“Sometimes you win, sometimes you lose, and sometimes it rains. Think about that for a while” – Ebby Calvin LaLoosh, Bull Durham (1988)
If I had to use one word to describe the year 2010 at the movies, it would be “batshit.” Whether it was Christopher Nolan concocting a byzantine Freudian phantasm in “Inception,” Natalie Portman not-so-subtly losing her marbles at the hands of incendiary puppet master Darren Aronofsky or the zombies responsible for “Sex and the City 2” actually thinking that audiences can relate to such vacuous materialism, the term appears appropriate regardless of the film in question.
Then again, I could probably use that indecorous designation to describe the year in general given that Brett Favre decided that texting his junk was trendy and partisan vitriol has supposedly reached its worst level since John Wilkes Booth was in the planning stages but, for now, I’ll simply stay focused on the task at hand.
I opened with a quote from “Nuke” LaLoosh (Tim Robbins) because, not only does it rain on occasion, but sometimes one’s laptop decides to take a vacation just as the creative juices are beginning to flow and the only thing to do is wait patiently while the technological forces of nature play themselves out. The past four weeks mark the longest hiatus from writing I’ve ever taken, but I suppose an end-of-the-year break was just what I needed to get amped up for another semester of late-night Westlaw research. I was able to catch up on films I missed earlier in the year, so I consider this year’s list to be one of the most diverse and fully fleshed out I’ve ever constructed. I’ll let you be the judge.
Before getting into the cream of the crop, here are the films that I liked a lot yet, in the end, deemed worthy of an honorable mention:
“127 Hours” – Who needs Four Loko when you have Danny Boyle’s kinetic camerawork around to push your heart to the edge of combustion?
“The Town” – This blue-collar heist flick marked the first time since 2003 that I actually paid to see anything involving Ben Affleck and I’m glad to say that he didn’t let me down. The script was sharp, the action was turbulent and Jeremy Renner follows up “The Hurt Locker” with another gem of a performance.
“Greenberg” - Yes, it’s about a 40-year-old Jewish misanthrope who spends his days writing complaint letters to corporations that don’t live up to his standards, but Ben Stiller’s subtle nuances play off Greta Gerwig’s train-wreck vulnerability beautifully. My guess is most people will hate this film without giving it a fair shake, but everything about it works and works to indie-film perfection.
“Rabbit Hole” – Nicole Kidman gives her best performance since 2003’s “Dogville” and Aaron Eckhart matches her intensity every step of the way.
“Inception” – I have a feeling that if I see it a second time, I may put it on the list, but not just yet. When I walked out of the theatre in July, I felt as if something were missing to put it over the top for me.
“The Kids Are All Right” – If you look closely at the closing credits of John Singleton’s 1991 masterwork “Boyz N the Hood,” you’ll find director Lisa Cholodenko listed as a post-production assistant but, with this whip-smart family dramedy, she’s announced herself as a formidable filmmaker in her own right. However, the self-congratulatory air of the film along with its one-sided berating of Mark Ruffalo’s character kept it from entering the top 10.
“Kick-Ass” – Chloe Grace Moretz’s brazenly profane embodiment of Hit-Girl is really all you need to see to know how hysterical this film is. An acquired taste for sure.
And now, without further adieu, I give you my top 10 films of 2010:
1. “Black Swan” – Natalie Portman flies off the rails as a prima ballerina struggling to stay relevant in a flavor-of-the-week world and, if justice exists, she’ll be bringing home the gold on Feb. 27. In many ways, this film is a companion piece to Darren Aronofsky’s previous feature “The Wrestler,” because both films center on protagonists whose self-worth is so symbiotically tied up in their profession that they’ll go to precarious lengths to avoid fading into obscurity. I’m still trying to shake off the film’s sinister climax.
2. “Dogtooth” – Director Yorgos Lanthimos dares his audience to watch as a seemingly innocent family delves deeper into totalitarian madness and any child who complains that his parents are strict should watch this film for an attitude adjustment.
3. “A Prophet” – Jacques Audiard navigates the seedy inner workings of prison life with unabashed cruelty as he chronicles the life of an Arab delinquent who rises from the ashes to become a mafia linchpin and makes a star of French actor Tahar Rahim in the process. Simply stunning.
4. “Exit Through the Gift Shop” – Is it real? Is it a hoax? For me, this charming and insightful look into the enigmatic phenomenon of street art through the eyes of notorious artist Banksy works beautifully either way. It’s an example of how subcultural incorporation can cause those within the subculture to question the validity of their work even while its popularity is skyrocketing at an epic pace, which makes for some classic confrontations.
5. “Fish Tank” – Newcomer Katie Jarvis gives an unflinching performance as a girl from the English slums aspiring to be a hip-hop dancer and, in my opinion, outdoes Jennifer Lawrence’s work in the much-praised “Winter’s Bone.” There’s something refreshing about a film that uses rap music in such a socially pertinent manner and the unfiltered spirit of Jarvis’s character is revealed during a scene in which she joins her bar-hag mother in a dance to Nas’s “Life’s a Bitch.” I can’t praise this film enough.
