Black Fire: Remembering Amiri Baraka

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One month after spending a good portion of a late attempting to navigate the grief, loss, and shock of Imanu Amiri Baraka’s transition from elder to ancestor, I am ready to share this with the world. It is a raw first response. In respect for his family those who knew personally, I delayed sharing this. I’m compelled to today.

Àṣẹ

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1557648_10152523262282166_2122905926_nJanuary 14, 2014

In baba Amiri Baraka, I have always found a kindred spirit, a combined reflection of our powerful African past, a living mirror of our beautiful and perilous present, and a mosaic of my future aspirations. I long have credited Langston Hughes, Countee Cullen, and Paul Lawrence Dunbar as the first black poets that I read that made me view poetry as a means through which to express the black experience rather than a collection of pretty words. It was Tupac Shakur, the Wu-Tang Clan, and Nas with whom I identified with as storytellers in the same way that my father found kinship with the words and works of the Last Poets. My father, who made sure I knew who they were, handed me a book called The Black Poets that he had kept from his 1970s Black Studies college classes. This book was my first exposure to Amiri, but it came before I was focused enough to flip to names I was unfamiliar with. [Read more…]

Pieces of A Man: Remembering Gil Scott-Heron

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Gil Scott-Heron 1971 - Pieces Of A ManI will not attempt to eulogize Gil Scott-Heron. The only journalist to date that has done an exceptional job of doing so is The Village Voice’s Greg Tate (whose article I HIGHLY suggest you read). Other publications, ranging from the New York Times to CNN simply slapped the tagline of “godfather of hip-hop” prior to a few filler sentences that introduce “The Revolution Will Not Be Televised”. Instead, I will participate in the collective memory of Gil Scott-Heron by celebrating the impact of his artistry on my life, and my own development as a poet and activist.

I had an early introduction to Gil Scott-Heron’s poetry and music. My father has a pretty decent sized record collection, and when I was a child, it was massive. By the time I was 4 or 5, I knew how to operate the record player and some of the basic functions on the EQ. While tapes were the rave of the 80s, I knew how to play records. My house would be filled with music on most days, my parents playing soul records at volumes that made the walls breathe. To this day, music is what makes home feel like home to me. Before I ever knew what rap or hip-hop was, my dad would play his Last Poets records. My early childhood memories are fuzzy, so I can’t say when I first heard their work or Gil Scott-Heron’s. What I can say is that like Michael Jackson, Stevie Wonder, Aretha Franklin, and Diana Ross, I don’t remember a time when I didn’t know who Gil Scott-Heron was. [Read more…]

The Lasers Fiasco

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Bishop G, they thought I should come down cousin/but I flatly refuse/I ain’t dumb down nothin’ — Lupe Fiasco, “Dumb it Down”, from his sophomore album The Cool

Lupe Fiasco’s Lasers was one of the most anticipated albums of 2011, partially because it was supposed to be released during the summer of 2010. Atlantic Records unceremoniously placed the album in post-production purgatory, and by fall it seemed that the album would never see the light of day. A massive petition of over 32,000 signatures and a planned protest outside of the New York headquarters of Atlantic Records on October 7, 2010, tipped the scale in the opposite direction. All seemed right with the world. The underdog triumphed, and the emcee known for refusing to dumb down his lyrics would release yet another insightful, lyrical opus.

If only it were that simple. [Read more…]

Glenn Ligon: America [Review]

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“We will not compromise who we are to be accepted by the crowd. We want substance in the place of popularity. We want to think our own thoughts. We want love, not lies. We want knowledge, understanding, and peace. We will not lose, because we are not losers. We are lasers.” – Lupe Fiasco, Lasers Manifesto

Quoting a 29-year-old emcee is uncommon when reviewing a mid-career retrospective of a visual artist with a career spanning twenty years whose work is currently exhibited at the Whitney Museum of American Art. However, today it is fully appropriate, and I believe that Glenn Ligon would see not only a kindred spirit in Lupe Fiasaco, but he would also recognize his influence. With Fiasco’s new LP, Lasers blaring in my headphones, I approached the Whitney’s Madison Avenue entrance and was greeted by a 22-foot-long neon relief that read “negro sunshine”. Upon entering the exhibit on the 3rd floor, I realized that “negro sunshine” and Fiasco’s Lasers cover art shared a common trait—painted neon reliefs artistically situated to make a cultural statement. [Read more…]

Movie Review: True Grit [spoiler alert]

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The Coen Brothers 2010 adaptation of the 1968 Charles Portis novel True Grit lives up to its title. As a second adaptation, the film is likely to be measured by many against the 1969 incarnation starring John Wayne. Considering the different social environment in which each film was released, and the alterations in the tone of Westerns made during the 60’s and 70’s by Sergio Leone, the 2010 version of True Grit is an arid, morally ambiguous tale of retribution.

