The Ill Professors

Jesse Boykins III: Sophisticated Mood Music

2011-03-22T16:46:00.001-04:00

Jesse Boykins III is a new jack with old soul.

In listening to Boykins's work, it's easy to marvel over what's in it: A natural voice--used with restraint--over laidback tracks, augmented with an increasingly rare device--a horn section. It's just as simple to take comfort in what is--for the most part--not there: Premature, unneeded vocal runs and the excessive hip-hop slang ubiquitous in the work of younger singers and the down home signifiers often found in songs recorded by their older counterparts.

The artist providing this sound was born in Chicago, spent a few years in Jamaica and was raised in Miami. While growing up, he was exposed to artists as disparate as Jimmy Cliff, Jodeci, and Stevie Wonder.

This upbringing created an artist who brings depth to genre conventions. On "Itis," he makes what could have been an extended, hackneyed analogy a smooth statement of infatuation. (“Girl, you give me the ‘itis, and I cannot hide it. They're so many flavors, I just wanna savor. ) Another attribute is frequently repeating the chorus several times (as on "Tabloids"), but instead of sounding as if he's run out of ideas, his sentiments get more sincere with each go around. Boykins, who earned raves for his 2008 LP "The Beauty Created," provides layered textures perfect for rendezvous or introspection, which led him to become the first unsigned artist to be nominated for a Soul Train Award.

Jesse Boykins III has sparked a soul revolution, bringing tradition into the future.

Byron Lee, contributor

Lazy Day Movies

2011-03-05T17:38:00.004-05:00

Back in the day, before I had 450 channels and hundreds of movies & TV shows to choose from On Demand; I was at the mercy of local TV programmers' movie choices on lazy days.

Oddly, even though there dozens of movies I want to see On Demand, I sometimes have a hard time choosing to watch "Weird Science." However, if I am flipping channels and I catch it on TV, it's on like popcorn.

Just today, my writing day turned into an eating, napping and old movies day. I just finished "Mystic Pizza" on OWN. Now, I'm watching "Philadelphia." Well, I was watching "Philadelphia." Nobody wants to be bummed out on a lazy day.

I decided to turn this day of slumber and relaxation into a blog post. It's not quite the two chapters of my book I intended to kick out today, but it's something.

Some of my favorite lazy day movies over the years:

"Straight Talk"
This movie is Dolly Parton at her best. It's super-cheesy, but I never turn away. Dolly plays a Dr. Phil-type radio host, who (gasp) isn't really a doctor. (Warning: The theme song will live in your brain for at least two days.)

"The First Wives Club"
I saw this flick in the theaters with my buddy Pat Shipp. I don't remember what scene it was, but at one point I threw my hands in the air laughing so hard that I knocked her in the face. The film does not make me laugh anymore, yet, I still watch it if I happen upon it on a Sunday afternoon.

"The Last Dragon"
Why this film? I'm black, male and grew up in the 80's. I actually saw this film twice in a crappy theater on Main Street in Orange, NJ. The air conditioning didn't work, so they had box fans in the aisles. Those were good times. Vanity actually stars in two of my favorite lazy day movies.

"Action Jackson"
Why? See my reasons for "The Last Dragon."

"The Vanishing"
I probably wouldn't even see this film if it were released now, but as something to watch on TV, it hits the spot. Kiefer Sutherland and Jeff Bridges are at their most mediocre, but it works for this film. I like films with people buried alive.

"Zapped"
I love this movie. How could you not love a film with Scott Baio and Willie Aames. This film has a 0% rating on Rotten Tomatoes. I didn't see this in the movies. I used to rent any and everything from the local video store...again, on Main Street in Orange, NJ. This was a pre-BlockBuster type of store and the majority of movies in the shop were B-Movies. Back then it took three years before a film went to VHS, so you rented things you hadn't seen before. I haven't seen this on TV in a while and it was only good on cable. There was no point in watching this without the nudity.

Bette Midler
Yeah, I know she's a person, not a movie, but between her good films and the awful Touchstone flicks, she is what Saturdays on the couch are made for. Notable lazy day movies: Down and Out in Beverly Hills, Ruthless People, Beaches, Hocus Pocus, That Old Feeling.

The Color Purple
At this point, anyone with B.E.T. can recite the dialogue from beginning to end. It comes on once a month. I never really choose to watch this. I am usually too far from the remote and since it's familiar, it's like a good bedtime story. I'm usually sleep within twenty minutes.

"Strictly Business"
I thought Joseph C. Phillips was gonna be a star. I think Dennis Haysbert took his spot in the Hollywood universe. This was one of the first, in a long line of mediocre films starring black people, pimping youth culture and hip-hop. It's bad, but I watch it all of the time. My favorite part of this movie...the soundtrack. "You Call & Told Me" was my ish.

"Angel"
Does anyone remember else remember the "Angel" movies? High school, prostitute by night. By the time the bootleg VHS my uncle Dwight owned broke, it was running on television. I haven't seen it on TV is a minute though. That's probably appropriate.

"New Jersey Drive"
This film is horrible and every time I watch it I get annoyed; but sometimes there just isn't anything else on. It has become one of my lazy day favorites by default.

Vivica A. Fox
Like Bette Midler, she has a filmography that's tailor-made for Saturday afternoons. Unlike Bette Midler, she doesn't balance those films out with Oscar contenders. My faves: Motives, Two Can Play That Game, Booty Call, Set it Off, Getting Played, Juwanna Mann.

My all time lazy day, or late night favorite of all time (maybe) is...
Sprung
I can't explain why I love this movie. I've only seen it on TV. I can't remember it being in the theaters. Rusty Cundieff should be a star. Between Tisha, being, well...Tisha and Paula Jai Parker doing her signature chickenhead steez, this film is a late-nite classic. Every other movie ever made ends up in the DVD rack at the check-out stand at Marshalls for $4, but I have never come across Sprung. It really should be in my collection. That said, going back to my earlier point, I probably wouldn't pop in the DVD of any of these. It's much more fun to catch them by surprise.

I could go on, but I think it's time to see what's on TV. What are some of your favorites?

Phill Boogie

World's Oldest Beer

2011-02-23T09:29:00.001-05:00

This sounds like something Johnny Depp would really, really want written into the next Pirates film: a two hundred-year-old beer, found in the deep blue sea. Apparently beer has been chilling for two centuries at the bottom of the Baltic Sea off the coast of Scandinavia. Here’s The Huffington Post’s summary of the brew:

Finnish scientists say they hope to re-brew an old ale after studying ancient beer found in a 19th century shipwreck at the bottom of the Baltic Sea.
Divers in July found five bottles of dark, foamy beer while salvaging champagne from the wreck near Finland’s Aland Islands. The shipwreck is believed to be from the early 19th century.
VTT spokeswoman Annika Wilhelmson said Tuesday that researchers want to find out what kind of yeast was used because “the role of yeast in beer brewing was not yet fully understood in the early 1800s.

It all sounds intriguing until the last paragraph. I don’t know what these Finns are planning, but I hope their yeast-related experiments don’t mean I won’t get a sample! Scientists, my empty glass is ready whenever you are.
Cheers!

Trev
Shake and Stir Blog

YahZarah: BlackStar Power

2011-02-22T09:24:00.001-05:00

So much is in a name.

Dana Williams adored her grandmother so much that, after concluding a stint as a backup singer for Erykah Badu (Williams appeared on Badu’s “Mama’s Gun)”, Williams paid tribute to the dearly departed with a stage name meaning "Queen Mother is the brightest star."

Williams, born in D.C.,would be influenced during her youth by both the music she would hear in church and the sounds that would emanate from home. She studied music at both the Duke Ellington School of Music and North Carolina Central University before cutting her teeth with Badu.

YahZarah was born with the release of 2001’s “Hear Me,” with her sophomore release “Blackstar,” starting a buzz. Her supporting turn on the Foreign Exchange track “Sincere,” from the group’s 2005 debut “Connected,”--along with her sultry appearance in the song’s video--would get more heads open. 2008’s “The Prelude” would follow, but last year’s “The Ballad of Purple St. James”---thought by many to be her best yet---would find YahZarah with the full support of the FE crew.

Although “St. James” is considered by some to be part of a trilogy (with Foreign Exchange's “Leave It All Behind” and Nicolay’s “City Lights, Vol. 2” ), it has much to offer on its own, such as the uptempo, glam feel of “Why Dontcha Call Me No More” (complete with an infectious “Jem and the Holograms”-inspired video that undercuts the song’s scornful tone), the emphatic “The Lie,” the seductive,” Change Your Mind” and the breezy, resilient “Cry Over You.” (In addition to this achievement, YahZarah has performed with/opened for acts both legendary (Stevie Wonder, Anita Baker, Earth, Wind & Fire), and modern (Musiq Soulchild, Floetry, Rahsaan Paterson).)

Considering her growing fame, “YahZarah” may soon say it all.

Byron Lee, Contributor

The Indie Dilemma: The Business of Being Black

2011-02-20T10:37:00.000-05:00

Admittedly this could apply to any indie artist (musician, filmmaker, painter, sculpture, etc.), but I am a writer, so I come at this situation primarily from that standpoint. Just the other day, I taught (for the umpteenth time) Charles Chesnutt's "Baxter's Procrustes," a story about the Bodlein Society, an organization that prides itself on the collection of rare books, only to find itself in a bit of a pickle regarding a book it decides to publish. The story is widely regarded as one of Chesnutt's "color line" stories, as it was published in 1904 by an African-American writer, yet had no identifiable African American characters. Chesnutt apparently wrote the story after being snubbed by an organization because of his race. The fascinating thing, however, is that the story is good without needing to identify itself by the race of the writer.

