construction maison moderne toulouse

have you seen what you listen to ? translator's note : the song lyircs are translated literally. i paid no attention to the rythm, only to the meaning of the lyrics. don't forget to actually listen to what it sounds like! je suis [i am] by bigflo&oli you may be among those who think that as soon as it's both french and popular, iiiiiiiiiiit's.... average. at best. to take instance in cinema, in 2015, the three most popular movies in france were : "les nouvelles aventures d'aladin" [aladin's new adventures]

"les profs 2" [the teachs' 2] and "baby-sitting 2" i can't really slander them, i only saw one. [i'll say out loud what everyone thinks silently] [in the vizir's mouth it smells like poopoo!] but i can grade these movies with critical sense. that's 4/10. you're gonna say "yes, but it's not our fault, we watch what there is to watch..." and that's when i saw the 3 most popular french movies worldwide.

"le transporteur - hã©ritage" [the transporter - legacy] "le petit prince" [the little prince] and "mustang". with an average of 6.1/10 the thing is not that we produce shit, it's that we focus on it. so i say, let's turn the spotlight to what is good. i was often told to listen to bigflo&oli, they said it was amazing. and so, you know me,

i'm dumb, so i listened to their most popular single. [as usual, i don't know 'bout you but i] [as usual, still in my sheets] [as usual, we'll remember it] [and if you're like me, it's like that every time, yeah] rrrright... fuck, if that's excellency, i'll give up on everything and start shrimp breeding. it's well-written, you know, but...

they're kids talking about their party. but hey, since everyone seemed to like them, i decided to give them [a second chance] [we all have a liar friend, all a liar friend] [if you don't have a liar friend, then you're the liar friend] pfff, uh, same, it's, it's... clearly they pay attention to their texts, uh, but the topic has no interest at all, i guess it's fun but it's not excellent... and i was told about them again when their album was re-edited.

i had let go. i didn't want to say anything good about it, nor anything bad. but, out of curiosity, i decided to listen to the last single of this re-edition. i don't want to tell you what i thought right now, so let's just start as usual. [i am locked up, cramped inside my cell] [everyday the same coffee but only time is soluble] [the good actions you regret, the mistakes you make again] [in the visiting room i talk to my son, as much as to my reflection] do you realize what just happened?

so, no, no, not that, there. i won't talk about rhyming failure. for a very simple reason : who cares if it rhymes? *shocked gasp* yeah, not a fuck given! why is it a recurring joke in these videos then? do you know why texts rhyme? to give them rhythm. translate : echoes, alliterations, parallels, assonance, all you want, they count as much as rhymes. and just for once, i will take the title of this show literally, i will let you take a look at what you're listening.

there, so rhythm here is everywhere. so saying there's no rhyme is like doing that. so to sum up, huge t5, 130mâ², with a 1500mâ² garden, big garage, high connection, all of it only a few blocks away from public transportation, you're 10 minutes away from the city, really sir, for €400 a month, that's a gold mine. yeah, buuut... there's no bidet. yes, uh, ah the bathroom!

a very modern shower, and a bathtub with the little relaxing bubbles- k, k, but there's no bidet. it sucks. yeah but there's also- no bidet. that was reason no 1. no 2, a fucking metaphor on time's solubility that's not a pre-made and pre-used idea there's the idea of seconds dissolving in that sort of viscous life magma, that become the prisoner's life, illustrated by the same coffee everyday. no 3, the construction of the third verse in epizeuxis

mixes positive and negative, indicating that the song will be intricate, and not necessarily logical. no 4, the introduction of the motive of time, present in the vocabulary but also in the substance, since he talks about regrets, so past, and not making the same mistakes again, so future. all of this is set in a present tense, so there's a symmetry, let's say it, it's a mirror construction. and how funny! no 5 he talks to his reflection in the visit room mirror, but also to his child who probably looks a lot like him, and so the reflection of the child he used to be.

there. in four verses, these kids just gave you a warning: you haven't heard something this good in a long time. yeah, but... there's no bidet... rhyming failure [i am freezing, shots and winters come after one another] [to reassure themselves, passersby must think that we're hibernating] [rocked by the sound of steps, and the noise of coins in pockets] [between that guy and my dog, i wonder who i'm closer to] i'm not gonna go on rhythm again, that's a little treasure of construction. for the content, the song is based on a following of very short portraits, built on the same model.

