Something From Nothing: The Art of Rap (Review)

Renowned rapper and now film director Ice-T has joined forces with producer Paul Toogood, and co-director Andy Baybutt, along with dozens of Hip-Hop icons to create one of the most thorough and encapsulating documentaries in Hip-Hop history.

The film begins with an establishing narration by Ice-T playing over shots of various shots of New York. (the birth place of Hip-Hop) This introduction very effectively establishes s the theme and purpose of the documentary, which is the unlikely spawning of Rap and bringing to light the effects and Hip-Hop music and culture. It then kick starts the over 2 dozen interviews conducted through the movie, starting with DJ Grandmaster Caz and going through the likes of Run DMC, Kanye West, Raekwon, Common, Nas, Snoop Dogg, and Dr. Dre, among countless others. Since the film focuses on the "art of rap," each artist interview includes an acapella rap performance. The film is framed around the several sub-genres that exist within in Hip-Hop. There is a constant back and fourth between the definitive sounds and culture of New York and Los Angeles. The contrast between these two scenes helps capture the culture in its entirety. Producer and co-director, Ice-T made the decision to insert himself into the production. Rather than use the traditional question answer interview scheme, the film captures Ice-T casually talking and socializing with the interviewees. The whole movie is very casual; which I like. I think that it protrays a friendly, brotherly,and solidarity aspect of Hip-Hop, something that was integral upon the forming of the genre. The film closes with concluding monologue by Ice-T, again over shots and images of New York and this time Los Angeles as well.

Personally, I would recommend the film. I think it very effectively captures the culture and essence of Hip-Hop as well as highlight the artistry of the genre; which is often overlooked. The film focuses on the poetry that exists in rap. I think this is very significant. The filmography, especially in the B-Roll is exquisite. I commend the creators for taking time to focus on that key element. I could have done with a little less Ice-T and it would have been incredible if the verses performed by each artist somehow tied in to the overall theme. I was also disappointed not to see significant artists such as Jay-Z. Other than that, the film was great and I recommend it to anyone who has a genuine interest in Hip-Hop or music in general.

Title: Something from Nothing: The Art of Rap
Length: 111 minutes
Rated: R
Rating: 4 out of 5

 

The Graceless Limp of a Befuddled Fox

A few weeks ago, I wrote a review of K'Naan's third and latest studio album, "Country, God, or the Girl." In the review I criticized Somalia native for ineffective features and an overall ingenuine feel as he strayed from his usual subjects and inspirations, to a more pop and Top 40 worthy soundscape. I was not alone in my sentiments. Millions of fans worldwide were discontent with the straying sound and fleeting poignancy of their beloved "Dusty Foot Philosopher." In yesterday's Issue of The New York Times, K'Naan addressed these issues in an introspective essay about the age old tension between success and artistic truthfulness.

The essay begins with a Somalian fable about a fox who had a beautiful walk but lost it in an attempt to imitate the walk of a prophet. After he failed to match the prophet's gait, he finds that he had forgotten his own walk and was left with the unremarkable way the fox walks today. K'Naan proceeds to explain how he, the fox, was pressured by his record label and the music industry as a whole, to imitate the walk of the popular artist and as a result, forgot his own once beautiful walk.

Censorship is any artists worst nightmare, and K'Naan suggests that in the interest of success, he was forced to censor himself. Before recording the album, his record label had urged him alter his style. They didn't tell him what to do or give him specific choices but rather " raised [a question] in the quiet of [his] soul." Was success worth separting from his lyrical and artistic identity? In a desperate attemot to alter his walk, he was jammed in a corner of self censorship, that left "bruises on the unheard lyrics of [his] yet-to-be-born songs." Whereas his previous albums are strongly inspired and centered around Somalia, this latest release strays away from his usual artistic and lyrical chakra. On "The Dusty Foot Philospher" he spoke of his cousin Mohammed who was left in the war zone of Somalia on the account of insufficient funds and on "Troubador" he sang longingly of a lost love, Fatima who was shot and killed in mere adolescence. Those extremely emotional and powerful anecdotes are unfourtunately, exactly what the general public doesn't like. "Radio programmers avoid subjects too far from fun and self-absorption." As a result, K'Naan's subjects shifted from memories of war to school bullying and drug use. The Islamic and Afro-Centric names of his childhood mates where given western alternatives. "Mohammed became Adam and Fatima became Mary." 