6. “The Social Network” – I thought I captured the essence of David Fincher’s greatness when I reviewed the film back in October, so I won’t add too much more here. However, I do believe that the hype surrounding its timely release led to some inflated praise regarding its ability to define an entire generation. I love it for exactly what it is and that is a magnificently written, acted and directed picture of how one man’s ambition and desire for inclusion put him in the driver’s seat of what is perhaps the most significant social sensation since the creation of Internet itself.
7. “The Fighter” – What was marketed as a gritty, lived-in boxing film turned out to be more than just another sports film in which the hero comes out of nowhere to achieve glory. In David O. Russell’s hands, this film takes the streetwise bravado of “Rocky” and the ferocious family ties of “The Godfather” to produce a redemption story that never feels forced or melodramatic. Mark Wahlberg might have gotten top billing, but Christian Bale, Melissa Leo and Amy Adams end up stealing the thunder right out from under him.
8. “Catfish” – Watching this one right after “The Social Network” is a good idea, because then you get to see the unimaginable personalities that result from living life on the Internet. I was on the edge of my seat every minute the mystery was unfolding and, if you have an open mind, you will be too.
9. “Toy Story 3” – Is it smart, funny, sad or moving? How about all four? Because many of the children who grew up with the first film are now in college, the fact that Andy is also going off to school may bring some added drama to a tearful yet ultimately ebullient celebration of growing up.
10. “Somewhere” – Sofia Coppola’s latest focuses on the ennui and alienation experienced by an A-List actor played by Stephen Dorff and there’s much beauty in its silence. Dorff’s character is changing while the celebrity-obsessed culture around him is staying the same so, when his estranged daughter shows up, he’s given a chance to reclaim the lust for life he once had and remind himself that clinical depression doesn’t have to define him as a human being.
The Worst - "A Nightmare on Elm Street," "Case 39," "Brooklyn's Finest," "The Lovely Bones," "Robin Hood"
Tuesday, January 18, 2011
Thursday, October 21, 2010
Steven Page begins new chapter with 'page one'
When Steven Page left Barenaked Ladies (BNL) in 2009, the public hatched numerous theories as to what could’ve led to such an unforeseen decision. Whether it was a burgeoning rift with bandmates or simply the product of his 2008 drug arrest, critics appeared to speculate on everything other than the possibility that he might just be traveling in a different musical direction.
"Frankly, the band itself was a five-way democracy and one of the great things about it is that it's been about the five-way collaboration, but it's also one of the things that's made me decide to be a solo artist,” says Page when discussing his exodus. “As soon as I’d left BNL, I told my agent to put me on as many folk festivals as possible, so no one could assume I’d slip into the clichéd role of the eccentric hermit. I’m much more the eccentric extrovert!”
His latest solo effort “Page One” is due out on Oct. 19 and proves to be a majestically composed trove of songs that rank among his best yet. The album explores themes of “love, loss and new beginnings” while Page exudes an aura of distilled optimism that fans might not be expecting right out of the gate.
“I’d like to think I’m still delivering that thing that has connected with audiences for so long. Some listeners might have expected a brooding, woe-is-me album from me but, while there is some reflection, this is not a collection of diary entries,” he adds. “I’m excited by the album and to be performing it live as well.”
In anticipation of his upcoming show at The Riviera Theatre on Nov. 6, I spoke in-depth with Page about the new record as well as how his life has changed since leaving the band he spent more than 20 years being a part of. I found his down-to-earth levity to be a refreshing alternative to the often guarded nature of celebrity and immediately bought into the enthusiasm with which he approached his newfound solo endeavor.
Question: You’ve been out of BNL for a while now. How have you grown as an artist since your departure?
Steven Page: I still have immense respect for those guys. They’re a great band and I wish them the best. For me, the best parts have been not having to rely on others and being able to make the big decisions myself. I have more confidence in my abilities as an artist and have played a lot of live shows to establish my comfort zone.
Question: How did your split from the band influence your approach to the new album?
SP: Well, I didn’t have to listen to others as much or follow anyone else’s lead. I’ve never been one to say ‘Play this’ and expect people to comply, so I essentially had the freedom to do whatever I wanted. I’m still working and collaborating with others, which is great. Although I’ve performed outside of BNL in several guises, with this it has a different kind of resonance, because previously I might have been playing a part in someone else’s project. This time, I’m in charge.
Question: The song “A New Shore” has an uplifting tone to it. Do you view it as an announcement of your solo career?
SP: I think so. It’s about me moving on and landing in a place that I feel good about. Someone told me the other day that the song is my
‘Solsbury Hill’ and, after listening to Peter Gabriel again, I’d say that’s a great comparison. It’s triumphant and hopeful.
