Nas, “N.Y. State of Mind,” (Illmatic, Columbia Records, 1994) prod. DJ Premier, interviews plus live performance

“[Intro]
Yeah, yeah
Ayo, Black, it’s time, word (Word, it’s time, man)
It’s time, man (Aight, man, begin)
Yeah, straight out the fuckin’ dungeons of rap 
Where fake ni**as don’t make it back
I don’t know how to start this shit, 
yo... now”

Not entirely sure about the above video, with it’s very literal editing (“Be havin’ dreams that I'ma gangster …” and there’s a close-up of a familiar screen face, ditto for other references, say “The city never sleeps, full of villains and creeps …”) splicing shots from Taxi Driver, Shaft with Nas’s rhymes about “stories when my peoples come back, black.”

Below the YouTube video two listeners battle it out (I’ll include the exchange at the end of this piece). One states baldly: “Show the 90s this stuff is not describing hip hop subculture and 90s suburbs” another replies: “Nas makes many references to pre-90s culture (including movies). It's supposed to be relatively timeless.”*

What’s interesting about “N.Y. State of Mind” is that it is both: archetypal and personal, in terms of its construction and themes. The first verse is Nas taking on the persona of a jaded, older man, as he put it in 2007:  

[“N.Y. State of Mind”] is one of my favourites, because that one painted a picture of the City like nobody else. I’m about eighteen when I’m saying that rhyme. I worked on that first album all my life, up until I was twenty, when it came out. I was a very young cat talking about it like a Vietnam veteran, talking like I’ve been through it all. That’s just how I felt around that time.

Interview with Rolling Stone (2007)

The opening lines has this “older man” looking back, comparing the current scene with the past: “It’s like the game ain’t the same/Got younger ni**as pullin’ the trigger, bringin’ fame to their name …” The second verse is more introspective, with Nas describing his artistry and compulsion to write: “I got so many rhymes, I don’t think I’m too sane/Life is parallel to Hell, but I must maintain …”

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New Young Journalists Development Program - start date 1st May, 2019

This is a call for young writers, aged 17-22, interested in developing core writing/journalism skills who want to write on hip-hop/music and/or other subjects. Women especially encouraged to apply. Intended for a small group of two, or three people.

This program is designed for people who do not have access to such training at school or in their communities; people who might be interested in becoming journalists, but feel that it is closed to them for whatever reason. It is aimed for people who are not represented in mainstream media spaces, because of background/place of residence, who want to write about stories relating to their communities, thereby altering the current media bias towards white, middle-class voices.

The program could be a formal training program, or informal mentoring arrangement depending on the need and interest of the trainees. No previous experience or publications required - but preference will be given to applicants with no other opportunity for media/journalism training of this kind and members of under-represented groups.

If interested, or you have questions: contact me with a brief introduction to yourself and what you’d like to achieve at madeleinebyrne.writer@gmail.com Proposed program start date: May, 2019

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“You Can Win”/”Let’s Go” Bileo 7” (M.T.U/Watts City Records, 1979) remix & more

Not much information on Bileo – Bill Williams, Bobby Love, Joe Farnis, horn arr: Maceo Jackson – other than the group released two singles, this being one of them. The single was re-issued by Athens of the North in 2014. As the promo material for the re-issue states the single sells itself, the song too writes itself; it’s all there, the message of uplift and continuation. It’s a lovely thing.

Movin' up now
To higher ground now
Can use my stride! (?)
When I get there, yeah
I'm gonna smile now
Cause I'll be high!
High on love
That's all I need, yeah
To make my day!
I am happy
Happy now I'm
I'm on my way!

You can be there
If you want to, yeah...
You can be there
If you want to, yeah...

Another track credited to Bill William’s Bileo’s lead vocalist (under the name Bill Williams & Billeo is “Robot People” out on WCM, 1983), probably only of real interest for those seeking to “complete their collection.”

Ditto for another Bill Williams’s track: “Things WIll Be Better Tomorrow,” also from 1983. That said, this remix of “You Can Win” - Dorsi Plantar’s French Kiss Edit – is great:

“Night Comes On” dir. Jordana Spiro (2018; French title “Long Way Home,” 2019)

Some time ago I read a review of a film, the title escapes me now though I remember it well, which referred to the cliché of mould-encrusted bathrooms, seen in panning shots of the dirty tiles, to represent poverty. Not having money, or the time and skills to fix/remove the mould on the tiles, is represented as base, disgusting. The critic mentioned this as being a particular feature of films where poverty is “feminised.”

Aramide A Tinubu, in her Shadow and Act review on Night Comes On (or Long Way Home, to use its French title) refers to the importance of this film about two sisters and their grief for the murdered mother being written and directed by women:

“The importance of a female director and writing team in this coming-of-age film can’t be overstated here. Fishback’s body was never once put on display gratuitously and moments in Angel’s life, one marred with sexual assault and coercion aren’t used as plot points in the script. Still, it was the moments between the sisters, both the snippy banter and the softer connections where Spiro makes her mark as a director. It seems unimaginable that a male writer or director would able be to capture a 10-year-old girl’s horror at her first period and her big sister's detached but comforting reaction.”