"One cannot hide his historical baggage. His sense of self. His walk," he concludes. In this essay, K'Naan is more aware of himself and has greater appreaciation for his genuine sound. After being unable to match the gait of the music industry, this befuddled fox is desperately trying to rediscover his own stride; and although he may never find his "old walk again, [he hopes] someday to see beauty in the graceless limp back toward it." 
http://www.nytimes.com/2012/12/09/opinion/sunday/knaan-on-censoring-himself-for-success.html?_r=0

Life and Death at the Main Hall

Over the years, I have heard endless family stories which I am continuously amused and amazed by. The surreality of many stories is incredible and I often feel as if the scenes are taken from books or movies. This is one of the more commonly told stories  and one of the many memories that my grandfather had of the notorious Idi Amin Dada.

The scene is Kampala, Uganda's largest and capitol city. It is a sunny afternoon in August 1977 , and  a 51 year old Senteza Kajubi has just returned from an overseas business trip. It had a been a long flight and his wife, Elsie was urging him to rest up for the work week ahead. Senteza contemplated this, but is fixed on popping in a the office, seeing as he been gone for so long. He had a hunch that something big was going on.
He left their home on the Makerere University campus and walked to the NIE (Natioanl Institute of Education), a building that he had built with a grant from the Carnegie Foundation. As he walked around the campus and building, he realized, significantly less people about. The whole campus was dead. When he finally found someone, he asked where everyone was. They told him that the president, Idi Amin,  was giving a Speech at the Main Hall. As he made he approached, he saw masses of people crowded outside the Hall. It was completely packed inside but there were speakers outside, projecting the presidents deep, powerful voice.
It was odd for such an unexpected visit so Senteza was naturally curious. Amin didn't seem to be saying anything warranting a personal visit but Senteza hoped for a surprise: and  that's exactly what he got. After standing outside for a few minutes, Amin said something that caught Senteza's ear. From out the loudspeakers, the president announced the immediate removal of Professor Joseph Lutwama from the position of Vice Chancellor. What followed was the surprise Senteza was waiting for. Out of the loudspeakers, in heavy broken English, Amin stated that in the University's best interest, the new Vice Chancellor, would be non other than William Senteza Kajubi, effective immediately.
Appalled, the young Professor maneuvered the dense crowds and made his way inside and to the stage. There he met the tall and burly Amin who proudly shook his hand and formally presented him the position. After the meeting, Senteza rushed home and told his wife the news. It proved too much for her to embrace. Frantically, she prayed and devised outlandish plans flee the country. Idi Amin was the most ruthless leader of the time and  anyone working under him was gambling with their life. His eccentricity lead him to act often act violently and irrationally. Senteza calmed his wife and explained, he had to take the job, knowing very well the danger it prevented.
For the next few days, Senteza sat in his armchair and thought silently. Had he not been at the assembly that day, Amin would most have most likey irrationally ordered his death. If he were to refuse the offer, he would no doubt be killed. The decision seemed simple, but even  in accepting the position, he knew that  death was always a possibility.

The Overwhelming Effects of a Warped Christianity

I had originally planned another post thisweek pertaining to one of my greatest inspirations and why. However, on Tuesdayas I was reading the Ugandan News like I always do, I came across one of themost appalling articles I had ever read. In light of the recent remarks made byUgandan Speaker of the House, Rebecca Kadaga in reference to the proposedAnt-Homosexuality act, it became evident what I had to write about.

 

Itis easy for most Africans to blame their government for any national orpolitical immorality, justice, and corruption. As stated in one of my previousblog posts, the Ugandan populace should feel no different. However, in light ofthe recent publicity surrounding the proposed Anti-Homosexuality Bill, I pointa finger towards not only to the government, but also to the Ugandan people. 

