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.