1. an adjective as presentation, and then a comment, often negative, with a trace of hope. in verse one, it was talking to his child and his reflection, in verse two, it's the presence of the dog. and same, still the time passing, with the idea of shots and winters following one another, by the way, that's a zeugma, and always an idea of weariness, brought by the vocabulary of sleep and an alliteration of occlusives that sound like steps. [i am rich, they want to make me ashamed of it]

[as if i were responsible for all the misery in the world] [i owe nothing to anyone, even if money's running low] [they all want to taste the fruits of the tree i grew] and that is where you see that they're not watermelons. where other rappers would have only talked about victims and people who feel bad, to make a portrait of the rejected, the oppressed, the excluded, they're also going to talk about the wealthy, and with subtlety. they're not mocking them, they put themselves in their shoes and talk about their problems, not big ones, sure, but who cares?

they stay true to a narrative point of view, which is not omniscient, certainly not preachy, but simply navigating from one subjectivity to another with a humility, a subtlety and a respect that are exemplary. when i try, it doesn't work. i am a t-800. my mission is to destroy sarah connor, to annihilate the human rebellion. i am magneto. i tried to destroy mankind.

that's you. i am ghost face i kill people. i am cthulhu and i want to suppress reality from the plan of existence. because of some bad choices, people tend to think of us as antagonists. men of few qualms. let's day it: villains. there. there. but despite all this,

despite our inhumanity, are we not entitled to consideration, respect, and love? too many people take the easy part of not identifying with people who do bad things. they make them "oppressed by nature". together, with the department of immersion, consideration and kindness (d.i.c.k.) we can help them. let's save assho- uh, i mean, let's save... let's save them. [i am ill, but i'd rather say cured-to-be]

[my pupils stare at the hand of the watch shining at my wrist] [cramped inside my body, i look at the world through the keyhole] [though people will say i only enlarge the hole of national health debt] what's wrong? ooookay, so still the same idea. adjective, i'm not fine but i still hope, always the idea of time, always a sick rhythmic construction, with rich rhymes, with internal rhymes... and for the second time in this song,

the idea of opposition between the individual and the society. in verse one, it was the homeless and the passerby, here you have the diseased and the people. just sayin', just sayin' ! but the real problem of our current society, it's the arabs! my wife is arab. yes. yes, so, yes, it's not the arabs, not exactly the arabs, it's more of the jews. the jews couldn't handle the moment when- i am jewish.

you are! so the problem of our current society is nothing about beliefs or something! it's the artists! i am a singer. oh but singer is not the same thing, sir! no! singers are honest, they're good guys, y'know. but, the roms! that's something else! my best friend is romani.

there are good ones, there are good ones, not saying that... there are good ones. just don't let them hang with the... the... the redhead boar-hunting sudanese. that's the problem of our society. i've got a cousin wh- ooooh eeeeh! i'll add that there's a great metaphor, it sounds like they lived what they're talking about, they're fully conscious of the realities they describe. so many rappers just write about their own lives, it feels nice to hear people talk about things that are not themselves.

i a song called [i am], no less. [i am religious, i often get reproached for being,] [they reproach me my beard, and yet it's the same as jean jaurã¨s's] [i am compared to barbarians, in whom i never believed] [mosques are too small so sometimes i pray in the street] you will understand the problem i have with good songs. once you've defined the structure and it remains coherent... there's nothing much to add after that. just enjoy the show.

that verse is a little more destructed. rather than focusing on one problem, it rises three: attacks about beard, comparisons with terrorists, and the size of mosques. i'll take advantage of this to add that i never really understood why you'd blame someone for a beard. terrorist! [i am a little lost, my little lungs fill with air] [newcomer on earth, my first tears bring my father's too]