Last month, Rebecca Kadaga was involved in a row with Canada'sForeign Minister John Baird over gay rights at a meeting of theInter-Parliamentary Union in Quebec.When she returned home, Ms. Kadaga was met by thousands of Anti-Homosexualleaders and supporters. This began the Speaker’s quest to ensure theenforcement of the Anti-Homosexuality Bill by the end of the year. The bill ismeant to heighten the already severe consequences of homosexual acts or anysupport of homosexuality, meriting life in prison and even death in some cases.Earlier this week, Kadaga said that "Ugandans want that law as a Christmasgift. They have asked for it and we'll give them that gift.” Having grown upthere, I can attest to the extreme conservative climate present in Uganda. It isunderstandable that Ugandans would be hesitant in accepting homosexuality. Thatbeing said it doesn't justify the attempted detainment and/or eradication ofgays. This is an issue of human rights, a subject that Uganda hasstruggled with for decades. Citizens should be more empathetic. 

The fact that the the government is essentially harboring thesystematic extermination of homosexuals is absolutely ridiculous andunacceptable, especially in the progressive world we live in today. Although,regardless of Kadaga’s big words, the likelihood of the bill passing is low,due to Uganda’sdependence of foreign aid and investment. The global community has expressedits strong positions against the bill and countries like the UK havealready frozen their aid to the African country. Economically, “Uganda isstill a colony," says my father and political consultant. 

But even if the law isn't officially instituted, the realtragedy is the amount of Ugandans in favor of it. That a people could be soruthless as to support the killing of thousands for something that is out ofhuman control, that a people could be so closed-minded that they would harborthe detainment and death of thousands due to their sexuality or support ofsomething that contradicts their personal beliefs, speaks volumes and willultimately determine the progression of that people. That a people can preachlove in their respective religions and campaign for peace from theirgovernment, while they simultaneously rally for the execution of the innocent,is the height of hypocrisy, and reveals the corruptions that exist within inthe church. 

Whereas religion should serve a peaceful and harmoniouscelebration of common beliefs, it is instead a way to justify savagery. ManyUgandans argue that homosexuality is an attack on the institution of marriagebut I doubt that their mere existence acts as a threat to anyone. Uganda hasbeen plagued with a warped Christianity and it is this corruption that willlimit its progression. Countless nationals have long criticized theirgovernments for being ruthless, corrupt, and unjust, however. As this episodecan show us, Ugandans are not much different from their leadership. So, beforeUgandans cast stones at the likes of Amin, Obote, and Museveni, it would behoove them, to asses their own sin. 

Capture the Fall Video Challnge

This is my video challenge for this month. Th assignment was to capture whatever the fall meant to us. For me, it means going to the park with my sister. In the video I show my sister getting her stuffed puppy and going to the park with it.

The Conscious Rapper:A Review of Macklemore and Ryan Lewis's "The Heist"

The term “conscious rapper,” is placed on any MC who’ music isn’t overcome by the shallow party, love and materialistic content that overwhelms today’s mainstream hip-hop. Any time anyone dare mention something of socio-political importance and relevance, they automatically become the “vegetables” of rap music according to Michael Eric Dyson. People feel inclined to listen to artists like Macklemore just to get their dose of substance. The rest of the time they indulge in the sugar loaded junk food that is mainstream Hip-Hop. Macklemore has denied any of these titles. He is content just being an artist because to classify him as “conscious,” retracts from the rest of his artistic character.


In his latest release, "The Heist," with producer, Ryan Lewis, the Seattle native has proved his stylistic flexibility and dynamism of his lyrics. With subject matter ranging from tackling homophobia and tackling alcoholism to sneakers, and thrifting, the result is an exemplary balance of serious and cheerful cuts. That being said, this album is no good without its second half; producer, Ryan Lewis. His unorthodox instrumentals set the tone for Macklemore’s emotional and relatable lyrics. From the soulful and somber, “Same Love,” dealing with homosexuality to the 808-centric and cheerful “Thrift Shop,” to the intense orchestral “Wings,” detailing the effect of fashion and the extremes of trends, materialism, and consumerism, cohesively put together a both conscious and cheerful record that transcend the lyrical and musical binds of popular music.