Joel & Ethan Coen do an excellent job setting the tone of the film in the early scenes. The protagonist of True Grit is an articulate, headstrong, cunning 14-year-old named Mattie Ross (Hailee Steinfeld) who employs a Marshall to hunt Tom Chaney (Josh Brolin), the man who murdered her father. Steinfeld’s portrayal of the pig tailed spitfire is calculated, expressive, and quick witted. Physically, she exudes strength through posture and facial expression. As an actress, Steinfeld, much like her character, is easy to underestimate due to her youth (13 years old) and positioning between screen titans Jeff Bridges and Matt Damon. However, in the spirit of Mattie Ross, she not only holds her own, but is equally captivating in both dialogue and physical acting. [Read more…]

Critical Review: Nas + Damian Marley = Distant Relatives

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It is no secret to many of you that I view art not as a product, but as a vehicle for culture. Nas and Damian Marley’s Distant Relatives project brings this philosophy to the forefront of two genres of music. As a fan of both artists, as a lover of Hip-Hop and Reggae, as a participant in the culture, as a writer, and as a part of the African Diaspora, I believe this album to be a milestone. Not only is Distant Relatives an album, it is a documentary. Through multiple outlets, Distant Relatives explored the connections between Hip-Hop, Reggae, and Africa. In December, the National Geographic Society sponsored a panel discussion at the Smithsonian Institute in Washington DC on the bridge between the cultures of Hip-Hop & Reggae, with Distant Relatives as the frame of reference. The event was moderated by hip-hop journalist and personality Sway, who began the night by interviewing Nasir & Damian, and broadened the discussion to include DJ Kool Herc, amongst pioneers from both genres.

Then there is the album, which was released 1 day prior to Malcolm X’s birthday.

I’m going in depth with this review because I truly believe it to be one of the most groundbreaking collaborative albums since John Coltrane & Duke Ellington released their joint album. So take that as a warning that this is the LONGEST review that I have ever written in my life. The project deserves deep analysis, and I want you to be able to read the lyrics that frame my views of each track, and the album as a whole. [Read more…]

Nas feat. James Baldwin - Queens Get the Money [Unofficial Video]

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This clip is a testament to the eternal genius of James Baldwin, who was a leader amongst leaders. Shout out to Jeffrey Severe (click to follow him on Twitter) for the original post, found on his blog, which includes the transcript of Baldwin’s interview.

This fan video captures the spirit and sentiments echoed across Nas’ most recent album, Nigger (I will never call it “Untitled”). This is powerful.

Y.C. The Cynic - You’re Welcome [album]

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Pass the torch & pass the flame/the whole game hang by a rapper’s chain - Y.C. The Cynic, “Say Superman”

Some emcees are so witty that they are a breath of fresh air. Meet Y.C. The Cynic, a lyrical prodigy from the birthplace of Hip-Hop (shout out to the whole BX).

“I can win Connect Four in three moves”. This young king of braggadocio flexes a genius amount of dexterity throughout his debut. What I love most about You’re Welcome (aside from it’s title - I’m the kind of asshole to appreciate such a thing) is that it is unapologetic in all facets. Y.C.’s delivery is extremely smooth and low-key, which is deceiving. This dichotomy is something he addresses in repeatedly in “Say Superman.” Being dope has never looked this easy. [Read more…]

Reflection Eternal - The Re:Union [Mixed by Statik Selektah]

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Talib Kweli and Hi-Tek are back with the RE:Union mixtape , mixed by Statik Selektah!! (Yes that was a download link. B-Boy got it! Shout out to DJ Reese for putting me on)

Kweli was a huge influence on my early work. Black Star changed the way I listen to Hip-Hop. At the turn of the last decade, Kweli embodied everything Hip-Hop could be. I was a suburban Wu-Tang disciple who grew up with black history books as Christmas and birthday presents. Until encountering both Black Star and Reflection Eternal‘s material during my freshman year of college, my approach to Hip-Hop culture was from that of a spectator. Mos & Kweli made me realize that my experience was as much a part of the culture as anyone else’s. My talking black history, believing in the community, organizing for freedom all became relevant components of Hip-Hop culture in my eyes, and I identified with a much larger movement of young artivists. It was a huge catalyst in my artistic and personal growth.

When I was in a West-African/Modern dance troupe at Cornell (shout out to Uhuru Kuumba), I convinced the choreographers to compose to “Africa Dream” on Train of Thought. I’m looking forward to their forthcoming release, Revolutions Per Minute in 2010. Yet again, Reflection Eternal is set to contribute greatly to the culture at the turn of another decade.

Happy New Year! (I’m ringing it in in Brooklyn) [Read more…]

Last night. Brooklyn. Word. Goddess.

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Last night, after my last excruciating 10 hour workday at the hotel, I changed from my cashmere suit into a pair of black shorts, a black & white polo, and a pair of low top CR’s to match. I removed all things corporate, let the character wall I build as a hotel manager crumble to dust. The 6:41pm LIRR train pulls up, and I board with a few exclusive SoSoon tracks in my earbuds, messenger bag in tow. On the train, I unzip, and read a few more pages from the editing copy of Howard Treadwell‘s Dreams of Loisaida. I curse audibly because as I notice that I left the digital camera at home. No pictures with Ms. jessica Care moore. Now I will have to make a point of catching up with her again before she leaves for Detroit, or head out to Motown.

7:20pm, I exit the LIRR on Nostrand to the sounds of the Black Star album. Mos and Kweli go for gusto on reDEFinition as I walk up New York Ave. When I turn on Marcy Ave, my Blueprint 3 playlist starts. My mind shifts from the sounds of D.O.A., History, Brooklyn We Go Hard, and Jockin’ Jay-Z to my desire to move away from L.I. That’s a story for another day. Memories begin to take root in the forefront of my thoughts as I pass brownstones. In my last post about jessica, I mentioned the East Harlem Tutorial Program benefit where we first met for a few minutes, with the immortal sentence she matter-of-factly uttered: “be a poet, not a spoken word artist.” How much have I strived for the former and not the latter? As a character trait, I always self-evaluate. While doing so, I begin to realize how long it has been since I read her second book, The Alphabet Versus the Ghetto. That very book was the one I sought to have signed that day, but was too broke to buy. [Read more…]