Category Archives: “This Might Offend My Political Connects”

Sugar free posts on touchy subjects

The ’87 Sound: “Bring the Noise” by Public Enemy

One of the most interesting facets of Public Enemy’s 1988, “It Takes a Nation of Millions to Hold us Back” for me personally, is the way it took shape. As we mentioned in discussing P.E’s “Rebel Without a Pause”, the musical innovations of Eric B & Rakim and Boogie Down Productions, featuring lead rapper KRS ONE, made the crew dissatisfied with the sound they achieved on their debut, “Yo! Bum Rush the Show”. Public Enemy got moving quickly, creating the “Rebel” single and giving their career new life. “Bring The Noise” would be their next single in ’87, which would make two key cuts released as singles before “Millions” was finished and released in 1988. A third single, “Don’t Believe The Hype” would also be released in 1988, several months before “Millions” was released. These singles laid out P.E’s brand new bag and set the stage for what many call the greatest Hip Hop album of all time. In the case of “Bring the Noise”, the song was composed for the Def Jam soundtrack to the movie “Less Than Zero”, which was a popular book and film in its time that told the story of rich kid cocaine dealers. “Bring the Noise” was a mission statement for P.E and has gone on to become an anthem in the repertoire of the band.

The song begins with a Malcolm X sample saying, “Too Black too Strong.” Which is followed by a very noisy horn sample of Marva Whitney’s James Brown produced “It’s My Thing” (an answer record to The Isley Brothers “It’s Your Thing.”) “It’s My Thing” provides several musical elements of the track. Right alongside that is a thunderous drum kick playing insistent 16th notes, as Flavor Flav delivers the type of hype man energy that secured his place in Hip Hop history, “Yo Chuck, these Honeydrippers is still frontin’ on us/show em that we can do this/cause we always knew this.” After which he lets out an epic “Yeah, Boyeeee!” as the snare drum hits on all fours and a bass fill leads up to the verse. Chuck D booms out the lines which have become so well known in the years since, “BASS! How low can you go?/Death Row?/What a Brother know?/once again/back is the incredible/rhyme animal/the Incredible!/D!/Public Enemy Number One/Five-O said “Freeze!?And I got numb.” Underneath that The Bomb Squad concoct an amazing track of sampled riffing JB’s horns from “It’s My Thing.” Greg Tate remarked at the time the horns sounded like “Decaying kazoos.” Underneath that Terminator cuts up Funkadelic’s “Get off Your Ass & Jam”, focusing on the trippy, alarm sounding guitar solo that ended up being very close to DJ scratching. So right there, the track combines the two pillars of funk, J.B, and P-Funk. A loud guitar sample from “Get off Your Ass” loops, with its guitar solo peak energy sounding more like an alarm than music. Chuck D goes on to describe a scenario where he is literally persecuted for his music, put in jail because of the Pro-Black stance the group espouses. Which would almost literally happen to rappers such as 2Pac, Ice T, Ice Cube, N.W.A and many others in the next few years after this song.

The chorus gets even noisier musically, with D proclaiming, “Turn it Up!/Bring the Noise!!!” Vocal samples, scratches, and horn blasts mix as Flavor says, “Yo Chuck! They sayin we too Black man!” The next verse was always super unique to me for the early triplet based cadence Chuck used. The rhyme is supported by a sample of Clyde Stubblefield playing on James Brown’s “Funky Drummer”, but The Bomb Squad don’t leave it naked, they lay a heavy stomping drum kick over the top of it, for Chuck to lay down his flow, “Never badder than bad/but the brother is madder than mad/at the fact/thats corrupt like a Senator/Soul on a roll/but you treat it/like soap on a rope/cause the beat and the lines are so dope.” After which the arrangement returns to the original verse. Chuck D also calls out Black radio at the end of the verse, “They call themselves Black but we’ll see if they play this.” Chuck spends the last verse praising his D.J and talking about music more generally, defending the artistic merits of Hip Hop compared to artists like Yoko Ono and Anthrax (which would lay the groundwork for P.E to redo this song with Anthrax in 1991). The song goes out with a sickly sounding “Transformer” D.J scratch routine.