Musing at the Airport

This week I've decided to write about what was going through my head as I sat in the airport after bidding my parents farewell and prior to boarding a plane to take me back to Uganda to live with my grandparents. 

It had been about year since I first stepped foot in the United States. I had entered via Dulles International Airport and it was in this same place where I was waiting,  ready to make the 3000 mile journey back to Uganda where I was anxiously awaited by aunts, uncles, friends, cousins, and jajja's. (grandparents) The airport was not as full as usual due to the recent 9/11 attacks. Most people were fearful of flying and rightfully so. Had I not been told that the various 9/11 news broadcasts were in fact coincidental reruns of the same movie, my five year old self would most likely be trembling in my boots. My brother and I had attended school for one year in Silver Spring, MD and we were out. Originally, the plan was for us to make a permanent move to the states and live our parents, however. I had made it quite clear to my parents that I had absolutely no intention of going through with this. My adolescent mind still thinking in Luganda was utterly lost in this world of fast talking, colloquial jargon. Among other things the culture and environmental shock was incredible. The wonders I would see on afternoon walks with my mother were endless. Things such as red and orange leaves and ice falling from the sky were inconceivable a little African boy such as my self. I also felt a little uncomfortable being governed solely by a president, where as in Uganda I could breathe comfortably knowing that I was guarded by a king in addition to a president. As a result i was shipped back to live with my jajjas. I wasn't quite sure what my brother felt about the sudden move but as he sat next to me at the virtually empty gate, I could tell that both of us, while confused, were just happy to go back home. I smiled anxiously, one: because I loved flying and I couldn't wait to get on the pane, and two: because I knew that even though I was leaving my parents behind in Maryland, when I arrived at Entebbe International Airport I would be briskly taken to our house Bugolobi, where I could sleep safe and soundly  in the comfort my room, which I shared with my grandparents; and in the morning when I awoke, I would be greeted by the smells, sounds, and tastes of freshly served breakfast which I would indulge in, while sharing with my jajjas (grandparents) the infinite wonders that America had to offer; red leaves and all. There was sense of contentment in knowing that my grandmother and grandfather  would be there for me when my parents couldn't. As the announcement aired Informing us that it was time to board,  I rose willingly, knowing that back home there was a family waiting for me, just as it should be. 

Country God Or the Girl: A review of K’Naan’s latest album

Somalia hasn't had a functioning government for over 20 years. In addition to the terrorism instituted by the prominent Taliban groups and the infamous pirates, life in Somalia has rapidly deteriorated and resulted in millions of refugees fleeing to find better life outside the dysfunctional country. Among these are Somali born Canadian poet, singer, and rapper K'Naan who left his homeland at the tender age of 13 on the last commercial flight from the country. This has undoubtedly been the most reoccurring subject matter of his music. His debut album, "The Dusty Foot Philosopher," is an unconventional hip hop record, strongly influenced by ethio-jazz and Somali melodies and rhythms. His second major release, Troubador, despite its increased western commercial appeal, was still unique and strongly influenced by these African roots. This is befitting since  Somali and African life and culture has been a strong and recurring subject in his music. On this album, however, K'Naan has veered away from not only his usual subject matter, but also his entire sound and style.

His latest release, "Country, God, or the Girl," is almost worlds away from his previous albums. Whereas his previous projects were seamlessly eclectic, melting traditional east african chants, poetry, and melodies with hard hip hop vocals, cinematic strings and driving rock guitar, saxophone solos and American jazz and soul, this album falls a little short. It is still as eclectic and stylistically dynamic but it seems more of a confused jumble than a seamless harmony. It is obvious with tracks like “Is Anybody Out There,” “Sound of my Breaking Heart,” and “Alone,” that K’Naan is going for a more poppy commercial appeal. Besides the occasional tribal drums and the Somali verse on “The Wall,” (one of the more K’Naan-esque tracks) it is hard to find any African influence on this album: something that had become typical of him. In addition to a greater ratio of singing to rapping, fans might find that K’Naan’s artistic evolution has resulted in the loss of his uniqeness.