Fast forward to 2011, and the publishing industry is very much aware of race when selecting and marketing books by new authors. Who will buy this book--or more specifically, will enough Black women buy this book to make it worth our while, since most Black men don't read recreationally? (This is the prevailing wisdom of the industry.) Add to all of this the economic pressure on the publishing industry at large (with Borders being one of the latest casualties) and you have a situation where many editors are nervous about the acquisition of African-American books in general. It reminds me of what Mario Van Peebles said recently on the TV One show Way Black When: (and I paraphrase) If the umpteenth Black gangster film doesn't make money, then the belief is that people are not really feeling Black movies right now, but if the umpteenth shark movie fails, it simply means that people don't want to see shark movies right now.

One of the sad realities of the larger corporate media is that, as an African-American artist, being African-American often defines your art. In other words, you can't simply be a writer or filmmaker or musician without that racial designation.

Those who make a living as African-American artists have already figured out how to navigate this line successfully, but for those aspiring creative individuals rising through the ranks, there is the dilemma of creating for the expectations of the market (especially if the market is racially defined) versus creating without an eye towards market designations. With the advent of electronic publishing and iTunes and the plethora of other avenues for distributing independent projects, the question is even more pronounced: Take the commercial Black approach or pursue the road less traveled?

Yes, there are commercial anomalies across the board, but to the average indie, the thought of unzipping one's skin or gender and setting out to write without regard to those issues can be paralyzing, especially if the artist hopes to make a living from it. We have had it ingrained in our heads that niche marketing is the only way for the little guy/girl to survive. Still, I sense that some of us yearn for the kind of freedom that allows us to create and release those creations into the world minus the pressure to conform with larger industry expectations.

What are your thoughts? Is it realistic for the indie artist to ignore the larger commercial trends that define his/her art?

Randy Bandit

The Foreign Exchange Takes Over the Globe

2011-02-14T00:34:00.001-05:00

Phonte and Nicolay, better known as The Foreign Exchange

A dynamic duo was born without any words spoken.

Phonte of North Carolina rap group Little Brother heard a instrumental track on okayplayer.com. He liked the beat and contacted the producer and asked if he could rap over it. The tracksmith, a Dutchman known as Nicolay, said yes, and the track that came of it "Light It Up," became a B-side on Little Brother's "Whatever You Say," from LB's debut, "The Listening." Happy with the outcome, the two kept exchanging beats and rhymes through e-mail. The end product was the 2005 album, "Connected," released with the two billing themselves as The Foreign Exchange. The album, with had the songs "Let's Move," "Sincere" and "Happiness," "Connected" overshadowed LB's second album, "The Minstrel Show," with Phonte rising to match producer 9th Wonder's status as the latter group's breakout star. The rapper's vulnerable lyrics were the perfect match for Nicolay's laidback, headclapping beats, some of which hearken back to those of J.Dilla.

The group's follow up, 2008's "Leave It All Behind," released on the group's self-titled imprint, found Phonte embracing singing more fully and featured "Daybreaker" and "Take Off The Blues," the former garnering the group a Grammy nomination for Best Urban/Alternative performance. Feeling the need to capitalize on the attention brought by the Grammy nomination, the duo buckled down and had their third album, "Authenticity" in the marketplace in October of last year. The LP finds Phonte dealing with a breakup. ("The Last Fall" trumps anything found on "808s and Heartbreak," and "Maybe She'll Dream of Me" has a sublime hopefulness.) There's a debate among fans as to which album is the best. No matter which one you choose, The Foreign Exchange will have you feeling right at home.

Byron Lee, contributor

The Adjustment Bureau (Trailer)

2011-02-09T20:51:00.005-05:00

Matt Damon is the new (relatively young) Harrison Ford. I just realized that. Check out the trailer for his upcoming film The Adjustment Bureau.

Phill Boogie

Cathy Hughes Speaks her Mind

2011-02-08T14:36:00.007-05:00

Cathy Hughes doesn't mince words when it comes to Mo'Nique and Halle Berry's Oscar winning performances. According to Ms. Hughes "they" always represent black women poorly. I use quotes because I am not sure if she means Lee Daniels and his team, Hollywood, or just white people.

She wants more stories about positive woman like Michelle Obama.

Watch below. Is this a fair assesment?

BTW...Ms. Hughes also notes that Tyler Perry has done a "miraculous" job of portraying black images.

Video Courtesy of Ms. Drama TV

A Writer's Underwear, or What Things Look Like Underneath

2011-01-27T08:11:00.001-05:00

Sometime roughly two years ago, I became addicted to a podcast called "The Moth." The basic premise is this: people get on stage and tell true stories from their lives without the use of notes. In other words, this is like a spoken-word creative nonfiction slam.

I have often wondered what I would say if I ever took the stage at one of these events. Most of the time nothing comes to mind--at least nothing that I would want to put out there for the public to know. The irony, however, is that when I teach, I use more than a few personal anecdotes to convey my points. So lately I have been wondering how it is that I can come up with 101 stories for my students, but can't come up with one single story when faced with the idea of performing at a Moth Slam.

I suspect the answer lies with how I see myself as an artist. As a teacher, I see anecdotes as merely part of my pedagogy, but when it comes to creative art, well, I see a different kind of bar that I must reach. I find myself suddenly self-conscious about my stories. Are they funny? Are they boring? Are they too serious? Do I know where to start it or where to stop it? And ultimately I wind up psyching myself out.

Or maybe I just feel too vulnerable talking about my own life. But isn't fiction intimate? Doesn't the reader learn something about the psyche of a writer through what he or she writes? Clearly, to write something, a person must be able to visualize it in some detail. Yet I can write fiction all day long and still dread the thought of ever writing an autobiography or even a mild memoir.

I suspect in the end, as a writer, I should be able to step out from under this shadow of self-consciousness and just "do the damn thing." After all, a writer with inhibitions is like a Buddhist monk with a jheri curl. Well, actually he is probably more like a bald Buddhist monk. We all have inhibitions, but at the end of the day, we have to muscle past them. The trick I figure is to do it without getting activator juice on the collar of your robe.

Who knows? I just may do an open mic one day and surprise myself, because in the end, being a writer is not a title that you aspire to. It is simply who and what you are.

Randy Bandit

Got Any Questions for Russell Simmons?

2011-01-25T23:23:00.003-05:00

I'll be interviewing Hip Hop Mogul Russell Simmons for Written about his new book Super Rich: A Guide to Having it All.

Any questions you want me to ask?

Michelle

Birthplace of the Cocktail

2011-01-20T16:24:00.005-05:00

Ever wondered where the origin of the cocktail began? Me, too! Did some research and this is what I came up with:

The cocktail’s fragmented history begins in the nineteenth century. One of the first modern cocktails to be named and recognized is the martini. It can be traced back to an 1862 recipe for the Martinez. This American recipe consisted of four parts sweet red vermouth to one part gin, garnished with a cherry.

“Professor” Jerry Thomas tended the bar of the old Occidental Hotel in San Francisco and reputedly made the drink for a gold miner on his way to the town of Martinez, which lay forty miles to the east. The recipe for the Martinez in Thomas’ 1887 bartender’s guide called for Old Tom gin, sweet vermouth, a dash of maraschino and bitters, as well as a slice of lemon and two dashes of gum syrup.

A modern day dry martini consists of gin and dry white vermouth, garnished with an olive. Obviously, gin has changed a lot since then, when it would have been relatively sweet compared to modern gins. Some even claim the martini was named after the Martini-Henry rifle used by the British army around 1870, as both the rifle and the drink had a strong kick! So there you have it, you now know the birthplace of the first cocktail…

Cheers!

Trev
Shake and Stir Blog

Lisa Gay Hamilton

2011-01-20T16:07:00.000-05:00

For the first time in over a decade, my favorite television shows are NOT on HBO, but on TNT. Sigh. In some ways, I attribute this to the gnawing reality that my days are numbered in the 18-49 demo and watching Vinny Chase defile models has gotten old.

Mostly though, TNT's "Southland" and "Men of a Certain Age" are both solid shows in their own unique ways and are worthy of being tied for first place on my TV favorites list. The first 15 minutes of the season premiere of "Southland" was better than the last four seasons "Law & Order."

Meanwhile, "Men of Certain Age" has quietly crafted one of the most authentic-feeling portrayals of male friendship I've ever seen. I am not quite the age of the characters on the show; but as I watch my friends start families and I make plans for this next phase of adulthood, the show feels familiar. It's not entirely frightened by the idea of aging, but not completely comfortable with the idea either.

However, this post isn't really about TNT, or the shows; it's about Lisa Gay Hamilton.

Hamilton plays Melissa Thoreau, wife of Andre Andre Braugher's Owen Thoreau Jr. character on "Men of a Certain Age." Hamilton playing a suburban mom, in a mostly-white community, while sporting natural hair is a breath of fresh air. How she got away with not letting the producers slap a shiny, synthetic wig on her head is beyond me.

In some ways, it is that natural truth about Hamilton that has made me a fan of her work. She seems like someone I'd be friends with; educated, talented and conscious. Kimberly Elise has the film career I imagine Hamilton would have if more than one black actor of a certain type could be successful at one time.

The show's Thoreau clan is an example of what can be done when writers approach diversity without the notion of exoctism. The Thoreau's along with Brian White's portrayal of salesman Marcus are the most well-rounded African-American characters we've seen in some time. Hamilton's character is often at the center; like women sometimes have to be.

Hamilton, instead of falling into banal wife, or "strong black woman" archetypes, has crafted a too seldom seen version of black femininity. Her character, in a word, is ordinary. How refreshing. She's not magical. She's not nursing her white friends back to health. She's not climbing the corporate ladder. She's just an average woman making it happen for her family in the 'burbs. Hamilton has skillfully breathed life into this character, making it special.

Because of the lack of extreme violence, sex, or perhaps young people, the show, while successful, doesn't get a lot of buzz. Add that to the fact that Hamilton isn't the kind of actor we see all over the blog sites (or on her own show's website for that matter). It could be easy to overlook Lisa Gay Hamilton.