“Bring the Noise” was a musical marvel that was the second step in paving the way for the classic P.E sound. It utilized a unique combination of samples and placed all that “noise” within a context of song structure, with an intro, verses, a bridge where the beat changes, and D.J solo space as you would give a musician. All of this was the perfect music to match with Chuck D’s stentorian baritone, and he laid down a great rap that broke new ground for Rap, in so much as it was bragaddocio, but it was strong, defiant and bold about political situations and the world at large, as Chuck took on both his critics and the critics and naysayers of Hip Hop and Rap music as a whole. He achieved 3 different unique flows by taking three verses he had from different songs and combining them here. With the creativity of Chuck, Flav, The Bomb Squad (Hank Shocklee, Keith Shocklee, Eric “Vietnam” Sadler) and Terminator X all in play, “Bring the Noise” was another important 1987 step to P.E’s 1988 triumph.


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Quick Thoughts on “Portrait of a Pimp”


Ice T has done some very special film work over the past few years, chronicling the influences that made both his rap career possible, and exposing some of the roots of hip hop. It’s the same discharching of ideological debt that Snoop Dogg has constantly repaid and that the RZA accomplished by finally making his own kung fu flick, “The Man with the Iron Fists”, instad of sampling them. The first documentary Ice T did in this vein was his hip hop documentary, “The Art of Rap”, which took us into the technique’s and motivations of rappers. “Portrait of a Pimp” takes us into the life story of Ice-T’s primary influence, the pimp turned author Iceberg Slim.

Iceberg Slim’s books were very familiar to me growing up in Oakland, California in the 1990s. They were all over barber shops, heavily marked up and checked out of school and public libraries, and constantly referenced by people in the neighborhood. Iceberg Slim was famous for being the primary writer to escape the world of pimping and writing stories about it in great detail. In reality, only his first book, “Pimp: The Story of My Life” was about pimping, his other books told stories of con men of all colors, and his ouevere even included a book called “Mama Black Widow”, which was an empathetic portrait of a black homosexual named Otis Tilson.

Of course, before I was even born, Iceberg Slim’s books had caused a stir in the urban community. His books were known for an unflinching, unglamorized portrait of black street life in World War II and post War America. Ice T the MC, actually came at rapping, MCing, and hip hop, through the works of Iceberg Slim, quoting whole sections of his books along with other hustler rhymes. When T was introduced through hip hop through the Sugarhill Gang’s landmark 1979 “Rappers Delight”, it was the pimp verbiage of Iceberg Slim he turned to to write his own raps.

The documentary “Portrait of a Pimp”, directed by Jorge Hinosa and Executive Produced by Ice T, as well as featuring him as a talking head, is not based on Iceberg Slim, real name Robert Beck’s, life as a pimp. Instead, the documentary is a cradle to grave portrait of Robert Beck the man, tracing his life from his youth, the disappointments that led him into being a pimp, his jail sentence, his relatiionship with his mother, wife, and children, as well as his success as an author and his reclusive death in the early 1990s. In short, it’s a portrait of the man that humanizes him even more than his literature already served to.

For anybody familiar with Slim’s work, the documentary does the amazing work of adding flesh to the stories Iceberg told in “Pimp: The Story of My Life.” The film actually shows pictures of several key figures in Beck’s life, from his mother, to his mother’s boyfriend Henry Upshaw, to the woman who turned him out, Pepper Hibbits, to his nanny who sexually molested him as a boy, Maude. It amazed me to see figures I read about in Beck’s work come to life in pictures, especially being that this activity took place so long ago, in the ’20s, ’30s, ’40s and ’50s primarily.

Robert Beck was born in 1918 in a violently racially divided Chicago, and was brought up in the decade of Prohibition and big time Gangsters like Al Capone and the black pimping king of Chicago, Baby Bell. It was also a time of violent race riots such as the 1919 Chicago Race Riots, which were incited by a black kid swimming into the white area.

