Showing posts with label Mos Def. Show all posts
Showing posts with label Mos Def. Show all posts

Tuesday, July 19, 2011

Rhyming Actors: Donald Glover, Mos Def, Will Smith and the Evolution of the Lyrical Thespians

“Wait, he’s an actor?” I said as I enjoyably listened to his fre(EP).

I had no clue about who Childish Gambino was. At that moment, “who” he was lost precedent to what he could do. I really did not care about his past. I was not concerned about where he was born. I didn’t see any importance in knowing where his parents used to work. All I cared about was that he could rap over leaps and bounds.

And then I found out it was Donald Glover. Oh, wow.



For the uninformed, Donald Glover is the young actor that plays on “Community” as Troy Barnes. Many have seen his Youtube comedy sketches and laughed all the way through (Google Derrick Comedy to see what I am referring to). Also, he writes for NBC. In turn, Donald Glover is a worthwhile thespian.

Knowing that he is an actor, many will probably take issue with his musical aspirations. There are (and will be) quizzical comments about Donald and his true skill. From many different references, people already do. He even made a comment about it in one of his songs. Thus, he is well aware of the naysayers.

The real issue isn’t that he isn’t talented in both. The bigger issue is that so many actors and musicians try to switch trades that it can become nauseating for the fans.



What tends to exacerbate the queasy feeling for most fans is the lack of talent in the acting to music switch. In 2004, Tyra Banks tried to release a song called “Shake Ya Body”. It crashed as soon as it left the ground. Kevin Federline released an album back in 2006 that nobody cared about. Kim Kardashian suffered the same fate when she released “Jam (Turn It Up)” this year. It remains to be seen how many more will knowingly try to become talentless musicians.

The same can be said for some rappers trying to be actors. Nas did very little for his uncharismatic role in Belly. The Game’s acting roles have left much to be desired. 50 Cent has gained very little admiration for his acting prowess. Xzibit? Eh. Andre 3000? He has been cool, but nothing amazing. Even with rappers (some of the biggest actors in entertainment if you get my drift), there are examples of lackluster performances or overall catastrophe.

Thus, there is very little wonder as to why people roll their eyes at the idea: so many people have tried and bombed.

The failures tend to outshine the obvious successes, however. And those obvious successes deserve our unbridled attention.



One of hip hop’s most accomplished lyrical thespians happens to be Mos Def. UTD’s own Dante Smith had the luck of starring in the shortlived Cosby Mysteries. Since then, Mos has appeared in Bamboozled, Monster’s Ball, The Italian Job, Cadillac Records, and Lackawanna Blues. In addition, he was nominated for an Emmy, a Golden Globe and an Image Award for his role of Vivien Thomas in Something the Lord Made. Mos Def, in conclusion, is one of the most established and revered rapper-actors.



When it comes to bankability, Will Smith wins out hands down. The Fresh Prince has been synonymous with blockbuster movies. From the Turner Broadcasting classic Independence Day to the lovingly witty Hitch, Smith brings in the money. Even his least appealing movies (Wild Wild West) can turn a hefty profit ($170 million to make; $222 million at box office). Therefore, Will Smith’s movies and money making tend to be synonymous.



 The man formerly known as Marky Mark may now be known more for acting than music. Although he started acting in 1995, Mark Wahlberg has made his mark (no pun) in the industry. With films like The Italian Job (along with Mos Def), Shooter, and The Boxer under his belt, he has proven to possess star power. Even as a costar, he can be caught stealing scenes in movies such as The Departed, Date Night, and I Heart Huckabees. Oddly enough, his acting carer has eclipsed the prominence and existence of his musical apsirations. Still, no one can complaine about the switch.



Another rapper to carve their acting niche is LL Cool J. LL, presently known for his role of Sam Hanna in NCIS LA, can be considered a seasoned actor. With a career that went full blown in 1991, he has had numerous roles. LL has appeared in movies like Any Given Sunday, SWAT, Kingdom Come, and Deliver Us From Eva. He also had a role on the TV show In The House. In turn, LL developed an acting career spanning 20 odd years.