After years of putting in work as an actress and director (Did you catch "Beah: A Woman Speaks?") I just wanted to give her a little shine and point you to a great show you might not be watching.

Phill Boogie

Game On

2011-01-12T16:09:00.001-05:00

I knew the ratings for "The Game" would be huge. It apparently scored almost 8 million viewers last night; more than double the average of the show's ratings on The CW.

At one point last night, every tweet on my Timeline was about the show. Over on Facebook, all the chatter reminded me of how I watched shows like "Different World" in the dorms.

At another time, when I don't have a migraine, I'll go into some of the self-loathing that manifests in the critique of African-American popular culture. For now, I'll keep it light with a few of of my favorite tweets about the show.

Phill Boogie

We Mourn the Loss of Literary Agent Manie Barron

2011-01-11T16:30:00.001-05:00

It is with deep sorrow that the family and friends of Manie Barron announce his death from a hemorrhage the morning of Saturday, January 8, 2011 at Memorial Sloan-Kettering Cancer Center, where he was being treated for lung cancer.

Manie, whose full name was Emanuel Joseph Barron, was born on December 7, 1955, in Harlem, New York, to Joseph K. Barron and Harriet F. Smith. He is survived by his wife, Wendalyn R. Nichols; daughter, Veronica Grace Nichols Barron, 7; niece Raven T. Barron; and great-nephew Messiah M. Barron, 8. He is predeceased by his parents and by his sister, Charmaine.

Manie began his nearly three-decade career in publishing as a bookseller at the Doubleday bookstore at South Street Seaport in Manhattan. He became a buyer for Golden Lee book distributors, from where he was recruited as a founding member of the Random House telephone sales team. He transitioned from sales to editorial, laying the foundation for what would become the Striver’s Row imprint at Random House, before moving on to HarperCollins, where he was publishing manager of the Amistad imprint. He then spent three years as a literary agent with the William Morris Agency before partnering with Claudia Menza in the Menza Barron Agency.

A memorial celebration is planned for early February, details of which will be released later. A college scholarship fund has been established for Manie’s daughter, Veronica. To contribute, please send a check made out to Veronica Grace Nichols Barron c/o Carrie Kania at HarperCollins, 10 East 53rd Street, New York, NY 10022.

Michelle

Join Trev @ the Key Club in Newark

2011-01-11T16:18:00.000-05:00

What’s going on people? I’m happy to announce that I will be the newest mixololgist at Newark’s own Key Club starting this week. I’m excited about the opportunity ahead and will do my best to make sure the Key Club becomes a popular staple in the city. So please join me this Thurs & Fri (Jan 13th & 14th) for happy hour from 6-9 pm. I’ll be serving up the drink of the week (The Pomegranate Margarita) along with $5 mixed drinks, beer and wine specials, and much more.

It’s the ideal spot for professional’s who work in the downtown area of Newark. For those who work in the city and live in Jersey it’s also a great alternative to the NYC happy hour. So stop by have a quick drink and be home in no time. Come mix and mingle and unwind after the long work week.

We are conveniently located at 58 Park Place, a few blocks away from Newark Penn Station and up the block from the NJPAC. Hope to see you all there and be sure to tell a friend. For additional information visit www.keyclubnj.com.

Cheers!

Trev

The Relevance of HBCUs

2009-09-23T15:32:00.006-04:00

PHILL BOOGIE'S TAKE:

I was watching the “Tyra Show” recently and there was a young lady of mixed black and white heritage speaking of her dislike of black people. The young woman had chocolate brown skin and resented the fact that she didn’t benefit from her whiteness in terms of her complexion. She wants to pass.

In addition to that young woman, there were several other guests of mixed heritage who complained that they didn’t like part of who they are. Most were using broad stereotypes of the culture they were choosing to deny. Putting aside how sad I felt for these women, I couldn’t help but notice how flawed their positions were.

As I begin another year as a professor at an HBCU, I realize that I cherish the university I work for because of its unique characteristics, not just because it’s black. In this supposed post-race era we live in, many are asking if there is still a place for black colleges and universities. I find the question itself exhausting. I usually don’t respond to the question, but many who address it, speak of how different and special the experience of an HBCU is.

As a HBCU alum, I do feel that my experience was special, but much of the experience was unique to my alma mater. While there are many similarities between HBCUs, the bands, the Greek life etc.; going to Spelman is not the same as going to Lincoln. The schools are as individual as we are as people. Also, I don’t like the subtext that attending an institution that isn’t an HBCU is somehow less special. At best, I will say the experiences are different.

As I sat listening to the guests on “Tyra” unable to give specifics on what they hate, or love about whites, blacks, or Latinos; I thought about this HBCU discussion. The truth is, I can talk in some generalities about the HBCU experience versus a different type of college experience, but I think specifics work best.

As an undergrad, Hampton University was an oasis. The education, environment and support changed my life. As a professor at Hampton, it is still an oasis. The only difference is that I get to cherish the experience my students are having, in addition to my own. I am sure that most alumni and academics feel this way about their institutions. Ultimately, it’s about the students. As long as students seek the type of education that HBCUs provide, there should be a place for them to go.

For those who say that black institutions don’t give a “real world” experience, should we get rid of everything catered towards a specific market? I don’t ever hear anyone rallying against black clubs, or radio stations. Many people who will complain about HBCUs will gather exclusively with black folks on the Vineyard and at Essence Fest. They’ll join black sororities and fraternities. Why is that okay, but not a HBCU education?

It all comes down to personal choice. Sure, society has changed. We can go to any school we want. For that reason, I think it’s especially noteworthy that HBCUs have survived. Integration was the death of many things that were exclusively black. Many businesses and neighborhoods crumbled once blacks were free to live and shop wherever they wanted. That these schools still exist, speaks to their relevance.

RANDY BANDIT’S TAKE:

*In full disclosure, I admit, with a great deal of pride, that I am a graduate of a Historically Black College/University. I graduated in 1997 from Morehouse College in Atlanta, Georgia, a school that holds the distinction of being the only institution of higher learning in North America devoted primarily to the education of Black males. While I could brag about my alma mater, much of what I have to say could easily apply to any number of HBCUs in this country, because they were all created for a common purpose: educating African-American students.

While one could easily argue that the time for HBCUs has passed, especially since this country has an African-American president, nothing could be further from the truth. I could easily talk about James Meredith being gunned down over forty years ago attempting to take his place at the University of Mississippi, but I don’t have to go back that far to illustrate the necessity of HBCUs. Today, HBCUs produce graduates that are competitive in today’s workforce (as they always have) and continue to conduct world-class research that ranks with best in the country. For example, Hampton University, my employer, is in the process of building a Proton Beam Therapy Center for cancer patients, one of only four in the entire country. Even more, HBCUs produce Rhodes and Fulbright scholars, doctors, lawyers, filmmakers, entertainers, teachers, and even Nobel Prize laureates.

While I could wax poetic all day long about the academic aspects of attending an HBCU, I would feel remiss if I did not focus on what I feel are the most unique assets that set HBCUs apart from other schools: the experience of HBCU campus life. Alumni of HBCUs typically have a passion for their schools, not merely their athletic teams. I loved my experience at Morehouse, and I love being a part of my students’ experiences at Hampton University. I know that one day they will graduate and meet other graduates of HBCUs and automatically feel a bond with them, and this connection will help them further navigate their lives. We are connected by our experiences in smaller classrooms, our coronations, our homecomings, our marching bands, our Greek life, our desires to survive the hardest professors and to become alumni who will change the world. Interestingly, the entrepreneurial spirit at HBCUs has translated into enterprises that continue to captivate not just African Americans, but Americans in general.

Some people say that HBCUs don’t reflect the real world. I think that statement is vague at best and obtuse at worst. I attended a racially diverse high school, and I didn’t feel as though I were being sectioned off from the real world when I attended an HBCU. My faculty was diverse (as every HBCUs’ faculty is today), and as a trend that continues to broaden, more students who are not African American attend HBCUs. In fact, Tennessee State University in Nashville has probably one of the most racially balanced student ratios of any HBCU. Admittedly, racism is not the issue that it could be at other universities, but having that as one less stress while attending college should not be considered a negative. In fact, for an undergraduate, that could be a plus.

In the end, it is difficult to articulate why HBCUs are so worthy of consideration for graduating seniors. Naysayers will still cling to their positions, but I can say this, unequivocally: HBCUs are worth far more than the sum of their parts, and in today’s economy, that’s a great deal.

Memories of Being Funky Fresh

2009-08-18T19:43:00.008-04:00

This week, The Ill Professors take a trip down Memory Lane, reminiscing on hip hop fashions of old and how much things have changed.

PHILL BOOGIE'S TAKE:

I am a Jersey boy. I grew up in Irvington, Newark, Orange, East Orange to be exact. At that time, my world seemed idyllic. Looking back, it was just your All-American ghetto existence. Lauryn Hill said it best, “Every ghetto, every city and suburban place I've been,make me recall my days in the New Jerusalem.”

I don’t know why I remember this one particular summer day the way that I do, but I am happy to still have this memory. I lived on the corner of Park Avenue and N. Center Street in Orange, New Jersey. My family didn’t do arranged play dates and soccer practice in the summer. Sure, I did a day camp, or two, but mostly my main objective was to go outside.

On this day, going outside consisted of grabbing my kickball and walking down towards the end of N. Center Street where it seemed the kids had more fun. The street was a residential one-way. It wasn’t a wide street and like most city neighborhoods, there were way too many residences crammed onto the block.

Walking towards the heart of the block, I passed Haitian Patrick’s crew, Paul and Portia’s house and Mussy’s place. My destination was this brick stepped, multi-family house where Chris lived. Chris’ mama used to sit on the porch like she was one of us. She’d be doing hair; talking smack and making sure we didn’t get hit by cars.