Coming home last night after seeing the film that shared the Prix de Jury prize at the Deauville Festival of American Cinema, a festival set up in 1975, I thought the same thing. I recognised my gratitude for the fact that one particular sequence – when Angel goes to get a gun – avoided spelling out a stereotypical representation of a woman in a state of duress, where her desperation leads to humiliation and abuse. The writer/director team seemed to be aware of this, moreover, drawing attention to what was expected, for it to be interrupted. When Angel does finally get the gun from the dealer, we are shown her walking away from the car, afterwards. Nothing is shown.

Most of all, I was moved by Dominique Fishback’s performance as Angel. Subtle expressions on her face carried this film, the performance by the non-professional actor playing younger sister, Abby (Tatum Marilyn Hall) is wonderful too, but Fishback’s characterisation has such depth, it reminded me of some of the great performances from Italian neorealist cinema, where the central female character tries to gain self-worth in an environment that if not explicitly out to undermine her remains indifferent.

I also truly loved the brief moments of connection between the sisters – see the moment when they touch hands in the above trailer at just before one minute; or when Abby sleeps against Angel on the bus (echoing earlier scenes where Angel sleeps alongside her mother, or dreams that she is). Spiro’s skill lies in the way this scene is deeply moving (even though nothing happens) and the fact that it is given more time than the next, which while a key moment in the narrative is undeveloped. This felt authentic and real.

The film is not flawless, some of it felt a bit too “neat” – perhaps even formulaic, made-for-TV in parts – but its simplicity and the performances of the two leads, more than makes up for any of its weaknesses.

Apparently, the English-language title comes from a Leonard Cohen song of the same title from 1984:

I went down to the place where I knew she lay waiting
Under the marble and the snow I said,
Mother I’m frightened, the thunder and the lightning
I’ll never come through this alone
She said, I’ll be with you, my shawl wrapped around you
My hand on your head when you go
And the night came on, it was very calm
I wanted the night to go on and on
But she said, go back, go back to the world

Here is an interesting MovieMaker interview from August 2018 where the director Jordana Spiro describes the writing process with Angelica Nwandu:

Carlos Aguilar, MovieMaker Magazine (MM): Walk me through the long writing process, which I understand had many changes, from the original spark to deciding you needed a co-writer and beyond. 

Jordana Spiro (JS): The initial spark started over 10 years ago. I wanted to make a movie about a young woman who is typically cast aside and get inside of her journey and explore the beauty and also the darkness that comes with what’s going on with her.

I asked the executive director of Peace4Kids if he might recommend somebody to work with me. He heard the story I was developing, which has since taken a very different shape, and he recommended Angelica Nwandu. At the time, Angelica was writing very beautiful, visceral poetry about her experiences in the system. We met and found a real complicity in the way we wanted to express ourselves, what we wanted to say. With her on board, the script became a living, breathing thing.

MM: What did Angelica bring into the writing process with you?

JS: Initially, I didn’t know what I was looking for. Was I looking for a co-writer, or was I looking for a kind of consultant to educate me? But it became very clear, as we started working together, that I wanted to ask her to be my partner in writing. We are both drawn towards a kind of lyrical and poetic sensibility, which allowed us to bounce ideas off each other. You’ve got an idea that you can only see a part of, but when you bounce it off of another person, the idea evolves and grows into something else. We had a similar appreciation for the poetry that you find in the details. It was a rich partnership.

And an interview with the director and the film’s lead actors linked to the success at Deauville …

To read my writing on films (Barry Jenkins, Chantal Akerman and others) please go to the “cinema” tag.

MF DOOM on writer's block; Mos Def/Yasiin Bey paying tribute; Kool Keith dispensing hip-hop wisdom

“I get inspiration from lots of different things, nature … silence …”

MF DOOM talks about how he deals with writers block at the Red Bull Music Academy Madrid 2011.

During the recording session for The Ecstatic

“98-year-old refrigerator” - This is extremely wise & useful (I think).

Extract from "Boundaries" Everyday Zen, by Charlotte Joko Beck (London?: Thorsons, 1997)

“A while ago I broke my wrist and wore a cast for three months. When the cast was removed I was touched by what I saw. My hand was just skin and bones, very feeble and trembling: it was too weak to do anything. But when I got home from the hospital and started to do a task with my good hand, this little nothing of skin and bones tried to help. It knew what it was supposed to do. It was almost pathetic: this little skeleton, with no power, still wanted to help. It knew its function. As I looked at it, it seemed to have nothing to do with me; this hand seemed to have its own life; it wanted to get in there and do its work. It was moving to see this little scarecrow trying to do the work of a real hand.

If we don’t confuse ourselves we also know what we should be doing in life. But we do confuse ourselves. We engage in odd relationships that have no fruits in them; we get obsessed with a person, or with a movement, or with a philosophy. But with practice we begin to see through our confusion, and can discern what we need to do - just as my left hand, even when it couldn’t function, still made an effort to contribute, to do the work that needed to be done.”