Question: “Entourage” presents a sound unlike much of what you’ve done in the past. What was your inspiration for that?
SP: I thought that because I could do anything I wanted to, Stephen Duffy and I would create a Bossa Nova vibe reminiscent of Trevor Horn’s production work with Frankie Goes to Hollywood. We share a lot of the same sonic influences, so it was easy putting everything together.
Question: The track “Over Joy” begins with such a vibrant guitar sound yet deals with downbeat subject matter. How did that juxtaposition come about?
SP: I like combining a dark lyric with a sprightly melody, so I see it as a sequel to ‘Brian Wilson’ in that sense. I’ve dealt with depression my whole life and it kind of comes and goes. I don’t enjoy it, but I also don’t wallow in it either. I’ve always loved ploppy, toe-tapping music and this song illustrates that idea perfectly.
Question: What about the song “Queen of America?”
SP: I wanted to create an up-tempo Bowie song and this is how it took shape. It’s like my gay disco tune, because I’ve always been a fan of the Pet Shop Boys and decided to write about the co-opting of gay culture by straight culture.
Question: Who were some of your influences throughout the writing/recording process?
SP: I’m really into The Mountain Goats and their focus on detailed lyrics that cause you visualize the story. I also listened to a lot of Scott Walker.
SP: There are a lot of people I’d like to work with. It’s difficult, because you can’t just call someone up and say ‘Hey, we should collaborate on something’ for fear that they might not think your stuff is all that great. I would love to get the chance to work or even sing backup for Paul McCartney.
Question: What can fans expect in terms of BNL classics in concert?
SP: I’ll be playing a lot of the songs that I sang lead on like ‘Brian Wilson,’ ‘Jane,’ ‘The Old Apartment’ and ‘Call and Answer.’ We’ll even break out some deeper cuts that haven’t been played in a while.
Question: Do you still enjoy playing those songs?
SP: I do. My band and I have rearranged a lot of them to enhance their freshness, so it’s been fun revisiting some of my earlier work.
The Social Network
David Fincher’s “The Social Network” begins with a searing exchange in which Harvard wonder boy Mark Zuckerberg (Jesse Eisenberg) uses algorithmic methods to explain to his “girlfriend” why their relationship is no longer a viable institution. I put “girlfriend” in quotations, because she appears to exist solely as way for Mark to gain access to a forbidden circle that he would otherwise have no chance at experiencing. His desire for inclusion, his megalomaniacal drive to be accepted by everyone creates an intellectual island on which he’s forced to dwell and, as screenwriter Aaron Sorkin tells it, Mark wouldn’t have it any other way. He carries around so much pretentious antagonism that any connection to another human being is negated by his notion of virtual supremacy being just a little bit cooler, thus beginning the horror story of Facebook as we know it.
Eisenberg gives us a captivating, ice-in-the-veins take on a character who most people know as “the youngest billionaire in the world” but, if we’re to believe Sorkin, money was the furthest thing from Zuckerberg’s mind. Sure, greed played a role, but not in the Gordon Gekko sense we’re accustomed to. What Zuckerberg was really after was a way to circumvent the exclusion-based tradition of high society by bringing the party scene to the masses and his casual dismissal of anyone willing to help is what I found to be the most engaging dichotomy at work here. Rather than assimilate the old-fashioned way, he decided to blow the whole thing open as a way of getting back at the clubs he once deemed important and, as a result, the so-called cyber villain of our times was born.
Did he steal the idea from his Harvard classmates? Did he use, chew up and spit out the only person left in the world whom he could call a friend? Is he really as insufferable a person as the film makes him out to be?
Perhaps, but counting on Sorkin’s script to be 100% accurate is missing the point. He taps into the zeitgeist of Generation Y like no other American film I’ve seen this year and does so with a sparkling immediacy worthy of so much more than just Academy Award attention. Facebook currently sits at 500 Million members and counting and the line between living and living vicariously through a computerized network becomes fuzzier with each passing second.
Fincher’s direction and tone are sublime, Trent Reznor’s wicked musical arrangements couldn’t be better and Spider-Man-to-be Andrew Garfield gives what I think is the most painfully brilliant performance of the entire film as Mark’s one-time friend and CFO Eduardo Saverin.
The sweet irony of all this is that, despite all the money and fame, Zuckerberg ends up alienating himself from exactly the kind of social mingling he always wanted. Instead, what we see is a man and his computer, side by side, for better or for worse until the bitter conclusion. I almost felt sorry for him at the end but, then again, it wasn't my 34% ownership that he was accused of liquidating.