Beck was raised primarily by a single mother, who was a hairdresser with a clientele that included pimps and prostitutes. One of the prime hurts of Beck’s life was that his mother totally played for a fool a man named Henry Upshaw, who was a benevolent father figure for Beck, totally stripped him spiritually and financially, in cahoots with a slick hustler. Beck was also molested and forced to perform oral sex on his baby sitter, Maude. These incidents are pointed towards as ones that hardened Beck’s attitude from a very young age.

Beck was also a very smart young man, graduating at the age of 15 with a 98.4 average, while by his own admision, paying little attention in class. He was able to go to Tuskeegee Institute, a contemporary of black writers Ralph Ellison and Albert Murray, two men of leters whom he’d join in the black literary pantheon through a more circumstitious route. Beck tells us in interview footage that his mother suggested since he liked to be around the crimminal element so much, he become a crimminal lawyer and get paid to run with street people, which in hindsight, Beck realized was one of the most brilliant ideas he never followed.

Beck ended up pimping and serving jail terms. The impetus for turning his life around was when he recieved news that his mother was gravely ill and living in Los Angeles. He was able to write a letter that got him out of jail. When he went to LA, he would end up courting Betty, who would marry him and with whom he had his beautiful daughters. Betty is featured in interviews in the film, conducted with her being sick, before she passed away, and she comes across as a tough, no nonsense midwestern woman, with a big heart and a talent for motivation and hard work that ultimately took Robert Beck beyond the status many hustlers of his day remained in, burned out old men telling stories on the street about how bad they used to be.

Beck was exterminating and killing vermin to support his family, a fact the film uses one of his actual business cards to substantiate. In the evenings, after getting “dapped down” in slacks, starched shirt and brim hat, he’d dictate stories of his life in “the life”, to his incredulous wife Betty, who would use her top notch secretarial skills to get down. Together, they created his books, Beck acting them out and relaying his experiences and his wife creating, structuring, and recording right along with him.

In 1969 Beck’s books hit, taking advantage of the same literary civil rights and black power inspired wave that brought attention to Claude Brown’s “Manchild in the Promised Land”, Alex Haley and Malcom X’s “The Autobiography of Malcom X”, Cecil Brown’s “The Life and Times of Mr. Jiveass Nigger”, Eldridge Cleaver’s “Soul on Ice”, H. Rap Brown’s “Die Nigger Die”, and many other books that chronicled the black (male) experience in America.

The film covers Beck’s period as a celebrated author, and also takes him into his last years, in the Los Angeles of 1992 and the LA Riots, where Beck died from complications of diabetes.

The film features several interesting talking heads, from Chris Rock, to Bill Duke, to Leon Issac Kennedy, to the anthropologist Richard Milner, who wrote an interesting Bay Area based study of pimps called “Black Players” back in the ’70s with his wife Karen Milner, to Dr. Todd Boyd, Quincy Jones, jazz musician Red Holloway, and punk artist Henry Rollins. These individuals all testify to the accurate, unique, and chilling abilities of Beck as a story teller while also vouching for the brutality and flash and dash of the world he lived in, that they either knew his world was authentic because they lived it as well, or were fascinated by how close Beck’s work brought them into contact with that world.

I’m the most proud of Ice T as a commentator in this film as well as a producer because T gets the oppurtunity to do something to perserve the legacy of the man who inspired his rap. I’ve heard T say many times before that his aim through his rap was not only to depict the glamorous side of the street life, but to also make people listen to the “B side” of that record, the side that includes the penitentiary, drug addiction, death and disappointment. This is an impulse I’ve always admired the most in T’s records, from “High Rollers”, to “You Played Yourself”, to “Drama.” It’s just that impulse that T describes as what he took away from Beck’s work as Iceberg Slim, making this film also a brilliant example of how inspiration works.

All in all, my favorite commentators are the ones closest to him, Iceberg’s ex wife Betty, and his daughters. Nothing humanizes the man more than to show these women to whom he was so devoted after years of abusing women. His wife comes off as exactly the type of tough no nonsense woman he needed to make his eventual mark on history, even at one point relating an anecdote that when he stopped writing and she was supporting the family by working, she left him, because she refused to be pimped.