That being said,this album still has a lot going for it. The Dusty Foot Philosopher managed to lock down one of the most diverse list of features, including Will.i.Am, Nelly Furtado, Nas, Mark Foster, Bono, and Keith Richards. (looks like a “we are the world” reunion) The Nas assisted “Nothing to Lose,” offers the grime and edginess that hip hop fans will enjoy, and “Bulletproof Pride, featuring Bono,” is an insightful and relatable ballad which chronicles a typical relationship. Other than these two, I think the features significantly detract from this album. Earlier in his career, K’Naan was opposed to collaboration, saying that it interfered with his own artistic vision. (his first album had only one feature) If he had stuck to these sentiments, this album would’ve been much better. 

Some of the more ‘K’Naan-esque” moments on the album are the piano lead “Waiting is a Drug,” the jingly “Hurt Me Tomorrow,” the melodic 808 centered “Gold in Timbuktu” and “More Beautiful than Silence,” the soulful “On the Other Side.” My personal favorite and perhaps most nostalgic for many fans are the hard hitting “The Wall,” which features world dance drums, jubilant acoustic guitar,african chanting similar to those on “In the Beginning,” of his first album and political, intro and outrospective, poetic rap. My other favorite is “70 Excuses,” an equally introspective track featuring spacy pads and choir vocals, as well as an impeccable jazzy saxophone riff reminiscent of “Fire in Freetown,” of his second album.


All in all, K’Naan’s album for overcoming political, spiritual, and romantic obstacles, is typical of a K’Naan album in dynamism but lacks in kinship, primarily due to an attempt at commercial appeal and ineffective features. It will also leave fans confused as he strays away from more Somalia-centered political subject matter.

Polishing the Pearl

Uganda at 50: Call for Celebration or Critical Rethinking

Smiles and cheers were all around last week as Ugandans worldwide toasted to the fact that their small African country had finally turned fifty. But as I say in the midst of blind celebration and overwhelming patriotism at an Independence day picnic, I could only wonder weather Uganda's Golden Jubilee is a call for celebration or critical rethinking.

Uganda, which fifty years ago was one the fastest developing Sub-Saharan African countries has undoubtably spiraled backwards over the decades. Riddled with genocide and perpetual corruption, the picturesque "Pearl of Africa" has gradually lost its glimmer. Rather than revel in its decadence, Uganda should strongly question the vehicles that have driven its rapid deterioration. Among these are the series of greedy, corrupt, and ruthless leaders that continually overstayed their welcome.

On October 9th 1962 Milton Obote became the first post-Independence Prime Minister under the nominal President King Edward Mutesa II of Buganda. It was less than four years later on the night April 15th 1966 when the Obote Administration raided the King's palace, forcing him to flee to London and thus making Obote the executive President of the country. This marked the beginning of a corrupt authoritarian rule. During his first term Obote banned all opposition parties and unlawfully jailed and killed political opponents, instituted a secret police unit that tortured and terrorized millions.
His socialist policies gave government 60% share in all private companies which was often laundered and granted to governmental officials and his persecution of Indian traders caused mass food shortages that substantially raised prices.

As if they hadn't had enough, in 1971 an even more ruthless dictator, General Idi Amin Dada took power by military coup. His regime saw increased governmental and militaristic control, over 90% average salary drop, and the government orchestrated deaths of 100,000s. Often considered the "worst African dictator" to date, his regime instilled not only fear in government but a very dystopian fear of foreign culture and influence.  Amin constantly stressed the threat of bordering Tanzanian invasion and the importance of strong military power. He ridiculed many foreign customs and banished all Asians which caused for virtual economic collapse.

Towards the end of the 70s the regime saw a significant shrink in influence, which caused the country to cycle through various provisional heads including a second term by Obote, until Uganda was introduced to incumbent and longest serving President, Yoweri Kaguta Museveni.