- **** out of 4
The Black Keys are a dynamic rock duo
If someone started an endangered species list for rock bands, I’m convinced that Akron, Ohio’s own The Black Keys would find a place near the top. I say that because, walking out of their recent set at Town Ballroom, I couldn’t help but feel as if I had just witnessed a dying breed among today’s barren musical terrain. Here was a voraciously tight duo whose melodic flavor blended the lush vocal inflection of 70s soul with the turbulent, all-or-nothing stage presence of Nirvana to create the type of visceral garage rock many critics thought had disappeared with the onset of the new millennium.
Vocalist/Guitarist Dan Auerbach plays a distortion-heavy brand of blues that oozes with raw sensuality and drummer Patrick Carney attacks the skins like it’s the last time he’ll ever set foot on the stage, so they’ve taken a minimalist formula and fashioned it into something the mainstream finally deems worthy of praise.
Their latest album, “Brothers,” has become a critical darling as of late and the hit single “Tighten Up” has led the once-relevant Vh1 to jump all over it like they’ve been on-board from the beginning.
I suppose grossly overdue attention is better than none at all, but perhaps The Black Keys are better off averting the whirlwind that is commercial manipulation. Maybe their claim to fame lies in modest concert halls where they can polish their skills, engage fans and save the music from being robbed of its authenticity by a suit who believes Justin Bieber represents the future of the industry.
On that note, what I really wanted to do here is pay homage to past two-piece bands that have made the type of mark on the scene that The Black Keys are on their way to making. I’ll give my list with hopes that you’ll fill in the blanks with your own favorites, so let’s see what you got.
No genre is off limits.
Simon and Garfunkel
Steely Dan
The White Stripes
Hall and Oates
The Ting Tings
Outkast
The Righteous Brothers
Daft Punk
Tuesday, August 24, 2010
New Medicine living it up on Uproar Tour
New Medicine's forthcoming debut album is titled "Race You to the Bottom" but, if their presence on the 2010 Rockstar Energy Drink Uproar Festival is any indication, the Minneapolis-bred rock quartet could be headed straight to the top. Their combination of sweeping guitar licks and emotionally disrobed songwriting evokes the breakneck oomph of early 80s punk bands and is sure to have fans at every stop banging their head to the beat.
For lead vocalist Jake Scherer, the band's message is all in its name.
"Everybody has a different medicine—whether it's coffee, drugs, alcohol or cigarettes," says Scherer. "When I was growing up, music was the only medicine I needed. If I was really bummed out about something, I'd put a record on and it'd cheer me up. Music's the ultimate healer."
I caught up with Scherer and bassist Matthew Brady prior to their show at Darien Lake on Sunday to discuss the genesis of the band and how they're enjoying their time under the Uproar spotlight.
Question: How did you guys begin playing together?
Scherer: Well, we all went to middle school together and played in different bands together. Different members, different bands, but we kind of created a hybrid of all our friends' bands. Like I said, Dan (lead guitarist) and I went to school together and have known each other forever, so we decided to start a band and everything clicked right off the bat.
Brady: Yeah, we were friends first you know and that made it a whole lot easier to get the music together. We had that chemistry and that base.
Scherer: We knew we all wanted to take over the world, so we had the same great mentality.
Question: How did growing up in Minneapolis affect your musical direction?
Brady: That's a great question. You know, Minneapolis has such a great, diverse base of music. Everything from rock to hip-hop. Alternative bands are really great. You have the history of artists like Bob Dylan, The Replacements, The Jayhawks, Hüsker Dü and Soul Asylum. All those different bands have built the city into a place that nurtures young bands. Venues to play, people to come out and see you. Everybody treats each other well you know. There's no backstabbing element. Everybody's happy for one another, so it's really cool.
Question: Who were some of your influences growing up?
Scherer: When I was 13, I started writing songs and Kurt Cobain was my favorite artist at the time. Nirvana is still one of my favorite bands to this day. I loved the way they played and the songs they wrote.
Brady: I grew up listening to punk rock bands like The Descendants, Black Flag and Propagandhi. Stylistically, that scene had a lot of influence on the way I play and the elements I bring to the band.
Question: What song on the upcoming album are you most proud of?
Brady: I think we're most proud of our new single called "Little Sister." It's a song about Jake's sister who died when she was young and it memorializes her. It kind of explores the idea that if she was here today she'd be 18 years old and how would she have impacted Jake's life. For Jake and for all of us, we're glad it turned out so well.
Question: I read that you guys had more than 100 songs prepared. How did you decide what made it onto the album?
Scherer: We just wanted to narrow it down. We wanted to have the best songs possible on it so, if someone said 'This is a good song, we would say 'Well, this is a great song,' because we wanted to make it work. I think we came up with the best 11 songs for the album.
Question: What type of guitars do you play?
Brady: I play a lefty Mexican jazz bass that covered in about 5,000 stickers, so it's hardly recognizable. It's got a lot of heart in it.
Scherer: I play a Gibson Les Paul as well as a Fender Telecaster.
Question: I know the tour has just begun, but what has been the best part of it so far?