[i'm lucky, with my family i fell in my place] [but i don't forget i could have been born in the next room] yyyeah, this one is cute but doesn't make much sense. he says he's a little lost and then that he's in his place. also i'm not sure that a newborn can forget anything. future tense, like "i will have to remember that thing" there it would have made sense. always the same themes, time, hope, opposition between the individual and the other. with a slight nuance slowly making its way in,

the difference between the far other, often through judgement, and the close other, often through love. [i am alone at the end of the corridor, they don't ask for my opinion,] [i'm getting old, so voilã , i've got more wrinkles than friends] [i'd like to share my mistakes, tell you about my doubts,] [sometimes i talk to myself to make sure someone's listening] i think this verse is great. because it's the portrait of an old man, and the adjective to point at him is "alone".

it's precisely as if the characters really talked for themselves. the muslim doesn't say he's a muslim, he says "religious". the old man doesn't feel old, he feels lonely. the homeless guy doesn't feel poor, or sad, or alone, he's in the immediate perception, that is: freezing. and very interestingly, it's the first verse to make us the other. indeed, there's a second person, the character is talking to us directly, we are the other. except we don't know him. and that's when he explains he's talking to himself. i think it's brilliant. [i am exhausted, but not for much longer surely]

[the phone rings, the pressure have enlarged my wounds] [i don't remember the last time i laughed for real] [i am a man, soon i'll be a memory] i-i will not forgive myself if i don't mention it... he made a conjugation mistake. he said "serais un souvenir" [would be a memory] that's future tense. there's not s in "serai" [i will be], that's s-e-r-a-i silence please!

si-lence. the republic attorney may now speak. mr thesun! er, my name is actually- silence silence. mr. thesun! you are comparing in front of this jury for this charge: you're way too fucking annoying. will you shut your fucking whore mouth you cunt?

thank you, your honor. i am calling, about the bigflo&oli case concerning a grammar mistake... it's conjugation- stoooooooooooooooop i am calling mr. kaaris. i don't give a fuck, bruh. precisely, on that topic, the fucks, bruh, are not given. apart from that, it's the same construction, but not a single trace of hope. as often the text is full of nuances,

and as always, time, between "memory" and "soon". we barely know anything about this character, and that's excellent, because we see him through his own eyes. he himself doesn't know who he is! he doesn't introduce himself through his job, or passions, or daily life, only by a pending relief, which we guess is death. [i am here at last, this land is not a mirage anymore] [i came by boat, but mostly by miracle] [a new life is waiting for me here, much more quiet and stable]

[this morning i wrote "all is well" on the back of a postcard] the construction is still the same basis, and we notice that bigflo goes with the idea that the less you possess, the more what you possess is precious. in almost all the verses, you hear complaints, oppression from others, and a slight hope. that verse is overflown with hope. that past and future are present, but past is not anymore. and about the style, still the same, that is an antanaclasis, and i love the fact that they don't say to whom they write, or even who they are. we all understand the story of the illegal immigrant who runs away from war and misery to come to france a land of freedom, opportunities, tolerance, i know right, could anything worse happen to him now?

we are going to return to the notorious burkini debate. with us, mr. zawarkroft. mr. zawarkroft, remind us your point of view. well, i consider that in a country free and secular like france, it is dangerous that women still consider today that it is healthy to show their belonging to a faith, thus making their bodies an obscenity. okay, but can't people dress the way they want? shut up! shut up! you're cutting me in the middle of my sentence, it's unacceptable! -please, please, gentlemen.... please, mr. sun, let mr. zawarkroft finish.

their bodies, an obscenity... the question we must ask is about intermix. mmh, yeah, among other things. gnah gnah gnah gnah you dumb fuck! he just called me a dumb fuck- i condemned this sentence! [i am proud, but how can i tell you all that i feel?] [when i walk in town, fewer and fewer people look like me] [in the elevator, i don't even speak my neighbor's language]

[if we keep planting trees like that, we'll be out of room for our roots] and that is the respect-inducing verse. it's easy to say that racists are dumb. it's easy to say they're wrong. it's much harder to stand in their shoes, to speak in their name, speaking not about hatred, but about fear. it's really well-done because he's the second and last character to address the audience directly. he gathers around him the people who look like him because he's scared as balls of what he doesn't understand.