On this day, the block was hot. Everybody was out. There was double-dutch happening in front of one house. Some kids were playing hide and seek. The older dudes who hung out at the house next door, just sat, smoking herb and messing with the girls. My crew, we played kickball in the middle of the street; cars and windows be damned.

When I drive down Center Street now, I can’t believe that we had the audacity to be kicking balls in this tiny little space. The ball had very few options other than hitting someone’s car, or house window.

But this is what summer was all about.

I remember Lee Jeans, Adidas, jelly shoes and bracelets, neon shorts, gold chains, bamboo earrings and Gazelles. We were living. This is before Carrie Bradshaw rocked nameplate bamboos on “Sex and the City.” It’s before other folks co-opted hip-hop dance and turned it into commercial cheese for shows like “America’s Best Dance Crew.” We didn’t know it, but we were Jazz. We were creating. We were American originals. We didn’t know this, because at the time, we were just poor kids on the block that no one appeared to be paying much attention to.

Boy, were we wrong. Everyone was paying attention.

What I remember most about that day and what makes me smile, is the moment that someone pulled out the oversized boom box. “Planet Rock” boomed out of the radio and in an instant, what was a normal summer day, turned into a block party. Cardboard hit the asphalt. Circles formed around dancers. In that moment there was no better place in the world to be. That is hip-hop.

You can’t recreate, repackage and sell that at Ed Hardy.

RANDY BANDIT'S TAKE:

It was the summer before I entered the seventh grade when I got my first Fila ski sweater. Never mind that I didn’t ski. It didn’t matter, because the sweater was so fly: puffy stripes coming down the arms with crossing stripes at the elbows. I was fresh with my matching white Classics. And like every youngster who suddenly becomes aware of fashion, I rocked that outfit way too much, choosing to even take my class picture in that sweater, officially wearing out welcome on my prized garment.

But those were the days. I used to watch with awe as my older cousin Jimmy would come home rocking the latest Jordans or Nike Trainers. I couldn’t afford those, but I would find something suitable to rock with my Coca-Cola sweatshirt and Guess watch. I would even get a skin fade, blended from the brushed waves to the skin just above the back of my neck, topped off with a slanted Mike Tyson part in the front, just off the center of my head.

Growing up in Mississippi, I didn’t know what the seasons were when it came to fashion. I only knew what kids around me were wearing (or wanting to wear) and what my cousins “up North” were rocking. I didn’t have a magazine to look at that told me what was in style, so I took my cues from people around me. It was all about trying to get that fresh piece of gear that no one around you had, whether it was a Jordan Flight warm-up or a Fila ski sweater. You wanted to be an original, not a carbon copy—which on some levels was a bit of an irony, simply because everyone wanted the same thing, leaving us to individually make our marks with subtle things, like switching up the colorway on a pair of kicks.

Even more, you had to achieve your fashion points without “perpetrating,” which refers to the fact that you could not mix major brands. For example, you couldn’t wear an Adidas jacket and a pair of Jordans—not if you wanted to avoid getting “joned” or made fun of. Everything had to be coordinated, color-wise and brand-wise, without appearing to have tried too hard to pull off the look.

Although my views of fashion have changed a lot since I’ve gotten older, I still stop and smile when I see a kid wearing a Kangol hat, a fat gold chain, and a matching pair of Jordan 1s. That was definitely a funky fresh look back in the day. Nowadays, as I toss on some khakis and a button-up shirt, I still think of ways that I can “flip” even the most business casual of outfits just to squeak out that extra little ounce of swagger.

I guess some things never change.

Vimeo vs. YouTube

2009-08-14T21:49:00.003-04:00

This week, The Ill Professors discuss online decorum and user-generated content sites such as YouTube and Vimeo. As it becomes easier to record, edit and upload video, deciding how and where your content will featured is an important choice.

RANDY BANDIT'S TAKE:

Pop quiz: Which of these sites would you find a video of someone passing gas on a match and nearly killing himself? YouTube or Vimeo? Here’s another one: Which of these sites would you find people looking to engage strictly in artistic creativity and constructive criticism? While some would argue that it depends, the reality is that Vimeo’s community specializes in creating an artistic space that seeks to set itself apart from any other video uploading site.

Just a few years ago, I was a person who watched several TV programs religiously and went to the movies with the frequency of a person who didn’t have a job to go to. Now, I find myself spending more and more time online, and inevitably, I find myself going back to the two above-mentioned websites, but each for different reasons.

With YouTube, I get to watch the great music videos I grew up with. I also get to see Pinky going off on Craig in Next Friday without having to watch the whole movie. In addition to that, I get to see plenty of people embarrass themselves or inflict pain on others all in the name of humor. Sadly, there have been times when I watched a video of someone getting kicked in his family jewels by some kid and replayed it to laugh all over again. Whether a video is serious or for fun, if the comment board is open to the general public, there will be some of the most brutal, sexist, homophobic, racist, and downright ignorant comments anywhere on the Internet. That’s the part that eats me up the most about YouTube—because I accept that people post a lot of mess on there—these cyberbullies who sit in their parents’ basements, hiding behind anonymous handles and ripping everyone and everything to shreds. And that’s exactly why Vimeo is able to survive in today’s Internet video market.

Vimeo is the website for amateur and professional auteurs, people who care about what they post and take the time to consider that they might actually run for office one day and don’t need to have a video of them using the bathroom circulating around in cyberspace. Even the comments left by the majority of the site's participants are overwhelming positive or at the very least constructively critical. In other words, Vimeo is a site for people who enjoy making videos and watching videos that usually underwent some type of non-linear editing.

Why is either site worth mentioning today, though? Well, it has become increasingly easier to upload videos to the Internet with the Flip pocket video cameras, the Kodak zi6, and the multitude of other video cameras that will fit in your front pocket and still shoot pretty decent videos. Add to this group the iPhone 3GS and the Nokia N95, and now you don’t even have to carry around anything other than your phone and still get footage to upload.

So if anyone is pointing a cell phone in your direction and you’re looking like a hot mess, you can guess which site you’ll be starring on.

PHILL BOOGIE'S TAKE:

Last semester, I conducted a lecture on resume writing. I asked students to submit resumes for a summer internship program. Granted, I didn’t expect the freshman that I was teaching to have extensive experience, but I wanted to see how they would represent themselves. I’ve noticed that for many young people, the line between appropriate and inappropriate behavior has blurred.

Most of the resumes and cover letters were good. They all had the same basic work experience an average teenager would have. The one problem with many of the resumes was the email address. “BrownShugah” may not be the email handle you’d want place on top of your resume. I understand the students not being conscious of that faux pas. They live in a time when people will document just about anything and upload it to the internet for the whole world to see. They are part of the YouTube generation.

Since YouTube exploded on to the scene with its social networking built around user-generated video, we’ve seen dozens of similar sites try to duplicate their success. Most people assume that user-generated equals silly, inappropriate, or mostly useless material. It can mean those things, but it can also be used to exchange ideas and help further the use of technology.
Recently, I have begun to explore new ways to showcase and promote creative projects. YouTube is the first place one might consider, but there are others, most notably Vimeo, that cater to those who might be a bit more serious about their content. In some ways, I’d like my students to be more “Vimeo,” than “YouTube.”

Sure, YouTube is an incredible place to find a variety of content, but as you click through many of the videos, you can feel civility coming to a slow death. Some of the content is equal to “ America ’s Funniest Home Videos” getting strung out on meth and living in an alley in downtown San Francisco . It’s a free fall and sadly, we’re nowhere near the bottom.
I believe that people are finally realizing the impact that their online lives have on their real lives. Because of that, cyberspace is beginning to develop “neighborhoods” just like the physical world. Vimeo and YouTube are two different “neighborhoods.” The more we continue to integrate our technology, the more time we’ll spend online. We’ll have to develop a similar consciousness about “neighborhoods” we live in and frequent off and on line.

3 Favorite Books

2009-07-26T21:40:00.003-04:00

This week, The Ill Professors remember E. Lynn Harris. Phill Boogie shares a little bit of his personal experience with E. Lynn ’s work and how it impacted his life. Randy Bandit also wishes to express his respect for Mr. Harris and condolences to his loved ones.

Listen to our podcast on our "3 Favorite Books." This podcast was recorded just before Mr. Harris' untimely passing. The show is dedicated to him.

I’d never had a physical reaction to a book before. I’d always been an avid reader. As a child, I spent many afternoons communing with friends reading Encyclopedia Brown. In high school I moved on to James Baldwin, Malcolm X and Donald Goines. Still, while I had emotional reactions to many of the books that I spent time with, I’d never physically responded.

I moved to Los Angeles a few months after graduating from Hampton University . Saying that I “moved” is actually a generous description of my arrival in L.A. I was a squatter. I had very little money and stayed on the floor of my friends’ apartment. The whole experience was overwhelming. Beyond the ordinary adjustments we all make after leaving the nest, I became increasingly restless with myself as I struggled with my identity.

I wanted to start over in L.A. , but it’s hard to do that when so much of your past, still lingers in your present. I was a popular guy at Hampton . Literally, I was voted “most popular” the week before graduation. I pledged. I was class president. I was “that” guy.

I was also lonely as hell. I was trapped between two worlds. In my public life, I was confident, smart and affable. Privately, I was uncertain.

Instead of starting over in Los Angeles , I found myself having to be “that” guy again. Surrounded by old schoolmates, I was crushed by the weight of expectation of being what I’d imagined people wanted and needed me to be. I didn’t know what it would take to jump start my real life, as opposed to the imagined one I’d created. Oddly enough, it wasn’t some spiritual event that helped pushed me forward. It was a rent payment.

My first apartment in L.A. was a shared three bedroom in a complex called Park LaBrea. Park LaBrea is not cheap. My roommates and I wanted to live in Venice Beach like the cast of “The Real World;” but one look at the then dusty Venice neighborhoods, sent us headed towards greener and too expensive pastures. One night, as I was writing my rent check, I realized that there was no way I needed to be paying this much money to live in hiding.