Scherer: The catering has been pretty awesome.
Brady: Yeah, the catering has been great. It's cool having the ability to hang at the merch tent as soon as we get finished playing and sign posters for anyone who comes by. We really get an opportunity to meet everyone out here that wants to come over and say 'Hi' and we love to do that. We're sociable people, so we're having a great time.
"Race You to the Bottom" hits stores on September 28.
www.myspace.com/newmedicine
rockstaruproar.com
For lead vocalist Jake Scherer, the band's message is all in its name.
"Everybody has a different medicine—whether it's coffee, drugs, alcohol or cigarettes," says Scherer. "When I was growing up, music was the only medicine I needed. If I was really bummed out about something, I'd put a record on and it'd cheer me up. Music's the ultimate healer."
I caught up with Scherer and bassist Matthew Brady prior to their show at Darien Lake on Sunday to discuss the genesis of the band and how they're enjoying their time under the Uproar spotlight.
Question: How did you guys begin playing together?
Scherer: Well, we all went to middle school together and played in different bands together. Different members, different bands, but we kind of created a hybrid of all our friends' bands. Like I said, Dan (lead guitarist) and I went to school together and have known each other forever, so we decided to start a band and everything clicked right off the bat.
Brady: Yeah, we were friends first you know and that made it a whole lot easier to get the music together. We had that chemistry and that base.
Scherer: We knew we all wanted to take over the world, so we had the same great mentality.
Question: How did growing up in Minneapolis affect your musical direction?
Brady: That's a great question. You know, Minneapolis has such a great, diverse base of music. Everything from rock to hip-hop. Alternative bands are really great. You have the history of artists like Bob Dylan, The Replacements, The Jayhawks, Hüsker Dü and Soul Asylum. All those different bands have built the city into a place that nurtures young bands. Venues to play, people to come out and see you. Everybody treats each other well you know. There's no backstabbing element. Everybody's happy for one another, so it's really cool.
Question: Who were some of your influences growing up?
Scherer: When I was 13, I started writing songs and Kurt Cobain was my favorite artist at the time. Nirvana is still one of my favorite bands to this day. I loved the way they played and the songs they wrote.
Brady: I grew up listening to punk rock bands like The Descendants, Black Flag and Propagandhi. Stylistically, that scene had a lot of influence on the way I play and the elements I bring to the band.
Question: What song on the upcoming album are you most proud of?
Brady: I think we're most proud of our new single called "Little Sister." It's a song about Jake's sister who died when she was young and it memorializes her. It kind of explores the idea that if she was here today she'd be 18 years old and how would she have impacted Jake's life. For Jake and for all of us, we're glad it turned out so well.
Question: I read that you guys had more than 100 songs prepared. How did you decide what made it onto the album?
Scherer: We just wanted to narrow it down. We wanted to have the best songs possible on it so, if someone said 'This is a good song, we would say 'Well, this is a great song,' because we wanted to make it work. I think we came up with the best 11 songs for the album.
Question: What type of guitars do you play?
Brady: I play a lefty Mexican jazz bass that covered in about 5,000 stickers, so it's hardly recognizable. It's got a lot of heart in it.
Scherer: I play a Gibson Les Paul as well as a Fender Telecaster.
Question: I know the tour has just begun, but what has been the best part of it so far?
Scherer: The catering has been pretty awesome.
Brady: Yeah, the catering has been great. It's cool having the ability to hang at the merch tent as soon as we get finished playing and sign posters for anyone who comes by. We really get an opportunity to meet everyone out here that wants to come over and say 'Hi' and we love to do that. We're sociable people, so we're having a great time.
"Race You to the Bottom" hits stores on September 28.
www.myspace.com/newmedicine
rockstaruproar.com
Sunday, August 15, 2010
Public Enemy 'brings the noize' to town ballroom
"I think a lot of white bands miss the point of rock 'n' roll. But when you hear Public Enemy it suddenly comes back to life." – Mick Hucknall (1989)
On a night when The Black Eyed Peas brought their traveling pop circus to HSBC Arena, hip-hop luminaries Public Enemy (PE) took the Town Ballroom stage with a vengeance to continue the socio-musical revolution they began more than 20 years ago and, as always, it was not televised.
All the glitz, avarice and blatant misogyny that have defined the genre as of late were annihilated as Chuck D, Flavor Flav, Professor Griff and DJ Lord treated their fans to an all-out lyrical assault aimed at everything from racial separatism to Arizona Gov. Jan Brewer.
Those who missed it may wish that it had been on TV, because they would've been able to ascertain just how transcendent the art of rap music can be when firing on all cerebral cylinders.
Opening with the intoxicating flow of "Contract on the World Love Jam," PE turned up the heat with a string of classic jams including "Brothers Gonna Work it Out," "Bring the Noize," "Don't Believe the Hype" and "Welcome to the Terrordome" while fist-pumping their way into the souls of anyone willing to listen.