Beck’s daughters are beautiful, lively, intelligent, and spoke of a loving, caring father, who definitely retained the cold demeanor of his past life but also was the most articulate, broad based person they could have ever asked for as a father. Sadly, Camille Beck passed in 2010, before the release of the film, but she is preserved here for posterity. Betty Beck, Beck’s ex wife passed in 2009.

Beck was also known as a man who was passionately involved in black affairs. Though not covered in the doc, I remember reading in a Black Panther biography that Beck regularly bought the Panther newspaper and was very supportive of the Panther cause. Beck felt much of his turn down the wrong path had to do with the oppurtunities blacks faced during his time. That mix of street smarts and social consciousness also reminds me of his rap music heir, Ice T. Ice T is also good friends with Chuck D of Public Enemy and he has been in several political rap scandals through the course of his career. In “Portrait of a Pimp”, Ice T succeds greatly in humanizing a man who gave voice to the struggle on the streets of black male hustlers in modern America. This film is a must see both as entertainment, as well as history, serving as both a part of the black story in the 20th century as well as a cautionary tale of where a life spent chasing fast money can end. I’m sure that Iceberg Slim would feel that if he could warn people away from that as much as possible, his life served a great purpose.


Filed under "This Might Offend My Political Connects", Moving Pictures

Tyler Perry’s Temptations


“Hell No”, was the answer I got from one of my best friends when I asked him if he’d checked out Tyler Perry’s “Temptations.” Mitri is one of my best friends, and we resemble so much even his own father told us we looked like brothers, both bald choclate milk dud headed fly (at least in our own minds) black nerds. We grew up less than a mile away from each other, went to the same elementary school where I was three years ahead of him (but didn’t know him), and are currently in a continuing struggle to have un all over this sweet swinging ‘sphere (earth ya’ll). To put it short, we see a lot of things from similar vantage points.

Mitri warmed up however when I told him about the plot points. He seemed to relate to what I felt was a pretty solid examination of modern relationship malaise. Tyler Perry is the most successful black filmmaker working and will probably pass into being the most successful black filmmaker of all time. Despite his serious technical limitations and over the top plots, there is something very special and authentic in his film making to me. He has problems as a techical film maker, but we can not deny he is a story teller at heart with a particular sensitivity for why and how people fall short in various aspects of their lives.

My original complaint with Perry, one I heard echoed from many young black males who are cold toward his films, is that I felt there were pushing an age old line that the black American male was a no good, dangerous entity and the black woman was the saintly victim who will rise like a phonix once she gets rid of “Mister.” They also seemed to offer as their solution, a brand of emasculated choir boy. For a movie goer like me who grew up on anti heroes and rebels, I find this highly sleep inducing.

That criticism is not exactly on the mark however. Tyler Perry also has in his films a sophisticated critique of modern women, and how they are some times let down by their attitude toward the new freedoms in permissive and empowered modern society. For instance, Sanaa Lathan’s character in “The Family That Prey’s”, was not only carrying on an affair with her boss, she showed the highest degree of contempt for her husband (who happened to be black), and was downright disdainful of any efforts he made to better himself. Tyler Perry’s own character in his “Empire Strikes Back” like “Why did I get Married Two”, is a sensitive, nice man who’s wife is cheating on him for the excitement, and the male character is cast in the traditionally female role of noticing clues, signs, dates, and subtle lies, as a woman is unfaithful in a “good” marriage, not out of what we are told are the typical reasons women cheat, neglect and emotional distance, but for the excitement the new person provides. Tyler gives us a world of randy women and men who are super pragmatic and sensible, in what seems to be a critique, for women today seek a balance of the kinder, gentler XY chromosone that has produced in the wake of the movement for womens rights, and still yearn after the best qualities of the old swashbuckling male figure of yesteryear.

“Temptations”, no matter it’s technical limitations as a film, hit me with several scenes of recognition that I saw as completely authentic, as a young man who has not quite made the mark he wants to make in life, dealing with young women who have not quite made the mark they wish to make in life. It gets kind of rough in the back of the minivan!