I came out.

It was a slow process. It started with my roommates and a couple of friends. Still, even after taking that step, I was uneasy. What had I done? I knew that I’d changed the course of my life and wasn’t quite prepared for the consequences. I thought I would be less lonely and freer; but I felt more trapped. I felt exposed and I didn’t have anyone to talk to; at least not anyone who I thought would understand.

My friend Danielle, one of the people whose floor I’d once slept on, recommended that I read a book called Invisible Life, by this guy named E. Lynn Harris. She told me it would help, but I was resistant. I had led a “normal” life I thought. I wasn’t teased, or ostracized and made to feel different in the way that I’d heard most gay men had been. I didn’t think Invisible Life could do anything for me. However, weeks later, I found myself in the bookstore looking for it.

It’s hard to imagine now, but I was actually nervous about picking the book up. What if someone I knew walked up on me? How would I explain? I crept up on the book as if we were playing hide and seek. I went to the store a couple times, before I finally bought it. I went home, jumped on to my foam, eggshell temporary mattress and began reading.

About twenty pages into the book, I’d cried, laughed and gotten an erection. I felt like I’d been under surveillance for the last five years of my life and someone told my story. When I read of his protagonist Raymond’s fear of everyone knowing he’d just had his first gay experience; my stomach was knots. Raymond contemplated the humiliation his family and fraternity brothers would feel. He’s consumed with paranoia and goes as far as considering dropping out of school.

E. Lynn was writing my life.

After reading that one paragraph of Raymond’s morning-after, fear laden regret, I literally threw the book against the wall. I let it sit there on the floor for a while. All of the feelings I had after my first experience came rushing back to me. I too, felt sick the next day. I thought that everyone was looking at me. I was so physically ill; my father had to pick me up from school. It was the flu, I told everyone. I almost did not go back to school the next semester.

After taking a moment to process the idea of not being alone and having what I now knew was a shared experience, I picked the book back up. By the time I finished it a couple hours later, my life was changed. While I can appreciate depictions of gay life that explore the perspective of people who are immersed in the culture, E. Lynn ’s books were more representative of my experience. His books were about the whole person, as opposed to just the individual parts.

I am a man; a black man, an educated black man, a son, brother and writer. I am many things including being gay. E. Lynn ’s work, especially his first two books, examines what it means to be all of those things and the difficulty in finding balance. Invisible Life didn’t give me answers, but it gave me hope. It gave me the courage to be able to write this piece and not be afraid.

E. Lynn Harris will be remembered in many different ways. For some he will be the author who exposed women to the “D.L.” For others he will be a commercially successful author who opened doors. I had an opportunity to tell him how much his work means to me. I’m sure he’s heard this a million times over. Still, he responded like he’d heard this for the first time and was appreciative of my admiration.

We call everyone a pioneer, or a legend nowadays and it’s become a bit pedestrian. Instead, I’ll be more personal and say E. Lynn Harris was a gift. I am thankful that he shared a piece of himself with the world and I hope that his work and life continues to be an inspiration.

~Phill Boogie

To hear more, please visit illprofessors.com and listen to our podcasts on literature, film and music. Subscribe and please leave comments. This article is courtesy of Written Magazine and appears in a special insert honoring E. Lynn Harris.

Awww Sookie Sookie Now: True Blood

2009-07-21T09:51:00.007-04:00

This week, The Ill Professors chop it up on HBO’s latest drama; “True Blood.” Centered on vampires, the show examines the complexities of love and human rights. The show has quietly become a hit. The second season opener drew the largest audience for HBO since “The Sopranos” finale two years ago. Created by Alan Ball and based on a series of novels by Charlaine Harris, it’s one of the best shows on TV right now.

Read our thoughts below and click our link to hear our podcast on “True Blood.”

Randy Bandit’s Take:

To say that True Blood, the HBO series based off Charlaine Harris’s bestselling novels, is just another Vampire TV show is to call The Sopranos just another Mafia show or The Wire just another cop show with drug dealers. In short, True Blood is one of the most provocative shows on right now and is on its way to becoming one of the most watched shows on TV. 3.7 million people tuned in to its second-season premiere. Not bad for a “Vampire” show, and definitely not bad for a fellow Mississippi writer.

For the uninitiated, True Blood is a story based around Sookie Stackhouse, a telepathic barmaid, who is played by Academy Award winner Anna Paquin. If Sookie’s life wasn’t already interesting, add to the plot the fact that there is a Vampire civil rights movement in progress, stimulated in large part by the wide distribution of a Japanese synthetic blood beverage ironically called “True Blood,” which supposedly tastes like crap but keeps Vampires from killing all of humanity.

Of course every Vampire doesn’t want to assimilate, nor do many of the town people feel comfortable in the presence of Vampires. That’s what makes this series so interesting. The idea of a civil rights movement about Vampires taking place underscores the various civil rights movements that have played out or are playing out in American society now. And true to form, there is a religious Right that balances out the Vampires who still prefer to taste of human blood. Metaphorically, the show lends itself to a variety of interpretations, all of them ultimately left to the viewer’s own personal views on the subject matter.

One that is difficult to overlook, however, is the idea of assimilation and what it means to a group that is less than “mainstream.” All of the members of Sookie’s small town represent the diversity in society, while maintaining their individual senses of self. In walks Bill, a Vampire who was made during the Civil War, who seeks to assimilate into the community that was his residence long ago. The duality of being both Vampire and citizen was something never anticipated by W.E.B. DuBois when he wrote about double consciousness in The Souls of Black Folk, but it does raise some interesting issues when one considers being Vampire as a metaphor for being black, immigrant, disabled, or homosexual.

Matters are further complicated by some humans’ sexual attractions to Vampires (people referred to as “fang-bangers”), or their desires to take Vampire blood as a hallucinogenic drug, or even their desires to construct some kind of exploitive relationship with the Undead. In a setting like this, witch doctors, flamboyant short-order cooks, shape-shifters, and intelligent, yet sassy, best friends make the show even more enjoyable to watch.

True Blood, the show not the drink, is a veritable Louisiana gumbo with big, juicy chunks of seafood and a thick roux that smothers the bland rice of less innovative TV programming.

Phill Boogie’s Take:

Alan Ball’s latest creation, the mysterious, witty and sexy drama “True Blood” is an example of what HBO does best. Networks seem to be abandoning scripted programming in favor of low cost reality shows. The scripted dramas that remain are primarily procedurals; the cop, lawyer and doctor shows. HBO understands that audiences like characters. Sure, the plots on “In Treatment” and “Big Love” are stellar, but equally important is the development of the main players. The same applies for “True Blood.”

“True Blood” is essentially a vampiric soap opera. What makes the show special is how it holds a mirror up to the audience; entertaining while making people think. I didn’t catch “True Blood” when it ran last season. All of the first season episodes were On Demand and I decided to give it a try recently. I thought that maybe if I liked the show, I could watch them over a couple weeks. I ended up watching the entire season in one night. I admittedly fell asleep during the last episode, but woke up and finished it the next morning before I did anything else.

The show centers on the relationships between vampires and humans in small Louisiana town. The main character Sookie Stackhouse, played Anna Paquin, meets and falls in love with a vampire named Bill. That relationship is the anchor for the show. While the show gets it right with the character development, it does suffer from “Will & Grace” syndrome. The supposed main character is the least interesting. The most interesting stories and performances come from the supporting cast. Most notably, the black cross-dressing, drug dealing, short order cook, escort, adult website owner Lafayette stands heads and shoulders above the rest.

Addressing social issues surrounding basic civil rights, humans are the majority, the norm. The vampires are a metaphor for blacks, gays, the disabled etc. In the midst of that, it is hard not to recognize Lafayette, played brilliantly by Nelsan Ellis, as almost a third group. He isn’t a vampire (yet) and while he is human, he still is set apart by his size, race, sexuality and demeanor. For me he represents the “Other.” You don’t have to be a cross-dressing escort to connect to that feeling of being stigmatized for being different.

Religion serves as a character in the show and most of the church’s attention is placed on keeping vampires and humans separate. You can’t help but notice the statement being made as the church leaders decry vampires marrying humans. Proposition 8 anyone? Hell, let’s take it back a bit more. It was only in 1967 that the Supreme Court ended all race based legal discrimination on marriage. As you watch the show, you start to wonder how long it will be before the majority loses it’s need to subjugate those who are different.

While the show does make you think, let me be honest...it’s sexy too. This isn’t a docudrama. I watch it for the statements, just as much as I watch it to see Sookie and Bill get it on. There is just enough wit, drama and sex to give the show an energy that never lets it get dull. Alan Ball has this down to a science. He did the same thing with “Six Feet Under.” If you haven’t started watching this show, give it try. You won’t be disappointed.

Go to illprofessors.com to hear our podcast on “True Blood.” Be sure to subscribe to the podcast and leave comments.

Our Five "Favorite" Films

2009-07-14T09:48:00.000-04:00

Listen to the The Ill Professors chop it up on their favorite films. Go to illprofessors.com to hear the podcast and please let us know what your favorites are.

Guerilla Filmmaking

2009-07-07T09:44:00.000-04:00

This week, The Ill Professors chop it up on "Guerilla Filmmaking.' Listen and share your thoughts with us below, or email at illprofessors@gmail.com

Click here to listen!

Michael Jackson Tribute

2009-06-26T18:15:00.007-04:00

Randy Bandit and Phill Boogie are not your average professors. They are the Ill Professors. Their informal (and often crazy) critiques of film, music, and literature bring freshness to stale discussions.

This week, The Ill Professors celebrate the life of Michael Jackson. Simply put, Michael Jackson was the greatest. Michael was more than an a singer. He possessed a quality that tapped into people's hearts and minds in a way that no other entertainer has. His music not only made people dance and sing, it erased color lines. Michael's life, though sometimes tragic, will be remembered for the impact he had on millions of people, over the course of almost five decades.