The finesse with which Chuck D rattles off rhyme after animated rhyme should urge aspiring rappers to cling to their day jobs, because he's constantly pushing the limits of what the human larynx is capable of.
Whether it was his eerie modulation on "Black Steel in the Hour of Chaos" or the possessed A cappella take on "By the Time I Get to Arizona," he appeared determined to make these songs blossom as if we were hearing them for the first time.
Say what you will about Flavor Flav's notorious "Flavor of Love" exploits, but the aptitude and unbridled enthusiasm he adds to the PE repertoire makes for an unforgettable concert experience. A naturally gifted entertainer, Flavor is the jester to Chuck's no-nonsense straight man and songs such as "911 is a Joke" and "Can't Do Nuttin' For Ya Man" gave him a chance to show people what he's all about.
I equate PE's dynamic duo of emcees as the Lennon/McCartney of hip-hop in the sense that their convergence of talent ignites the stage like few musical combinations ever have. Not bad for a group of guys who have eclipsed the 50 year mark in age.
Professor Griff, leader of the S1Ws and, as a fan's sign read, "The Professor of Truth," laid the question of age to rest rather quickly by performing 10 one-armed push-ups in the middle of the stage thus solidifying one of the most energetic shows I've ever attended.
Now, one would think that the evening would conclude with a raucous delivery of their 1989 anthem "Fight the Power" (which Chuck D himself told me "speaks for itself), but they just weren't ready to leave yet. "She Watch Channel Zero," "Night of the Living Baseheads," Sly and the Family Stone's "Thank You (Falettinme Be Mice Elf Agin)" and even a Flavor Flav drum solo all made appearances to ensure that the audience didn't go home disappointed.
What separates PE from other mainstream acts is that they live, breathe and believe their radical philosophy so soundly that they're willing to set aside time at the end of every show to speak out against whatever topic is currently causing a stir.
On this night, Flavor Flav took the reins and spoke from the clock about how racism is destroying the country from within. I was touched and, judging from the applause, everyone else in the room was as well.
People often question the direction of hip-hop in 2010 but, as long as Public Enemy is around to "Say It Like It Really Is," I think the genre will be just fine.
On a night when The Black Eyed Peas brought their traveling pop circus to HSBC Arena, hip-hop luminaries Public Enemy (PE) took the Town Ballroom stage with a vengeance to continue the socio-musical revolution they began more than 20 years ago and, as always, it was not televised.
All the glitz, avarice and blatant misogyny that have defined the genre as of late were annihilated as Chuck D, Flavor Flav, Professor Griff and DJ Lord treated their fans to an all-out lyrical assault aimed at everything from racial separatism to Arizona Gov. Jan Brewer.
Those who missed it may wish that it had been on TV, because they would've been able to ascertain just how transcendent the art of rap music can be when firing on all cerebral cylinders.
Opening with the intoxicating flow of "Contract on the World Love Jam," PE turned up the heat with a string of classic jams including "Brothers Gonna Work it Out," "Bring the Noize," "Don't Believe the Hype" and "Welcome to the Terrordome" while fist-pumping their way into the souls of anyone willing to listen.
The finesse with which Chuck D rattles off rhyme after animated rhyme should urge aspiring rappers to cling to their day jobs, because he's constantly pushing the limits of what the human larynx is capable of.
Whether it was his eerie modulation on "Black Steel in the Hour of Chaos" or the possessed A cappella take on "By the Time I Get to Arizona," he appeared determined to make these songs blossom as if we were hearing them for the first time.
Say what you will about Flavor Flav's notorious "Flavor of Love" exploits, but the aptitude and unbridled enthusiasm he adds to the PE repertoire makes for an unforgettable concert experience. A naturally gifted entertainer, Flavor is the jester to Chuck's no-nonsense straight man and songs such as "911 is a Joke" and "Can't Do Nuttin' For Ya Man" gave him a chance to show people what he's all about.
I equate PE's dynamic duo of emcees as the Lennon/McCartney of hip-hop in the sense that their convergence of talent ignites the stage like few musical combinations ever have. Not bad for a group of guys who have eclipsed the 50 year mark in age.
Professor Griff, leader of the S1Ws and, as a fan's sign read, "The Professor of Truth," laid the question of age to rest rather quickly by performing 10 one-armed push-ups in the middle of the stage thus solidifying one of the most energetic shows I've ever attended.
Now, one would think that the evening would conclude with a raucous delivery of their 1989 anthem "Fight the Power" (which Chuck D himself told me "speaks for itself), but they just weren't ready to leave yet. "She Watch Channel Zero," "Night of the Living Baseheads," Sly and the Family Stone's "Thank You (Falettinme Be Mice Elf Agin)" and even a Flavor Flav drum solo all made appearances to ensure that the audience didn't go home disappointed.