“Temptations” is a film about a young couple from the south, raised in the girls mothers church, that fell in love at a very young age. They move together to Washington D.C in order to fullfill their dreams and goals, he is a pharmacist who aims to one day own the drug store he works in, she aims to be a marraige counselor. The movie finds them at precisely the point where some tension is beginning to show up in their marriage due to the amount of time it takes to reach their goals as a couple.

This theme is one I relate to closely through experience. Economists and sociologists tell us the impact of the “great recession” and the economic climate on America these past five years or so has delayed the normal progression of life for many young people. There are many people living at home with their parents, unable to marry or start their careers in quite the way they want to.

Jurnee Smollet-Bell’s character, Judith, feels trapped in certain ways. She works at an Internet matchmaking agency owned by Janice (Vanessa Williams), a fabulous lady with a somewhat pretentious French accent. Judith is not happy with her job, finding it trivial, hooking up rich folks, when she’d rather be helping couples stay find happiness in their marriage. She’s fallen into one of those personal funks, one that even extends to her wardrobe and beauty habits, which is pointed out frequently by Ava, portrayed by Kim Kardashian (yes, Kim Kardashian) in the role that prompted a “nontroversy” in some quarters of the interwebs about Perry casting a non black woman in a prominent role that turned out to be not so prominent at all.

One scene that hit home for me in particular was a scene in which Brice, Judith’s hardworking, 12 o’clock straight husband was attempting to encourage her and told her they could be where they want in 10 or 15 years. The look of disgust on Judtith’s face was one I’ve seen from many girlfriends when I make statements to show I’m fixed on the long haul. The speed at which things are consumed in our culture make us all expect things to happen too fast.

Another big “F” up on Bryce’s part was forgetting Judith’s birthday (Cue the soul classic “I forgot to be your lover.”) He did attempt a dance and song to Otis Reddings “Try a Little Tenderness”, but maybe instead of just doing a strip tease to it, he should have listened to and applied some of the lyrics, “Oh she may be weary/Young girls they do get weary/Wearing that same old shaggy dress/But when she gets weary/Try a little Tenderness.”

Kim Kardashian as Ava, playing a role very close to the public perception we have of her, pretty, fashion plated, image obsessed, suggested to Judtih that her husband forgot his birthday because she was forgettable, which struck me as a refreshingly old school approach, somebody giving advice that asks the advised to look at themself, rather than turning the at fault oerson into a punching bag.

Into this void of impatience and mundane day to day married life steps a black billionaire named Harley. Harley comes to the dating service to gets hooked up and decides he wants to hook up with Judith. Judith is slowly seduced by the aggressive, take charge nature Harley exhibits that seems to contrast so strongly with her husband Brice, but she is either too inexperienced or caught up to peep the dark side of his aggressive nature. Early on, she mentions from looking at a profile of Harley that he could be controlling, but she ignores that later on. Slowly and surely as Brice seems more and more boring and mundane, Harley presents himself as daring, and truly desirious of Judith.

Judith is caught up in Harley’s take charge nature but does not see the dark side inherent in that nature. One scene that hit me was after a dinner with her husband, some thugs call her a “bitch.” She responds with much spunk, but her husband calms her down and tells her they’d best forget about it. On another incident later, running in the park with Harley, a man almost bumps in to her and Harley acts like he’s ready to kill him. I’m sure an incident like this made Harley look strong and decisive next to her husband, but Judith had no comprehension of the old phrase, “The same thing that makes you laugh is the same thing that’ll make you cry.”

In the end Harley turns out to be a wolf in sheeps clothing and irreprable damage is done to Brice and Judith’s relationship. One thing that was interesting for me was I saw flashes of myself in both the cocksure Harley and the more modest Brice. As with any Tyler Perry movie, there is overacting and wild plot twists, but I do rather enjoy the unhurried pace of story telling, which makes a slow ascent almost like the view from a plane landing. All in all this is an interesting film that asks us if we can tweak our relationships so that we can hang in them a little bit longer, as opposed to constantly casting our lines for mercury filled fish in polluted seas. And brothers, at the least, Eve is at fault in this one.


Filed under "This Might Offend My Political Connects", Moving Pictures