Charlotte Joko Beck, “Boundaries” p.155 (Everyday Zen, 1997)

The day I read this, my right hand had a crisis of some kind (RSI); I couldn’t use it without feeling intense pain. I couldn’t write with a pen or type, or cut bread with a knife - the pressure was too great. I managed to do the work that needed to be done, but it gave me a fright. A small warning to keep things in balance. To all writer-people, if there are any out there, be careful of this too, take a break, walk around. The work will still get done, in its own time.

"Lloyd Banks Assists on Conway Campaign to Prove that He's the Grimiest, Ever" (AFH archive)

First published at Ambrosia for Heads, 29 September 2017, read the article on the AFH site

That highly distinctive deep-atmosphere, kept so twitchy and tense, that defines the Griselda Records sound is on full display in “Bullet Club” – the first single taken from Conway The Machine’s upcoming G.O.A.T.  The track sees him paired up with G-Unit MC Lloyd Banks and fellow Griselda affiliate Benny.

Produced by Griselda beat-maker Daringer, the track perfectly captures the menace we now associate with the Buffalo, New York crew.  “Ni**as know something, don’t play stupid…” the sample at the start begins, setting the scene for Conway’s more measured than usual verse, against the trademark hysterical laughter and simulated gunfire.

Conway addresses the listener, or to be more accurate, the competition directly, telling us he’s “dropped the hardest tapes since ’94.” And that even though his face might be “twisted,” no other rapper can “spit it the way [he] spit it.” At one point, Conway challenges us to come up with a name equal to his, even stopping for “a minute” – literally. This adds a humorous touch to his earlier riff on people getting stabbed in the face and all the other elements that typically make up his dark musical head-space.

Lloyd Banks, who with 50 Cent dominated the East Coast Gangsta Rap game through the 2000s is fully at ease here with this next generation kindred spirits, setting it up perfectly for Griselda stable-mate Benny to close, as he makes a strong showing.

According to Mass Appealwho premiered the songG.O.A.T. will feature involvement from Alchemist, 9th Wonder, Styles P, ScHoolboy Q, Anderson .Paak, Royce 5’9”, and Westside Gunn.

"DOOM & Westside Gunn are the Bad Guys on New Collabo" (AFH archive)

First published at Ambrosia for Heads, 27 September 2017, read the article on the AFH site

Few would expect that DOOM would be taking on the straight role as he does in this vaudevillian Rap High-Art wonder, “Gorilla Monsoon,” produced by Daringer and more than ably set up by the unhinged prevarications of Westside Gunn.

Ayo/Ayo” Westside Gunn repeats in his squeakiest voice ever, alluding to himself as if he were Dorothy, far, far, far away from Kansas. “Ayo, I was in my cell, I clicked my heels three times / P Just 2’s, my khaki suit mastermind / Water whip, tossed the coke in the alkaline … Immaculate rhyme (Immaculate rhyme) / It’s so obvious / Watchin’ the world from up top / Snakeskin binoculars.” It’s hard not to be impressed by an MC that rhymes “obvious” with “binoculars.”

Stoned immaculate, the Buffalo, New York little brother sounds quite strange here. His helium-maniacal delivery is buttressed by the pure creativity of the Daringer beat, drenched in a tacky ‘50s B-grade movie vibe, but it sounds like he’s spinning about lyrically – letting off sparks.

It’s funny too, as Westside Gunn enunciates his rhymes with such an earnest style that sounds pre-adolescent: this is not an insult. He spits with great enthusiasm: “My bedroom had a bedroom, my wrist be dancin’ / My bedroom had a bedroom, my wrist be dancin’ / The flyest that’s livin’, we live and die by the kitchen / Choppin’ on dishes, rack the puff in…

In comparison, DOOM’s verse comes across as relatively sedate and even seems to make some sense. Unlike Westside Gunn’s verse with all its trademark Griselda interruptions – all the “skrrrrrtttt” and “Pow-pow-pow-pow-pow-pow-pow” and “Drrrrr” and “Du-du-du-du-du-du-du-du…” – DOOM’s only has a subdued “yup” and “psst.”

DOOM seems to be taking on the older statesman role here, surveying the contemporary scene. His closing words are typically elegant, albeit with opaque references: “What’s revealed is of a certain feel – growth / Yellow moist mushy, banana peeled coke / At worst, could not be confused with real soap / Nope, you see disaster is intended / In the face of truth, don’t ever be offended….Overstand the past to get a grasp of the present (psst) / I make it faster than you spends it / End it.

What is particularly nice on “Gorilla Monsoon” is the way the musical mania is sustained by Daringer, in a way that supports the MCs’ imaginative flow. It never lets up, even while the drums are relatively relaxed and laidback.  Occasionally, there is a drum-roll, just for show almost, but it’s the wall of wavy sound that creates the highly cogent and distinctive mood that is almost beyond words.