and trust me, i know that well. wait wait wait wait, i'm not racist! just... i too have difficulties to understand my neighbor. excuse me sir ? could you tell me the way to st andrew street, please? oh yes! perfectly! it's the favorite street of i. uuuuuhm, you go: all straight to the end of the end of the piece on the left, sorry, i just...

you go alright to the passage of oliviers. you know like the olive, the fruit... wait, wait, wait, i don't understand anything you're saying. racist are you? raci- god, no, i'm not racist! aaah! you're racisting! right, just go on... oliviers turnabout! you turn left then you turn all straight to the rainbow road! rainbow? - rainbow!

i'm thinking how on social media everyone is shitting on those people call social justice warriors, or sjws. at first, they're those people trying to defend as many causes as they can, all the time, everywhere! and only to take the spotlight to themselves. except that today, it's used to describe people who really defend things. i don't understand why we're not mocking their negative equivalent instead. that's, let's call them social injustice dragons. you know, these pangloss, kings of the circle, who think all is fine in the world, because they won't try to see things with a point of view that's not theirs. for instance, for random instance:

women are underrepresented in superhero movies. i don't think so. but there are much, much more male characters as the lead in these movies. i don't feel like that's a problem. for the same job, women earn on average 30% less than men. i don't feel like i earn more than a woman. black people are much more controlled when driving. i'm controlled too sometimes. it's very hard to adopt for a gay couple.

so is it for a straight couple. street harassment is- i love being complimented in the street. transgender people are- - trying to stand out. they really mock fat people in movies, aren't they? they so are. [i am tired, my back and my kidneys hurt] [the wrinkles on my face remind me of the mountains i come from] [i've been lied to, and i understood it too late]

[they tell me this country's not mine when i am the one who built it.] i'm not sure yet whether i like this verse being right after the frontist. in two verses, we have a very short sum-up of the most current schema of racial hate. and that is cool, it's coherent. the construction is cool and coherent. not racial hatred. but till now, it was either a completely different topic, or an archetype to its exact opposite. a poor man and a rich one,

a newborn and an old man. is a first generation immigrant the opposite of a nationalist? at least it makes us wonder. and, just to mention it, the parallel between wrinkles and mountains, the double-meaning of the construction, that's good rap, that's real good rap. that's the point of the mind, the elegance of the quill, and the impertinence of the soul. you can quote me. [i am seated, destiny made that i'll never stand again]

[in this ocean i feel like i've always been rowing] [a puzzle to get in the bus, go to work, go through their doors] [people often look at me and say that it's not their fault] oh, hatred for the stage. excuse me. oh, yes, sure, of course! i'm just waiting quietly in the street, and there comes a bothering asshole, who makes me understand that it's my fault personally! of course! thanks, donald trump!

thanks, usa! apocalypse, that's where we are! i hate you and always the same, the vocabulary of navigation, the identification beyond "i am disabled": "i am seated", the exposition of an issue, and the adversity: always people. rap usually describes the hardships of ghetto life, the author's problems. i feels good to see rappers go beyond their own reality, and even better, considering that they're young.

now, i usually dwell on the whole text, but usually there's less text! so what we'll do is that we'll jump to some passages that really deserve the spotlight. there is a verse about a second-gen immigrant who just got his diploma, and then a teacher. the first about the past, the second about the future. still the trope of hope and still the trope of others. we understand that there is a gathering through diversity. as if we were always watching the same shapes, with different colors. then you have a kid who is torn between a honest but hard life,

and a life that comes with lots of money but also illegality and danger, still the same stuff: no good guy, no bad guy, only lost people. we have the voice of overseas territories, often neglected by the mainland, after that there's two verses i think are really well written. [i am discreet, my father told me not to make waves] [my religion, a lighthouse guiding my steps since my path is veiled] [funny how they watch me, and do everything to] [give me a lesson by forbidding me to go to class] [i am worried, towards my faith, many haughty looks]