Queen Latifah is, by far, the most successful female rapper-actor. Starting out in 1989 (right after her music start), she has appeared in Set It Off, Beauty Shop, And Stranger Than Fiction. Her role in Chicago as Mama Morton garnered her plenty of acclaim and awards, including an Oscar Nomination for best supporting actress. Equally impressive is her role of August Boatwright in The Secret Lives of Bees. Emphatically, Queen Latifah has earned many accolades and warm receptions from the film industry.


None of the list is more ironic than Ice Cube, however. Doughboy started out in the classic Boyz-in-the-Hood. From there, he has been in Higher Learning, Three Kings, Ghost of Mars, and All About the Benjamins. Yet, his biggest successes have come from his Friday series of movies. Serving as a writer and producer/executive producer for each movie, he has grossed over $120 million with modest budgets. The irony of it all: they are comedy movies. Hilariously, Ice Cube, a prominent gangster rapper, has made bank from comedies.


The biggest surprise has to be Ludacris. Chris Bridges is really working to become a well versed actor in different types of roles. From the intelligently angry urban philosophizer which was Anthony (Crash) to playing a hardcore hood rapper (Skinny Black in Hustle and Flow), Luda goes for diversity. Even with roles of Mickey (Rock’n Rolla) and Jim Bravura (Max Payne), he works to do something different. The biggest surprise was his role of Wallace, the sarcastic wisecracking bartender in No Strings Attached. In turn, Ludacris worked to avoid being typecast.

Oh, and special shout outs to go Common, Eminem, and T.I. for making big screen splashes. They are doing great. However, they haven't dominated like all the others. Their time is coming, though. 

Donald Glover finds himself within solid company. Whiles others have failed miserably, there is still a list of people that succeeded. The most important thing to learn from this is that those that were the most successful put work into their craft. When that effort, that labor of love, is given maximum application so much is achieved. Donald Glover has nothing to worry about though: even if he fails he has already succeeded past what many expected him to do anyway.

‘Nuff said and ‘Nuff respect!


Thursday, June 23, 2011

The Best Of Mos Def


DJ Guillotine has a podcast out that mixes 29 songs by Mos Def:

01. Jill Scott - Love Rain (ft. Mos Def)
02. Da Bush Babies - Tinseltown to Boogiedown (ft. Mos Def)
03. Da Bush Babies - Tinseltown to Boogiedown (ft. Mos Def) [Ali Shaheed Remix]
04. Da Bush Babies - Tinseltown to Boogiedown (ft. Mos Def) [Beatnuts Remix]
05. Da Bush Babies - Tinseltown to Boogiedown (ft. Mos Def) [Pete Rock Remix]
06. Mos Def - Mathematics
07. Mos Def - Light (Can You See It)
08. Mos Def - Another World (ft. Talib Kweli)
09. Mos Def - Love
10. Mos Def - Auditorium (ft. Slick Rick)
11. Mos Def - Body Rock (ft. Q-Tip & Tash)
12. Mos Def - Travelin' Man
13. Mos Def - Travelin' Man [Remix]
14. Mos Def - The Love Song (ft. De La Soul)
15. De La Soul - Stakes Is High (ft. Mos Def)
16. Mos Def - The Panties
17. Mos Def - Climb (ft. Vinia Mojica)
18. Mos Def - Modern Marvel
19. Mos Def - Wahid
20. Mos Def - Beef
21. Mos Def - Hip-Hop
22. Aretha Franklin - One Step Ahead
23. Mos Def - Ms. Fat Booty
24. Mos Def - Ms. Fat Booty [Remix]
25. Mos Def - Know That (ft. Talib Kweli)
26. Mos Def - Priority
27. Mos Def - Got
28. Mos Def - S.O.S. (ft. Da Bush Babies)
29. Mos Def - Umi Says

Wednesday, February 23, 2011

Country Music + Rap = Secret Soulmates Part One

To anyone who is a connoisseur of both rap and country music, the similarities of rap and country should be no surprise. Both unapologetically portray worlds that hum below the mainstream of American society (but nevertheless make the force felt): one being the largely African American and Hispanic lower to middle class and the other America's rural and largely blue collar whites. Both are flat out honest in their music, one will show you the rough, money, sex and power pursuing world of the inner city and the other will show you the same in the country.