Click the links below to listen to the three-part podcast and please leave comments. Share your thoughts on Michael's life and career.

Part 1

Part 2

Part 3

Middle-Aged Hip Hop

2009-06-24T10:36:00.003-04:00

The Ill Profs discuss what it means to be too old for the young folks music and too young for the old folks music.

Click here to listen to the podcast.

The Future of Publishing, Part 2

2009-06-10T14:06:00.005-04:00

The Ill Professors continue their discussion on the future of publishing by shifting the focus to the role of Web 2.0.

Click here to listen to the podcast. Let us know what you think. Comment here, or drop us a line on Facebook.

The Future of Publishing, Part 1

2009-06-05T12:25:00.003-04:00

(click here to listen to podcast)

The Ill Professors debate what it means to publish information in the new millennium .

The Films of Spike Lee

2009-04-15T10:15:00.010-04:00

Randy Bandit:
The one thing I appreciate about Spike Lee's films is that he doesn't try to make safe, palatable films for the larger market. Think about those classic Spike movie scenes: the riot scene from "Do the Right Thing," the good and bad hair scene from "School Daze," the rape scene from "She's Gotta Have It," the lesbian impregnation montage from "She Hate Me," Malcolm's prayer in "Malcolm X," Gator's Crack Dance in "Jungle Fever," and the list goes on. Spike's movies are often intentionally uncomfortable, and in a day when people are doing cookie cutter black romantic comedies, feeling that discomfort of characters moving about in unpredictable situations is refreshing--at least, to me.To call him simply a pioneer of modern black film would be an understatement. He pushed envelopes then and continues to push them now. One can't walk into a Spike Lee film and NOT know it's a Spike Lee film. Whether it's his "floating dolly pull" shot or his double shot of both sides (see the trash can go through the window in "Do the Right Thing" or Malcolm hugging Shorty in "Malcolm X"), Spike Lee's films look different. They actually look like art house films, as opposed to blockbuster movies. Even "Bamboozled" felt more like an art house film, although it was shot on DV.If Spike decided to never make another movie, he has more than justified the existence of his canon. I just hope that he keeps giving us that alternative to what's out there. If not him, then who?

Phill Boogie:
We've already discussed "School Daze" and you know it's one of my favorite films. Overall though, Spike is my favorite filmmaker. I won't say he's my favorite director, because my affinity for him goes beyond any technical, or creative craft. I was too young to go see "She's Gotta Have it" in theaters, but I still became very familiar with Spike. He was this young, outspoken black cat who went to Morehouse and I was instantly drawn in.

The era when Spike was at his peak, was a good time for black folks culturally. Music, TV and film were filled with diverse images. You could be socially conscious and entertaining. Folks get on Tyler for dumbing down black cinema, but things were in bad shape long before Madea hit the multiplexes.

We overcame.

All of a sudden, films shifted to examining this stylized black bourgeoisie class where the only problems were finding a man, or trying not to lose a man. We drove Mercedes, lived in mini mansions and worked in professional worlds where everyone was successful and no white people existed.

Spike's movies, though not always great, are always an earnest attempt at being great and I respect that. I never wanted to be "like Mike." Without a doubt though, I wanted to be "like Spike."

New Jack Swing

2009-04-14T16:32:00.007-04:00

Phill Boogie:

Guy. Keith Sweat. Al B. Sure. Bell Biv Devoe. The Boys. Wreckz-N-Effect. Good Girls. Johnny Kemp. Today. Troop. Another Bad Creation. En Touch. BlackGirl. Chukii Booker. Father MC. For Real. Aaron Hall. Portrait. Club Noeveau. Samuelle. Jeff Redd. Color Me Badd. Hi Five. Jade. Christopher Williams. MC Brains...

I blame VH1 for my decrease in productivity. I try not to turn it on when I have things to do, but if any of the above artists' videos are playing, it's mandatory that I stop what I am doing and watch...and maybe dance...and reminisce...and rewind (I have DVR)...and watch again. Keith Sweat does sound a bit like Froggy from "The Little Rascals," but you can't tell me that his first CD isn't a classic. Teddy Riley was the man. New Jack Swing was the ish.

(click pic to hear podcast)

Randy Bandit:

New Jack SwingNew Jack Swing was the soundtrack to my junior high and high school years. It was just something about those beats! Up until that time, I didn't really do many of the newer dance steps. I was stuck in that Kid N Play phase, until I saw Guy pumping across the stage. It was like dance music had grown an attitude.To say that I bought just about everything that Teddy Riley produced would not be an understatement. It wasn't long before New Jack Swing went commercial though. I mean, Michael Jackson let Teddy do almost an entire album. It was good while it lasted, that sweet spot from 1987 to about 1991 or so.But even today, when I hear a new jack swing beat, I feel my shoulders start to pop and my feet start to slide. What do you do when someone pumps Guy's "I Like"? You go with the flow--twenty years later!

Acting Rappers

2009-04-01T13:14:00.008-04:00

(click pic to hear podcast)

Phill Boogie:

I prefer to see trained individuals get rewarded for years of honing their acting skills. That said, there have always been performers who can sing, dance and act. Rappers are no different. Of course, there are some performances by rappers that completely stink up a movie. My only problem with that is, I know there was a talented actor who could have done the role. For a while I was anti-singer/rapper acting. I realized that I was probably more concerned for my friends who were losing roles, than I was about the rappers in films. In truth, I support people trying to live out all of their dreams, rapper, or otherwise. If a producer is offering, then I don't blame them for walking through the door.

Randy Bandit:

In all honestly, it probably started with Will Smith's performance in "Six Degrees of Separation." I think that's when it dawned on me how good a rapper could be if he really applied himself to the craft. Since then, I've been blown away by Queen Latifah (especially in "Living Out Loud"), L.L. Cool J (great performance on "House"), Mos Def (most of anything that he does), Ludicris (he just comes across as genuine), Ice Cube (of course), and now Common. I even like seeing 50 Cent in the right roles. And let's not forget Tupac.

Even though there are some rappers out there doing really good jobs, I do realize that some of them are just THERE taking up good film and displacing more qualified actors. I know there have been a few stinkers out there--and of course there was "Soul Plane"--but most of the major distributed films have decent performances from rappers, if they are casted. When one thinks about what music royalty checks really look like after advances have been recouped, it's no wonder many of them opt for larger and more stable checks.

house music all night long...

2009-03-23T01:06:00.000-04:00

phill boogie:
i partied like it was 1989 last night. colonel abrams, johnny kemp and d train put on a good show. the real party actually happened when the dj was taking folks back. people were acting like they didn't have knee problems (d money) as they hopped around last night.

for a moment it was like being at the zanzibar back in the day. then i opened my eyes and saw people dancing with canes.

good times.

D Train

Johnny Kemp

Colonel Abrams - Look closely for my cameo.

IG'NANT SONGS

2009-03-18T13:25:00.020-04:00

(click pic to hear podcast)

Phill Boogie:
You ever catch yourself singing some dumb song that made you cringe the first time you heard it? That first time you catch yourself singing, you might feel a little shame, but after being beaten into submission by the limited playlist of the radio, you find yourself knowing all of the words. My current ig faves are "Blame it on the Alcohol" and "Diva." I loathe the lyrics, but without fail the volume goes up in my car. I'm not even gonna go into the fact that I can quote Plies like he's a poet laureate. Here's a sample of what I've been singing along to in my car, courtesy of Plies:

If I wasn't married to the streets, it would be you
Your lips, what make you so cute
Love when you poke yo mouth when u mad to,
Save yo numba in muh fone under lil boo
---Bust it Baby

Some of my all-time fave ig songs are, "My Neck, My Back," "Tootsie Roll," "Gangsta Lean," "Barbie Girl," the list could go on. I especially like it when there is a completely unintelligible lyric, for instance, "can you pay my automo-bills?"

I am not proud of this, but it is, what it is. Being fair, the songs aren't ignorant (most of the time). They are more like snack foods with no nutritional value, but who doesn't need a Twinkie a pack of NowLaters now and then.

Randy Bandit:

This morning on the way to work I was listening to the Steve Harvey Morning Show and, as they usually do, they were playing one of the top ten ignorant songs of the moment. This morning it was "Blame It" by Jamie Foxx and T-Pain. Yesterday it was Beyonce's "Diva." Did I change the channel either time? Well, I wanted to--but those beats sank in, and I was bopping my head so hard I had to pull my hand away from the knob. I had been "got." But it didn't just stop there. I went to work still humming those songs. It was just more punishment. Then I came home and heard it again. I was back nodding my head. Go figure.I'd be one of the first people to tell you how much I despise "ignorant" songs, but when T-Pain's "Silver and Gold" comes on, I'm all over the place--and that song, lyrically, is pretty awful. What do you do though?

When you feel the music, you get stuck.Yes, I have much better music on my iPhone, but I guess even in the basement of my mind there is room for something a little less savory. Hell, I still play Uncle Luke's "Scarred" like it came out last week. And don't get me started on Trick Daddy's old classic "You Don't Know Nan."I can't even quote some of these lyrics without putting an advisory sticker up. But I can't seem to let them go. Lil Boosie "Give Me Dat." Oh, man. To save face, I'll stop there. What are your favorite ig'nant songs?

Five Questions...w/Arlen Escarpeta

2009-02-15T20:54:00.005-05:00

One of the stars of this weekend's record breaking #1 flick, 'Friday the 13th," answers five questions for the Ill Professors. If you haven't seen the movie, check it out.

Ill Professors: Favorite Film and why?
Arlen: My favorite film is "Double Indemnity." It's a classic film noir!!! One of the best plots and stories I've ever seen, even though the movie is in black and white.

Ill Professors: Type of character you'd like to play next?
Arlen: I think as an actor, I'd just be happy to be working period. However, if I had my choice I think it would be a lawyer. They're so multi-dimensional and misunderstood, you don't know if they are good guys or bad.

Ill Professors: Who are the top played artists on your iPod?
Arlen: Kanye West, Jay Z, Little Wayne, N.E.R.D., Gym Class Heroes and Lupe Fiasco.

Ill Professors: Does talent still matter?
Arlen: It has to!! Otherwise I really shouldn't be doing this. The reality is that it doesn't matter enough sometime, the business entity of the industry seems to have a lot more relevance than the art.

Ill Professors: Random fact about you that people wouldn't know?
Arlen: I absolutely love spiders!! I have two tarantula's as pets.

Next up for Arlen is "Dough Boys", produced by Preston Whitmore ("This Christmas").

Arlen Escarpeta & Benita Nall @ premiere

The Wire

2009-01-14T10:39:00.011-05:00

PHILL BOOGIE'S TAKE: PASSING WITH HONORS

"The Wire" was TV at its best. Only a handful of show have that sort of magic. In recent years, I believe that "The Sopranos" and "Mad Men" have been the only other shows to reach that level of greatness. It's not just about the writing, or acting. Everyone involved is skilled. The attention to the most minute detail makes the difference.

Unlike, "The Sopranos" and "Mad Men," "The Wire" was virtually ignored by award shows and never received the attention it deserved. I believe I know why that is, but we live in a "post-racial" America now (smirk), so I'll just leave it alone.

Well...I have to say this. Jon Hamm is amazing in his role on "Mad Men," but he's not even coming close to the work

Michael K. Williams did playing Omar. Period.

RANDY BANDIT'S TAKE: PASSING WITH HONORS

"The Wire" has to be the best television show that I have ever watched. Previously, that title had been held by "The Sopranos" and even some of the earlier seasons of "Lost." The funny thing about "The Wire" is that the fourth season had already aired before I decided that I needed to rent season one and see what all of these people were talking about.

I was blown away. In viewing the first season, I fell in love with the fact that the characters were drawn so realistically. The lines between good and bad had been blurred to the point all one could see was different shades of grey. Whether it was McNulty and Bunk going back and forth with curse words to solve a cold murder or a kid catching a conscious about the violence involved in drug dealing or a gangsta Robin Hood who went by the name Omar, it was more than a little intriguing and exciting.

I ended up buying all of the seasons and watching them on my iPhone, often replaying sections that blew me away. In the podcast, I go into a lot more depth about what I loved about the show, but know this, the show was anything but predictable, without being unrealistic.

Now that the show is off the air, I'm left wondering what the next big show will be and wondering if it will ever take me to the level of entertainment that "The Wire" did. Maybe I should take Phill's advice and check out "Mad Men." We'll see.

Boyz N the Hood

2009-01-07T13:10:00.008-05:00

Click pic to hear podcast

PHILL BOOGIE'S TAKE: PASSING WITH HONORS

Who didn't get a little sad when they shot Ricky? "Boyz N the Hood" is a classic. When I saw this film, I expected to just have some mindless fun. I had no idea, I'd leave the theater talking about urban decay. Years later when I moved to L.A., I couldn't wait to get to Crenshaw and to a Fat Burger. Whether you like the film, or not, you can't argue that it cemented an image of South Los Angeles that still resonates today.

RANDY BANDIT’S TAKE: PASSING WITH HONORS
I remember seeing this movie in a packed theater. It was more of an experience than just catching a flick. And like Phill said, you could hear a mouse piss on cotton when Ricky got shot. It was quite an experience—and eons from how I grew up in West Point, Mississippi. I have to admit that the black-on-black murders associated with L.A. scared me when I saw this movie. Back then, my town only had an occasional accidental or natural death, so seeing people pulling out weapons like that on regular street corners opened my eyes to a totally different way of life.

Years later, I would see Cooley High and marvel at the similarities between the two films. I’m thinking that if I saw Boyz N the Hood at an older age, with the benefit of having seen Cooley High first, I can’t say how much different my reaction would have been.

Overall, it was awesome film and ten times better than the films that would soon imitate it.

love jones

2008-12-30T13:10:00.013-05:00

RANDY BANDIT’S TAKE: BARELY PASSING
When I saw Love Jones, I immediately thought two very different things: (1) Man, it’s great seeing young, artistic black people on screen doing their thing, and (2) What in the world is going on with Nina?

The latter question is why I didn’t enjoy the movie. The stuff that she put my boy through was ridiculous, and I can’t think of any intelligent brother who would have gotten back with a sista who went out with his boys to spite him. It just seemed like mess on top of mess, one conflict after the next. And while I know conflict propels plot, the things going on here were just bad decisions stacked on top of bad decisions. That killed it for me.

The soundtrack was hot though, especially Trina Broussard’s cover of “Inside My Love.”

PHILL BOOGIE'S TAKE: PASSING WITH HONORS
There have been plenty 'pretty black people' films - "The Brothers", "The Best Man", "The Wood" etc. To some degree, I think they all were grounded in reality to an extent. I believe "The Best Man" was probably the best of that bunch. "The Best Man" though, was still a commercial flick, with commercial ambitions. Taye didn't really embody the spirit of a writer. Nia Long's B.E.T. producer character was based on farce. A B.E.T. producer would never be pressed about booking an author on a show. The film was fun, but not timeless. "love jones," even with its now obvious flaws, is.

It was a great love story, but when I look at it now, I wonder Darius and Nina really belonged together। Nina needed some quiet time to get her act together. I imagine that if we could see a sequel, they'd be broken up.

Click pic to hear podcast

The Legend of Lauryn Hill

2008-12-16T12:09:00.004-05:00

PHILL BOOGIE’S TAKE:
reading ew.com a few months back, i realized that 'the miseducation of lauryn hill' was released 10 years ago. 10 years? damn.

i would possibly feel better about lauryn not releasing another studio album if someone else had come close to matching 'miseducation...'.

it almost makes sense that she hasn't followed it up. it adds to her legend. could you imagine lauryn being part of this commercial machine now? she'd be fighting for radio play alongside jordin sparks and the jonas brothers.

to put it in context...lauryn hill has one studio release in the past decade and rihanna has had three. mariah's had five. t-pain's on his third. hell, solange has had two releases. that just doesn't seem right.

i remember listening to 'miseducation...' for the first time. i sat on the floor of my living room, pressed play and just sat there, transfixed. i was there for hours. it felt like one of those scenes from old movies, when teens gather around, as a new 45 spins on the record player.

i must've played 'ex-factor' twenty times in a row. i wasn't in a situation like the one she sings about, but listening to her, i knew that she had gone through some things.

sure, there have been some great albums over the last decade, but i i don't think anyone's come close to matching the fire of 'miseducation...'
check out an oral history of the record in
rolling stone.

Click pic to hear podcast

RANDY BANDIT’S TAKE:
Lauryn Hill is one of the most talented artists that I have ever come across, but she has not delivered an album that truly reflects the extent of her talent. And, no, Miseducation was not it. Don’t get me wrong; I jammed it, just like everyone else, but when I really listened to it, I realized that Lauryn Hill was just giving us a fraction of her ability. To be such a talented vocalist, she sings on that album as if she was produced by people who don’t normally produce singers. There was no vocal coach telling her to go for it. She just did whatever it was that she felt, turning in something that would be great if it were done by any other emcee/singer, but for her, was just not enough to cover the bases she exposed in Sister Act 2. The sista could blow, but with Miseducation, she was loose and slack with her approach.

Because that’s all we really have to judge Lauryn by, since the Unplugged fiasco, I have to admit that she’s left a lot to be desired. A Porche should go above 100 mph, and Lauryn’s a Porche. She only hits 55 with that album.

As far as Lauryn Hill having to compete with current radio favorites, I would say that all of that is just a matter of the independent record promoters doing their job. Talent is clearly not the measuring stick for radio these days, and guess what? It never was. The theory is simple: if you hear it a million times, it’ll grow on you and you’ll buy it. That’s business, not art. But Lauryn could easily release an album online that could restore her image. The way I see it, if MF Doom can be constructed from the ashes of Daniel Dumile’s former rap career, then Lauryn Hill can be a phoenix rising from the ashes of her career and show us that Miseducation was just a step in the staircase of her legacy.

The Death of Soul Music

2008-12-09T12:17:00.001-05:00

PHILL BOOGIE’S TAKE:

Remember Michael Jackson carrying Emmanuel Lewis down the red carpet to the Grammy's? Those were the days. I’m not quite sure how he got away with doing that, or how Emmanuel let him considering that according to my research little “Webster” was TWELVE years old.

That was the best Grammy show ever! (Full disclosure: I was a Michael Jackson fanatic!)
In general, award shows seemed cooler and more exciting then. I’d started to think that maybe I’d stopped enjoying them because I’m, um, in my mid-twenties; well, not to far past my mid-twenties. Then it hit me all of a sudden; after watching John Legend selling his Target CD, while sipping Baileys, as Mary J. Blige drove by in a Chevy Malibu with Beyonce in the passenger seat applying L’Oreal. Stars are way too pedestrian now.

Sure. Michael Jackson sold Pepsi. Madonna did too. Whitney sold Diet Coke. That was different. Those commercials were events. Don’t tell me that you didn’t wait around hoping to see Alfonso Ribiero moonwalking into Michael Jackson. Who didn’t shed a tear and light a candle after Michael was carried away in the ambulance after his activator caught on fire? Nowadays, it's all about the commercials and the ringtones etc.

Nowadays, what do we get? We get Mary J. (who I love), dancing in front of a Chevy Malibu. Can we talk? I work in marketing. The process of going from an idea, to application can be and usually is a long and tedious ordeal. People got paid big bucks to match Mary J. with the Chevy Malibu. Okay, let’s take a moment and go to the link below, review the Chevy Malibu and then come back to the blog. I’ll wait.

http://www.chevrolet.com/2008malibu/?seo=goo_chevy_malibu

So, are you thinking what I’m thinking? What in the hell does Mary have to do with the Malibu? Not only do I not see her driving one, she’s not even in the age demo for a car like that. At least I could see Whitney actually DRINKING a Diet Coke. That’s not to say it’s not a beautiful car, it is, but c’mon.

There used to be a time when award shows, "Right On" Magazine and red carpets were almost the only places you saw your favorite star. Between the 19,000 entertainment news shows, celebrity reality shows, clothing lines and perfumes, they all seem a little less like artists and more like employees.

I get it. They're all rich. I'm poor. They're geniuses. For a moment, I just want to concentrate on the artist. I know the word after "show" is "business". I just think it's gone a little too far. There's no more soul (or at least, very little), because we have fewer artists.

Now, we have brands. Walking, talking and singing brands.

(Hypocrisy check: Yes, I have worked in brand marketing for a while, but I really, really do still have soul.)

You know that John Legend is never gonna just grab himself and yell, “Who wants some!?!" Not that I would approve of such behavior, but I like my rock/rap/r&b/easy listening stars to feel like they have the freedom to do so. That's how it used to be to some degree. I mean, I understand that there has always been some give and take when it comes to the business, but there was a time when you could look like the bottom of someone's rusty foot and still be a successful artist. You used to be able to actually use your voice (and real musicians).

It’ll never be that way again, until major artists figure out how to do away with labels and distribute their own music online.

Until then enjoy the six songs on continuous loop on Radio One.

Click pic to hear podcast

RANDY BANDIT’S TAKE:

I can’t remember the exact date that I opted to listen to my iPod over the radio. It was a few years back. Not dissing independent record promoters or record labels operating like their products have no artistic merit, the fact is simply this: unless you turn off the radio, you might not hear any real soul music. Granted Tom Joyner and Michael Baisden cook up a hybrid of soul and new school, I can always count on my iPod when I want to hear Minnie Riperton’s “Inside My Love,” Stevie Wonder’s “All I Do,” or EWF’s “Love’s Holiday.” I listen to the lyrics, the musical arrangements, the unique voices, the vocal arrangements, and the overall quality of the recordings and marvel at how awesome good soul music is. If you don’t believe me, try pumping EWF’s “Fantasy” in your car while cruising down a country road.

My father, on the other hand, might say that true soul music is the rawness of Otis Redding sweating before a crowd of appreciative English fans or Sam and Dave singing the hell out of a song in such a way that stage choreography really doesn’t matter. A trip to Memphis to see the Stax Soul Music Museum will immediately confirm just how far current R&B has fallen from the tree. In fact, the only female singer I can name who is trying to sing her ass off in R&B is Beyonce’, and she’s a far cry from Aretha. As far as the guys go, what can you say when you have a truck load of first tenors who are much better dancers than they are vocalists? Those who are balladeers sound too much like the others before them. Check out Jaheim. That’s just neo-Teddy Pendergrass. Where the hell are the Eddie King, Jr.s when you need them?

Rappers-turned-singers aren’t making the situation any better, with one very notable exception: Phonte Coleman of Little Brother/The Foreign Exchange. He gets both genres well enough to represent with both.

But even Phonte gets no regular play on the radio. Well, at least I have my iPod.

School Daze

2008-12-01T12:27:00.001-05:00

RANDY BANDIT’S TAKE: PASSING WITH HONORS

The first time I saw the brothers of Gamma Phi Gamma walking across the screen, something in me just thought that was the coolest thing. I have since learned that Spike Lee had intended to portray fraternities in a negative light. Even now when I watch it, I think that the Gammas had more fun.

One thing that did not resonate as much with me, though, was the battle of the complexions. I grew up in a small town in Mississippi, and while we used the word “redbone” (as opposed to Wanna-be), we gave love across the board. I guess that’s because I was transitioning into high school, and a fine girl was, to put it mildly, a fine girl. I was even slightly confused at these monikers because Dean Big Brother Almighty was nearly the same complexion as Dap, and there were a few dark “Wanna-bes.” I took it all to mean that blackness is a state of thinking--which is much too deep of a topic to talk about here. One can hear Nader calling Obama an Uncle Tom or Al-Qaeda calling him a House Negro. What does all of that mean, and just how much have our perceptions of ourselves changed throughout the years? (Note: I am a serious Obama supporter.)

That’s what I think this movie is attempting to do on one level: lay bare these conflicting attitudes. On another level, however, I feel that Spike is illustrating the black community in general, using Mission College as a microcosm.

On a personal note, this movie got me amped about attending an HBCU, and when A Different World starting coming on television, many of the things I enjoyed about School Daze were reinforced on a weekly basis. It’s definitely a must-see film. Whether it’s E.U.’s performance of “Da Butt” or the pledging antics of Gamma Phi Gamma or the desire to divest from South Africa, there’s something for most black people in this film--on one level or another.

Click pic to hear podcast

PHILL BOOGIE’S TAKE: PASSING WITH HONORS
I saw “School Daze” at the Castle movie theater in Irvington, NJ. The Castle was one of those grand movie houses that was built sometime in the 40’s, with a balcony and ornate architecture. By the time I was seeing movies there, it was a dump. A relic. I hated going there, but I didn’t have a car and it was in walking distance.

The only time I enjoyed going to the Castle was when it was a film that other teenagers were going to see. For five bucks, you could see up to four movies. My father talks about going to see Westerns when he was a kid for twenty-five cents and being able to stay all day in the theater. In some ways the Castle wasn’t much different.

There were no rules. You had to practically punch someone to get kicked out. Anything less than that was permissible. You’d go in the afternoon; they never listed the proper times of the movies. You’d just watch whatever they put on, in whatever order and then leave four, or five hours later. I saw “Disorderlies,” “House Party,” several “Nightmare on Elm Street” and one of my favorites, “School Daze.”

Usually when I wanted to actually hear a movie, I’d go to another movie theater, but I knew “School Daze” was going to be an event. As dirty as the Castle was, I couldn’t imagine seeing the film anywhere else.

The film came out in an era when kids were conscious and concerned about issues regarding race and politics. Even still, I don’t think I was aware of how much the film would address serious topics. Sitting in the theater watching the film, as it examined Apartheid, hazing, skin color issues etc.; I was stunned by the audience response.

In one instance, Laurence Fishburne’s character is in his dorm room with his girlfriend, a dark-skinned woman. The whole movie, at this point, has been addressing the ridiculousness of dark skin/light skin obsession in the black community. As Laurence begins to kiss this woman, in his dimly lit dorm room, someone yelled, “I can’t even see her black ass!” Half of the theater went to hysterics, yelling more black jokes.

Damn.

I remember think that they were missing the whole point. The rest of the movie, as people shouted dumb things, I kept wanting to say, “you idiot!” The beauty of the moment though, was that I realized how impactful film could be, while still being entertaining.

Granted, I was irritated by the dark skin jokes, but it didn’t stop me from joining in the collective homecoming party that took place when “Da Butt” came on. I wonder if there were any adults in the theater. If so, they had to have been pissed off, as about six hundred kids rose to their feet, doing “Da Butt.”

There’s nothing like teaching undergrads, that makes you feel like a dinosaur. Last week, while discussing an essay by bell hooks, I casually related something in the text to “School Daze.” I immediately noticed the lack of recognition.Yeah, I know “School Daze” was released twenty years ago, but damn, when I was a freshman, I’d seen “Cooley High” and “Sparkle.”I can't teach students at an HBCU, who have not seen “School Daze.” I gave them a good talking to.

We ended up having a discussion about the issues that the film addresses. The conversation was great. They didn't seem to think the light skin/dark skin thing was an issue on campus. Hair is more of an issue. Weave technology has been the great equalizer.My students will know all about G Phi G, Half Pint and Mission College once I’m through. Maybe next semester I’ll have them watch 'House Party.'

Head of State

2008-11-22T12:42:00.004-05:00

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RANDY BANDIT’S TAKE: PASSING
I am always blown away by the similarities between movies and real life. I remember the eerie parallels between Wag the Dog and the latter half of Clinton’s second term after Monica Lewinsky. This movie, while not as spot on, reminds me a hell of a lot of Obama’s rise to power.

First, you had the unlikely, and very thin, black candidate, who found comfort in speaking to large crowds. He placed a premium on being truthful to the people and developed a three word catch phrase that resonated with the crowds: “That Ain’t Right!” (Not quite “Yes, We Can!”)

Then, there were the attempts by his adversaries to try to tie him to seemingly unsavory characters (read: Patrice O’Neil’s role as a drug dealer). It was also implied that Mays had a strong understanding of the history of the government and a respect for the Democratic party itself. In fact, the biggest departure from the movie and real life is that it was Mays, and not Obama, who picked the unlikely, unqualified running mate, although he had his reasons (and the movie was all the better for it).

Ultimately, this movie was a lot of fun, and even though I knew Mays would win, I still got excited when the announcement was made. It didn’t come close to the excitement of Obama winning, but at least the story played out the way that it was supposed to. Although it might be dated now, Head of State is still fun to watch, if only to see how much things have changed since it was released.

PHILL BOOGIE’S TAKE: PASSING
Chris Rock is a genius. His stand-up work is some of the smartest and funniest ever performed. Admittedly, the stand-up brilliance doesn’t always translate in film, but I think “Head of State” comes pretty close.

The idea of hip-hop being used in party with a presidential election was comical in the film, but on some level, there seems to be a statement that this is the voice of a huge portion of America. Fast forward to Obama’s campaign, hip-hop was a major factor in his campaign, and it wasn’t a joke at all.

The best thing about “Head of State” may be its timing. The idea of a black president was enough to hang a comical movie premise on a few years back. Now, that premise can no longer be a punchline.

Oh…this is totally random: I love Robin Givens. She was great in this movie.