Unsurprisingly, he also forcefully attained power by the gun on January 26th 1986. His presidency like those of his predecessors, can best be described as an amalgam of hypocrisy and contradictions. Upon his inauguration he served as a symbol of hope for the people and change from power hungry tyrants that they knew all too well. In 1986 Museveni was wildly regarded as one of the most progressive African leaders as he brought stability to a war torn nation. In his inaugural speech, he explicitly decried leaders who over stay their welcome as they only detract from freedom and progress, and now 26 years later Museveni has turned into the very thing he swore to destroy. In 2007 he repealed term limits from the constitution and at one point, banned all political opposition, clearly expressing  his plans of virtually eternal political domination.

Museveni, once regarded as one of the most progressive leaders in Africa, has lost sight of the people in his ruthless cling to power. "Uganda has made great strides," says Ugandan political scientist Frederick Golooba. "But, having said that, I think that we have reached a point where Uganda no longer needs Museveni. Most people would say that."

There is no question that Uganda's presidents have accomplished a significant amount of good for the country. Under Museveni, security has improved, the army is more disciplined, and the economy has gained traction, more children attend school, and the fight against HIV/AIDS has made significant progress.  Under Amin and Obote, the country experienced rapid urban growth, solid infrastructure, and a strong, positive global presence, especially in sports, but their profound negative social and economical effect on the country makes it difficult to praise Uganda's presidents.

Too often their governments have lied and broken promises to the Ugandan people and it's time they caught on to the cycle. So, after half a century of violence, corruption, deceit, social, and economic decay, it is time for Ugandans to think hard about the future of their country and break the chains that have held them for so long.  After barking up the same tree for 50 years, it is quite evident that Uganda is in grave need of political reform. It is time for the "Pearl of Africa" to regain it's glimmer and it is up to its people to polish their pearl. So as they celebrate this 50th Independence Day, I urge Ugandans to strongly assess exactly, what it is they have to celebrate. 

Dr. Dog's Wild Race EP Review

The Philadelphia group "Dr. Dog" who have been captivating audiences since their 2001 release,"Phsycadelic Swamp," with their electryfying leads, bluesy guita licks, and Beatle-esque vocals. Their latest release "Wild Race'" is a 5 track EP realeased on October 5th is nothing shy of their incrediblereputation.
Within the first few second listeners will be struck by bouncy hip hop tinged drums, Del Shannon-esque keyboard hits, dirty guitar stabs,a and jangly folk rock vocals that will overwhelm them with jubilance and oneness in the carefree opener, "Be the Void."
 It is followed by the equally jubilant "The Sun," which takes you back to the 80s with its hard and monotonous baseline. The layered gang vocals are reminiscent of the Beatles, inevitably creeping into your mind engulfing you with happiness.
Next, canine medical practitioners showcase their dynamism as they slow it down with the unconventional "What A Fool." The short soulful and dreamy track is lead by an 808 drum loop that is geniusly layered over driving piano chords and rootsy vocals.
After leaving you in a complentative mood with "fool," the album speeds up a little with more driving pianos, harmonies reminiscent of Neil Young and incredibly bluesy guitar licks in "Exit for Sale" before crashing into the final and title track, "Wild Race." This bass heavy road trip song salutes Dr. Dog first release as it channels your inner hippy with its Phsycadelic guitar and chanting gang vocals. As it races to an end with its quick driving chorus, this track serves as a perfect close a truly "wild" EP.

DystopianTrailer Role (Video)

Below is one of my selections for music in my group's dystopian trailer. It is very solemn and orchestral so intended to use in a quieter part of our trailer where the main character is alone coloring.   I like it because even though it is quiet calm, it is not really sad. The other one I found was and intense guitar and string sound that sounded kinda drone-y. I liked that one to be used in sme of our more intense scenes. I think the second one is more ominous and would be nice to while depicting the  antagonist.

5x5 Video Challenge

To shoot my 5x5 I used a small point and shoot camera. The shooting was fairly easy since I already had a mental sense of what I wanted to do. Editing was the hard part. It took me hours trying to import and figure out WeVideo so I finally gave up and used YouTube Video Editor. It took me less than 15 minutes to edit the shots in there. I lik the way mine turned out but next time I thin I'll use more dynamic shots: maybe experiment with shutter speed, zoom, and motion. I would also like to get shots from somewhere other tha my house. Be idea I have for next time is a walk through my neighborhood.