[i receive lessons from guys who do nothing for their fellow man] [humanity has lost it's heart, i see the world spinning and changing] [and i am sad to see that there are less and less people on sundays] alright, this one is ugly so i count it. rhyming failuuuu- my show. anyway, to go back to the two verses we just heard, on one side a young muslim woman, on the other side a christian clergyman. here the construction of the two verses is not opposite, it's complementary.

she wants to go somewhere, he wants people to come somewhere. she wishes that people would pay less attention to her religion, as expressed with [i am discreet] he wishes more people would be interested in his. and the two verses are linked by the same word, expressing the same reproach: lesson. others try to give them lessons. and this truth is ironical in both cases. how dare they give that kid a lesson by forbidding her to go to class? how dare they give a lesson as they do nothing for their fellow men?

i also note the lovely vocabulary, three words about navigation, but always metaphorically. the lighthouse is a landmark, the waves are problems, and the veil [in context : sail], departure. there's even a metaphorical double-meaning about a young muslim woman putting on a veil. [i am in love, and i don't know who is concerned] [except me and him with whom i share my bed at night] [i love him, we weave between insults and jokes] [not so long ago i couldn't even offer him a ring] always the same, always the same construction, always the same motives,

and always a little class in the formulation with the ring, a synecdoche. man, it's more than time i'd make this point culture about stylistic devices. we'll also note the intelligence of the statement: from a gay couple's point of view, insults and jokes are at the same level. oh, hey! tony and matthew! you guys come eat at my place tonight? come on, martha made sausages, you guys like sausages, don't you? hey, i'll tell you, the most important thing in life is tolerance. because thanks to tolerance, faggots are well-integrated, y'see.

i'll even say, before, they integrated each other, if you see what i mean!! [i am forgotten, my end of months are always hard] [eating out is getting rare, so is it to watch a movie] [i'm just a number, a vote, a statistic, one more dot in the crowd] [i was just born here, and i feel like no one gives a fuck] this verse looks a lot like another, the suicidal man's. so i had difficulties to see its interest until i noticed the adjective they used. till now they've all defined themselves through themselves, he's the first one

to expect people to think about him. weirdly, he's the character i empathize the less with, because he only defines himself by having no money and no one interested in him. and when he talks about what he can't do, it's entertainment. i don't like that verse because i'm not sure i interpret it correctly. i feel like indeed, this character was just born here, and so he expects the system to make him more than a dot in a crowd, that the powerful defend his interests. makes me think of these guys who tell me "i am a follower, you owe me respect."

nope. you are a person i owe you respect. you are a follower, i owe you nothing more. i'd be polite to thank you. which i gladly do, by the way, thanks a lot. but i owe you nothing more than to anybody else, especially not respect. sounds logical to me. you won't get away this time, joker. you're going back to arkham. you're forgetting something, batman!

i have subscribed to you channel. dear god! my only weakness! i owe him respect now! you will not get away that easily next time, joker. wait-wait-wait-wait! oh! you owe me respect. oh, yeah, right, uh... sorry, sir. he's so dumb.

it sounds obvious, that doing almost nothing entitles you to almost no side benefit. but most people believe the opposite, because politicians use that. and me, sir! i was born in france, but you don't about that! you don't give a shit! i don't know enough words to tell you how many fucks i don't give. wait, you can't tell him that, he'd never vote for us! you really want the vote of this lame-o? gentlemen, don't forget, we want all the votes. and this man in right, he was born in this country, it's logical that he'd get his weekly cinema and restaurant.

but we can't give him that! remember. the time when we still shared this office with anger and sadness. the time when we were ready to fight for ideas, the time when we were ready to be on the front line to defend our values. the years eventually eliminated sadness, our motor, and anger, our fuel. now we have to work this ship alone. and for years i've helped you take the right decisions. but, if they realize we're lying? they know!

they've completely accepted the idea that a politician's job is lying! and if they realize, well, we'll be on the front page for a week. and politics are like trade: the only bad publicity is the one that people don't see. i'll tell you, sir. i guess you are forgotten by the government. i guess that you feel disappointed by the current president. but i, sir, i promise you better days. i promise you the attention you deserve!

for you vote, sir, i promise that at last, you will truly be represented! dude, he's totally lying. y'know, let's just stay optimistic. he doesn't look that dishonest. and now comes my favorite part. after the enumeration of portraits axed on a single person, they fasten up four times, and keep giving themselves the mic, by evoking situation, sets. the construction of this song, and others from the album "la cour des grands" [the big kid's playground] is very drawn, very visual. first, many close-ups, to larger and larger shots.