What separates PE from other mainstream acts is that they live, breathe and believe their radical philosophy so soundly that they're willing to set aside time at the end of every show to speak out against whatever topic is currently causing a stir.
On this night, Flavor Flav took the reins and spoke from the clock about how racism is destroying the country from within. I was touched and, judging from the applause, everyone else in the room was as well.
People often question the direction of hip-hop in 2010 but, as long as Public Enemy is around to "Say It Like It Really Is," I think the genre will be just fine.
Tuesday, August 3, 2010
An interview with Chuck D
In the liner notes of Public Enemy’s 1990 tour de force “Fear of a Black Planet,” Chuck D. is referred to as “The Lyrical Terrorist” and 30 seconds of “Brothers Gonna Work It Out” is all one needs to see why he’s earned that menacing distinction. His ideas are subversive, his lyrics are abrasive and his stone cold baritone strikes fear into the hearts and minds of Reagan Conservatives from Buffalo to Wasilla. While commercial radio was being dominated by the innocuous melodies of Lionel Richie and Whitney Houston, he came along with an authentic barrage of Black militancy that used intelligent rhymes as its main source of artistic sustenance. At its peak, Public Enemy was a politically charged Afrocentric alternative for those left wondering why the triumphs of the 1964 Civil Rights Act felt like a distant memory.
With a little over a week until Public Enemy invades Buffalo’s Town Ballroom to celebrate the 20th anniversary of “Black Planet,” I had the opportunity to speak with Chuck D. about all things hip-hop and even get his take on a few inflammatory issues currently facing the country at-large.
Question: Before we get started, I’d just like to say that I’m a huge fan and it’s a pleasure to talk with you.
Chuck D: It’s a pleasure talking with you.
Question: It’s been a long time since Public Enemy has played Buffalo. What can fans expect this time around?
Chuck D: They can expect a classic show. We’re calling this outing the “Fear of a Black Plan” tour and we’re ready to bring energy back into live performance. We have a great group called The Impossebulls opening up and they’re the first organic hip-hop group of the new millennium. DJ Lord has replaced Terminator X (retired in 2003), but it’s been a long and great tour and we’re gonna bring it hard.
Question: How has Public Enemy changed in the absence of Terminator X?
Chuck D: Well, we’ve added a guitarist and a drummer and are able extend songs within a live setting, which we didn’t do before. The idea for that actually came from playing with The Roots a while back, so it’s a great changeup for the group.
Question: You wrote “By the Time I Get to Arizona” in 1991 as a response to the Governor’s campaign to stop celebrating Martin Luther King Day. Did you ever think Arizona would again be at the center of controversy 20 years later?
Chuck D: (Laughing) Nobody can predict the future, but I can’t say that I’m surprised by what’s happened as of late. I think a lot of the problems stem from paranoia and fear of brown people, which somehow justifies the white man to take land that wasn’t his to begin with. Everyone talks about how the illegal immigrants are the problem, but I think having a policy on human beings is just fucked up and a way to divert peoples’ attention away from real threats.
Question: Which are?
Chuck D: Media, Government, Ignorance. Just because we have a Black president doesn’t mean everything is perfect. There’s still a lot of work to be done.
Question: What do you think about professional athletes threatening to boycott events held in Arizona?
Chuck D: Athletes need to look out for themselves and not allow outside interests to control them. Growing up, my heroes were guys like Muhammad Ali, Kareem Abdul-Jabbar, Bill Russell, Jackie Robinson and Jim Brown. They made an impact on their own terms. Roberto Clemente would be rolling over in his grave if he could see how Black athletes are being treated these days. The Black athlete is the silent slave of the new millennium and you can quote me on that.
Question: It’s been 20 years since “Fear of a Black Planet” was released. How do you think the album’s themes have evolved through the years?
Chuck D: Before the Internet, the only news we had was what we saw on television and that album was our way of articulating life as we saw it. Songs like “Pollywanacraka” and “Burn Hollywood Burn” reflected issues that mainstream media didn’t think twice about. You guys up in Buffalo should be familiar with government not looking out for the people. At one time, Buffalo had the Erie Canal and other shipping industries to provide jobs, but now the market has evaporated and left a gaping hole in the city. There’s not a job worth beans. The media has a lot to do with it. When MTV is putting forth an image of South Beach as the place to be, why would people want to move to fuckin’ Schenectady? The bottom line is people like to migrate and move on, because they need housing that is super affordable. Look at the BP oil spill. People see the CEO getting multi-million dollar bonuses for fucking everything up and they get upset.
Question: What’s your opinion on the state of hip-hop today?