Dystopian Trailer Review

V for Vendetta by James McTeigue, Joel Silver, and the Wachowski Beothers

In the year 2020, the United Kingdom is ruled by the fascist and totalitarian "Nosefire" party. The party has instituted concentration camps for the termination of unwanted populace, such as prisoners and homosexuals. Most live in content with this dystopian society but revolutionary and political outlaw, "V" is a vigilante who plans on gradually taking down the British Governement by uniting the masses. 
From beging, the trailer identifies the government as an antagonist and lays down a  quote that captures the spirits of the movies, starting with V's words "People shouldn't be afraid of their government, the government to be afraid of it's people." This is the most identifiable catalyst. The trailer is peculiar in that the catalyst is at the beginning. The trailer is fast paced with flashing images and intense, suspenseful music. While it is hard to get the plt or significance of characters, such as evey, (Natalie Portman) it is easy to understand where the tension lies and significant quotes like the one in the beginning reoccur to help increase understanding. 
Here's the Link

The article, "Preparing Students to Learn Withut Us,” focuses on the importance of personalized learning for students based on individual passion and interest. It urges the institution of such personalized education and clearly and descriptively describes the necessities of implementing it. It consisely explains the concept and author, Will Richardson uses effective example to support his stance.                                                                                                                                                   "We can take what could be very limiting common core requirements and put them in the hands of the students and, in return, they get to demonstrate growth by applying them to activities and assessments that align to their own passions and interests [but to do so,] we have to be comfortable with being uncomfortable, because we don't know the exact direction that a class will go when we walk in." 


These quotes essentially summarize the entire article. Coming from the point of view of teacher, it clearly states the benefits and requisits of this new learning style. The benefits are obviously increased student fascinations and learning but this requires teachers to adjust to a (for the most part) foreign form of teaching, which might prove as difficult for many. 

The article does a good job to summarize a topic that has been prevalent for years in the realm of education but what surprised me the most is the apparent neglect to similar and eproductive real world examples. One obvious one that jumps to mind is that of Montessori Education, an educational approach developed by Italian teacher and physician, Maria Montessori. Having attended a Montessori school, I can vouch for its effectiveness. Montessori education emphasizes freedom and fosters curiosity. A key aspect of this approach is the mixture of various grade levels within classrooms since everyone is encouraged to move at their own pace. The concepts are obviously akin for the most part but differ in emphasis. Where as personalized learning seems to focus on transferring required material to an understandable platform,  (passion. Montessori seems to be more focused on intellectual individuality.

I think that this concept is great t an extent. I recall in 8th grade my french teacher tried this method, where pay everything we learnt tied back to our chosen passion. It was grat for the first few weeks but if you're anything like me with multiple interests, it would get a bit redundant. This system would best work in our classroom if our "passions" we're not so rigidly incorporated.

I am personally greatly interested in music, arts,  and culture. It would be great if we could explore these worlds during this course. 

The Expendables Review

The link to my annotated review

http://diigo.com/0sv9y
Last month, Silver Chips released a review of the 2012 movie, "The Expendables." The tone of the article was an unimpressed yet positive one. Although the writer continuously emphasized the corniness and worn out feel, he also expresses it as a quench to a nostalgic thirst of classic action movies, due to it''s all star line up including Sylvester Stallone and Arnold Schwarzenegger. The review focused too much on the plot, acting, and appeal, that it seemed to look over the theme.

My First Post

I'm Kalanzi. I'm 16 years old and in CAP 10 at Montgomery Blair High School. I'm into all types of art, especially music. The thing I like most about film making film making is audio, effects, and directing. My favorite film project was the info flow show opens we did last year. My partner Conor and I got all swagged out (dressed up very nicely) and filmed ourselves on a typical Conor and Kalanzi day set to music. We even wrote some some fresh raps but unfortunately we encountered a serious of technical difficulties. I think the blogs were a good idea. We can use them to connect the three cap groups and increase productivity for inter-group assignments. (change project e.g.) It is also serves as a possible online class communication platform and an alternate way of turning in assignments.