lighting gave the crew plenty to work with.

The coyote scene only exists because of the digital camera. Mann didn't plan it. A small pack of coyotes wandered across an empty street between takes, and because the camera could see in near-darkness, the crew just rolled. On film, that shot would have required lighting up the whole intersection first.

The helicopter shots over the city work the same way. Palm trees against the night sky, the downtown skyline lit only by the city's own light. On 35mm film, none of that would have shown up.

The movie cost $65 million to make and earned $220 million worldwide. It won Best Cinematography at the BAFTAs, the British version of the Oscars, and helped push Hollywood toward digital cameras for night shoots.

One catch. That orange light Mann chased is mostly gone now. Starting in 2009, LA began replacing its sodium vapor streetlamps with white LEDs. By 2013 the city had swapped out 141,000 of them. Today the lighting system is 98% LED. The Los Angeles you see in Collateral doesn't exist anymore.

[Olüfemí Sees You @tundae]

Adrien Broner gotta stop drinkin

But would these clips even be showing up anywhere if he wasn’t constantly crashing out?

[🍙 @aphroareia]

why are there so many of these

[Some Random Guy @Sammyveli]

“Bitch why you out here robbing and not selling pussy ?” -Suga Free to Cat Woman

[Dr. Freeze @OfficiallyIce]

Joe and Ish