Chuck D: I think hip-hop is in a good place. Even though the record business is failing, you still have a rich and diverse array of artists that are getting out and learning the business. Today, bands need the opportunity to succeed on both a local and global level and there’s no excuse for not understanding how the system works. Regardless of what you believe, there’s an audience out there somewhere and artists have to find a way to tap into that. No longer are fans just numbers. I’ve been in the business for 25 years and it irks me every time I see rappers who get into the game without knowing how it works. Listen David, the cheapest price you can pay in today’s society is attention and people need to understand that.
Question: Lastly, what were your expectations for hiphopgods.com when it began?
Chuck D: I wanted to create a home for classic artists that may not get the attention they deserve. I was inspired by classic rock and artists like Fats Domino, so I felt that modern hip-hop artists needed a place to go where they could learn about all the great artists of the past. I wanted other classic artists to know that their time is not over and that they’re still a major piece of the picture.
With a little over a week until Public Enemy invades Buffalo’s Town Ballroom to celebrate the 20th anniversary of “Black Planet,” I had the opportunity to speak with Chuck D. about all things hip-hop and even get his take on a few inflammatory issues currently facing the country at-large.
Question: Before we get started, I’d just like to say that I’m a huge fan and it’s a pleasure to talk with you.
Chuck D: It’s a pleasure talking with you.
Question: It’s been a long time since Public Enemy has played Buffalo. What can fans expect this time around?
Chuck D: They can expect a classic show. We’re calling this outing the “Fear of a Black Plan” tour and we’re ready to bring energy back into live performance. We have a great group called The Impossebulls opening up and they’re the first organic hip-hop group of the new millennium. DJ Lord has replaced Terminator X (retired in 2003), but it’s been a long and great tour and we’re gonna bring it hard.
Question: How has Public Enemy changed in the absence of Terminator X?
Chuck D: Well, we’ve added a guitarist and a drummer and are able extend songs within a live setting, which we didn’t do before. The idea for that actually came from playing with The Roots a while back, so it’s a great changeup for the group.
Question: You wrote “By the Time I Get to Arizona” in 1991 as a response to the Governor’s campaign to stop celebrating Martin Luther King Day. Did you ever think Arizona would again be at the center of controversy 20 years later?
Chuck D: (Laughing) Nobody can predict the future, but I can’t say that I’m surprised by what’s happened as of late. I think a lot of the problems stem from paranoia and fear of brown people, which somehow justifies the white man to take land that wasn’t his to begin with. Everyone talks about how the illegal immigrants are the problem, but I think having a policy on human beings is just fucked up and a way to divert peoples’ attention away from real threats.
Question: Which are?
Chuck D: Media, Government, Ignorance. Just because we have a Black president doesn’t mean everything is perfect. There’s still a lot of work to be done.
Question: What do you think about professional athletes threatening to boycott events held in Arizona?
Chuck D: Athletes need to look out for themselves and not allow outside interests to control them. Growing up, my heroes were guys like Muhammad Ali, Kareem Abdul-Jabbar, Bill Russell, Jackie Robinson and Jim Brown. They made an impact on their own terms. Roberto Clemente would be rolling over in his grave if he could see how Black athletes are being treated these days. The Black athlete is the silent slave of the new millennium and you can quote me on that.
Question: It’s been 20 years since “Fear of a Black Planet” was released. How do you think the album’s themes have evolved through the years?
Chuck D: Before the Internet, the only news we had was what we saw on television and that album was our way of articulating life as we saw it. Songs like “Pollywanacraka” and “Burn Hollywood Burn” reflected issues that mainstream media didn’t think twice about. You guys up in Buffalo should be familiar with government not looking out for the people. At one time, Buffalo had the Erie Canal and other shipping industries to provide jobs, but now the market has evaporated and left a gaping hole in the city. There’s not a job worth beans. The media has a lot to do with it. When MTV is putting forth an image of South Beach as the place to be, why would people want to move to fuckin’ Schenectady? The bottom line is people like to migrate and move on, because they need housing that is super affordable. Look at the BP oil spill. People see the CEO getting multi-million dollar bonuses for fucking everything up and they get upset.
Question: What’s your opinion on the state of hip-hop today?
Chuck D: I think hip-hop is in a good place. Even though the record business is failing, you still have a rich and diverse array of artists that are getting out and learning the business. Today, bands need the opportunity to succeed on both a local and global level and there’s no excuse for not understanding how the system works. Regardless of what you believe, there’s an audience out there somewhere and artists have to find a way to tap into that. No longer are fans just numbers. I’ve been in the business for 25 years and it irks me every time I see rappers who get into the game without knowing how it works. Listen David, the cheapest price you can pay in today’s society is attention and people need to understand that.
Question: Lastly, what were your expectations for hiphopgods.com when it began?
Chuck D: I wanted to create a home for classic artists that may not get the attention they deserve. I was inspired by classic rock and artists like Fats Domino, so I felt that modern hip-hop artists needed a place to go where they could learn about all the great artists of the past. I wanted other classic artists to know that their time is not over and that they’re still a major piece of the picture.
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