[i am a rendez-vous, a chance, a football game, a wedding,] [a protest, a birthday, a hug, a fight] [a crime scene, a sentence, a laughing kid, a mistake] [a snowy mountain, i'm the point of an author's quill] we find ourselves in situations always evoking many people, and it concludes on an author's quill. that's clearly the only phrase about themselves. it's also the only phrase on which they use both their voices, except to punctuate the [i am]s which let us understand that even though the verb is singular, the message is plural.

[i am the tears of departure, i am the warmth of bars] [i am a 5-star flavor of the grease on a kebab] [lazy people, nightbirds, morning people, grumpy people, eyeing in the subway] [a racist uncle, an empty show, the crisis, depression tightening the noose] [i am excellence, elegance, hope for a birth] [this countryside in silence, these immense cities, so dense,] [i am little of me and much of others to think about it] [i am france] aaaaaand... that's a shame.

they keep giving wider and wider examples with a lovely hoemeoteleuton in "ence" the construction is still great, and i think the music enhances this idea of going ever father from the individual to see the whole picture. but i've got two little problems. on one side, i fully understand what they meant by "little of me and much of others" but it's not very logical you're not "little of you". you're fully you, you're nothing else but you. to represent that with a graphic- aah, i came. to represent that with a graphic, what they say looks like that.

when this seems much realer. and finally, the only real little problem i have with this song that makes that i can't give it a 20/20, you can't really guess it's france before the last verse. right, we heard about jean jaurã¨s and the national healthcare debt, but still, most of those portraits remain coherent in most western countries. i would have loved to see more cultural and historical references, which according to me, are france too. little discreet allusions, like using the expression "to work like an ant", to express la fontaine,

say that some character feels like cosette, reference to hugo... or even say that a character as renaud, or booba, or aznavour in their earbuds. say that another character doesn't see la vie en rose, a few discreet little references to french culture could have reinforced the message of the song. maybe a verse about a forgotten guy who might be a french star. not necessarily named, but they're also a part of the people of france. even though i'm grasping at straws here, we have a very good text here, and i have no second thoughts about giving it a strong 18/20. now, it's one of the best on the album.

not all of it as at the same level, but bigflo&oli are capable of writing excellent texts. and i strongly advise you to go take a listen at their album. especially "j'attends la vague" [i'm waiting for the wave] "le bouchon" [the stopper] "aujourd'hui" [today] "c'est pas du rap" [that ain't rap] the only major issue about bigflo&oli in most of their texts, is that they're a little immature. it means three things.

one : they're very mature on some of their texts. two : they're still young. it's normal to be immature in your early twenties. and unlike others, they're immature, not irresponsible. and three : it's the only big flaw i see in them. no stupid message, no ego-trip plunged in ball sweat, no free and mean provocation, lots of love, lots of intelligence in the idea, and lots of work on the wording. clearly, i really want to hear what's next. meanwhile, in toulouse... by the way, oli, we really must remember to send links his check.

for his good critic? yeah, for the good critic he made. how much had that dude costed already? expensive. expensive. but hey, he made a good critic. and then, we have time. we'll see later. let's handle it later. but till then, be reassured, we still have rap that's... ... different, to listen to.

my job really fucking sucks! stop. i'll take advantage of the end credit to do a little publicity. i know, you don't like publicity, but you like my contents, so how about publicity about my contents? i'll let you unknot that in your head. i've got a tipeee page! so you can give away money if you want to the this channel to make sure the contents are always better, and help me pay my team. don't worry, it all stays free, i encourage you to get info by clicking on the link in the description or right there thanks for your attention, have a very nice day and see you soon for another video! you go straight to the end of the end

and then after you've turned right around the oliviers turnabout... y'know, like the olives, the fruits! eco chicken! curry sauce on the potatoes sautã©es!