Both communities are conservative, God fearing and honest. Due to racial, cultural and geographical differences, the two communities don't cross over much. I mentioned this to a girl I dated years back (who was black, incidentally) and she said that, as much as they hate each other, they cross over in sporting events like Oakland Raiders games or professional wrestling events.

I'm not the first to recognize this similarity. Just about every white rapper has tapped in to the cultural similarities. Kid Rock merged rap with blue collar flag waving in order to deem himself an "American Bad Ass." Everlast took up the blues and helped make Fenders and Casios friends. Brother Ali echoes Everlast's gospel style in his songs, complete with guitar use. Eminem, in his more sentimental moods, frequently samples Ozzy Osbourne, Queen and Aerosmith, stalwarts of any suburban rock station. Meanwhile, Mos Def and Pharoahe Monch have brought gospel and blues beautifully into their work and Kid Cudi has sang acoustic ballads.

Yelawolf, an up and coming Alabama rapper of mixed white and Cherokee ancestry, showed working class unity in his video "Kickin." The song is not his best work (though it is good) but shows a great panorama of skateboarders, rednecks, police, Atlanta rappers and even a guy in a sombrero with none of it being awkward:


Now that's really multiculturalism.

Let's do a little compare and contrast. Here's Lightning Hopkins sing about that tried and true scenario: you make a good home for a woman, then they up and leave.


Now let's turn around and look at Mos Def, singing about a pretty ghetto gangsta woman:




Next comes Yelawolf, once again, with his song "Break the Chain," which samples Fleetwood Mac. The chorus, "Alabama dirt road, Dixie flags fly," is sung flawlessly over synthesizers, drums and chopped up Fleetwood Mac samples in one of the best steps at connecting the worlds of country and classic rock to the, at first glance, far different world of rap.



The similarities between the two genres, from gun loving to blues over women and a general embrace of masculinity, are so strong that this "Secret Soulmates" column will have to be a regular feature of the blog. I can already think of more than a few songs and artists that would work well in the next rendezvous.

Sunday, February 6, 2011

Pharoahe Monch - The Great Underrated Rapper

Pharoahe Monch is one of hip-hop's most underappreciated MCs. He launched into hip-hop as part of a group, tied along with Prince Po (whose career since has been even less eventful) in the group Organized Konfusion. Organized was brilliant. The samples were expertly done, the symmetry between Pharoahe and Po was near perfect when they were at their peak but then all of a sudden the gig was up. Pharoahe Monch ended up on Rawkus Records, where he recorded several songs with Mos Def and released an album called Internal Affairs, which led with the classic Godzilla sampling track "Simon Says:"


Yes, as you can tell by the full denim suit and the Timberlands, we're going back to the late 1990s. The song was alright and Pharoahe's humor seemed to make him enduring. A friend I introduced Pharoahe to described his flow as "a black Eminem," and with a knack for the humorous, the graphic, the uplifting and the depressing all in one schizophrenic package, the two certainly are very similar.

Like Eminem, Pharoahe took a really long sabbatical of eight years as Rawkus Records folded. A level of depression seemed to unfold on him as well, as the rapper does introduce in "Free," the first track of his 2007 album Desire, "I give birth to verses in churches with no confession, So please pardon my post-partum depression."

Desire was a fantastic album, which was underrated as the classic that it was. One of the most poignant tracks was "Push" - wherein Pharoahe unleashed in an epic gospel-tinged reassurance that even got him singing the words of the savior.


Pharoahe hasn't let up at all and has an upcoming album called WAR (We Are Renegades). The one track that he has released so far - "Shine" - is available to stream or purchase on the Amazon Affiliates widget to the right of this article. Here is him performing the song live in New York City: