Sponsored by RIM and directed by Daniel Yoon and Kiki Tang, both from the Art Center College of Design, the BlackBerry Empathy is a phone based on social networks and human emotions. The ring worn by the user, transmits the mood, creating a chart shared with close friends. Source : geekandhype
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Very nice HD upload, 34minutes of new 1080p (set manually in player) video of Kanye West called Runaway, from My Beautiful Dark Twisted Fantasy: A Unique Epic album . I have also found a very nice review which I fully copied here.
Although Lil Wayne is often cited as the hardest-working musician in rap and hip-hop, Kanye West‘s My Beautiful Dark Twisted Fantasy proves that he’s not exactly a slouch. The album displays an obsessive commitment to production and a particular disdain for bowing to the expectations of others. Throughout My Beautiful Dark Twisted Fantasy (order here, download here), pulls out all the stops, as he name-drops Family Matters characters, samples King Crimson and employs an all-star cast of guests. While Kanye may be a “trippin’ off the power,” the listeners are the real beneficiaries.
My Beautiful Dark Twisted Fantasy begins with “Dark Fantasy,” which fuses a spoken-word introduction with gospel-like singing, straight-ahead rapping and twinkling piano. Like a true introduction, “Dark Fantasy” does indicate what is to come — a surprising melange of instrumentation that bends genres and draws from a Versace-laden laundry list of influences, yet never sounds forced.
“Gorgeous” features Kid Cudi and Raekwon, although Kanye makes the strongest showing on the track. Kanye’s flow is always better when it’s emotional- and eg0-driven, and that’s the case here; in “Gorgeous,” he calls out the government, singing “I treat the cash the way the government treats AIDS: I ain’t gonna be satisfied ’til all my n*ggers get it, get it?” and big-ups himself: “Malcolm West had the whole nation standing at attention…this pimp is at the top of Mount Olympus.” Boastful? Maybe. But the man’s got a point, and he underscores his dominance of the field by dropping in a wailing electric guitar throughout the final moments of the track.
The following track is “Power,” which nearly everyone on the planet has heard by now. While this isn’t exactly a surprising track from a stylistic standpoint, “Power” does show that Kanye has a wide array of musical interests, as he samples King Crimson, a band that is about as far from Kanye’s genre as possible. Kanye provides a lot of clever, honest and entertaining lines, such as “You short-minded n*ggas’ thoughts is Napoleon; my ice done brought the goalies in, now I embody every characteristic of the egotistic: he know, he so f*ckin gifted.” Kanye is so convincing in this assertion of his reign over teh world of hip hop and rap that when sings “f*ck that, the world’s ours,” you can’t help feeling good you’re on his team.
The “All of the Lights” interlude is shocking in the contrast it provides, with some beautiful violin work that shows Kanye may be a self-described “jerk-off that’ll never take work off,” but is also a bit sophisticated as well.
“All of the Lights” is perhaps one of the best anthems Kanye has ever released, featuring bright horns, driving percussion and an irresistible flow. Meanwhile, Rihanna offers her most memorable vocal performance since “Shy Ronnie,” and even Elton John drops in for a piano solo. Kanye also shows off his talent for bending syllables and dropping a humorous edge into serious situations: “Restraining order, can’t see my daughter. Her mother, brother, grandmother hate me in that order.”
No other title could have been more perfect for the next track than “Monster,” as it is a beast of a song, and not just because of the supporting cast — although roping in Nicki Minaj, Jay-Z, Rick Ross and Bon Iver on one track is quite the feat. West does everything from stating the obvious — “What you gonna do now? Whatever I wanna do, gosh it’s cool now” — to boasting like only he can — “My presence is a present, so kiss my a**.” Jay-Z puts in a thoroughly impressive and entertaining verse, but the real monster on “Monster” is Miss Nicki Minaj.
This track seems to be a coming out party for the Pink Friday femcee, as she owns “Monster” from about 3:30 on, pulling out nearly as many tricks as Kanye does on the entire album — from rapping to singing, boasting with the best (“All up in the bank with a funny face, and if I’m fake I ain’t notice ‘cuz my money ain’t”), scorching her way through “Monster,” effectively dropping a bigger promo for her upcoming album than any PR company could put together.
Due to the strength of the preceding track, “So Appalled” gets a bit overshadowed, which is a shame. The slow-burning track focuses on the more absurd aspects of fame, with Swizz Beatz, Jay-Z and Pusha T all dropping in for the party. Jay-Z waxes philosophical here, asking, “I went from the favorite to the most-hated, but would you rather be underpaid or overrated?”
“Devil In a New Dress” is a mid-tempo jam in which Kanye sings the praises of an apparently top-notch lady. Kanye shows off his production skills on this one, giving it a layer of subtle vinyl static and a fuzzed-out guitar solo before the final verse, which features the epic line, “New Mercedes sedan, the Lex sport, so many cars, DMV thought it was mail fraud.”
The following track is “Runaway,” the smash hit from Kanye’s 2010 VMA performance. While Kanye suggests that there should be a “toast for the douchebags,” he also displays some introspection as he investigates his flaws and admits that “you’ve been putting up with my sh*t for way too long.” The nine-minute track never feels overly long, with Pusha T’s memorable verse, the pulsing orchestral strings and the fuzzy, distorted vocals in the latter half.
“Hell of a Life” has a funky, fuzzed-out riff throughout, as Kanye wittily narrates the ups and downs of marrying a porn star: “Nothing to hide, we both f*cked the bridesmaid.” Although Kanye asks for a judgement call (“Have you lost your mind? Tell me where you think we crossed the line”), it’s clear that as with his music, he has no qualms about shattering the status quo when it comes to living it up.
Kanye shows an emotional, introspective side on “Blame Game,” which features the smooth vocals of John Legend. The violin-tinged track is a bit of a tear-jerker if you can relate to the subject matter. While Kanye can put on airs of arrogance with the bet of them, he also manages to mine heart-wrenching emotion like no other. The excellent production and plethora of effects adds to the excellence of this love-torn track. Chris Rock also drops in as the perfect guest for his chosen role.
“Lost in the Woods” begins almost irritatingly slowly, but Kanye brings the track up to speed as he considers the downsides of being “lost in this plastic life” and shows his impressive knowledge of antonyms: “You’re my devil, you’re my angel; you’re my heaven, you’re my hell; you’re my now, you’re my forever; you’re my freedom, you’re my jail; you’re my lies, you’re my truth; you’re my war, you’re my truce; you’re my questions, you’re my proof; you’re my stress and you’re my masseuse.”
The brief, final track, “Who Will Survive In America” echoes the spoken-word feel of “Dark Fantasy,” and ends with brief applause; however, you can’t help but feeling this album deserves a full-blown standing ovation.
Kanye West is blunt: he doesn’t care what you think of his music, because he does what he wants. And judging by My Beautiful Dark Twisted Fantasy, what he wants is to turn the music world on its head and kick its ass. The album shows just what Kanye is capable of when he avoids the drama, holes up in a private studio, and throws a sonic soiree with a few of his closest (big name) friends. While the guest spots on My Beautiful Dark Twisted Fantasy are excellent, the underlying excellence of Kanye West shines through on every track. After all, the music world is Kanye’s and we’re just living in it. But with music like My Beautiful Dark Twisted Fantasy, it’s a damn good place to be.