Wednesday, June 23, 2010
By Scott Tre
The original Predator sits right alongside the original Die Hard in the annals of modern action cinema. Both hold a place of honor as consummate and superb examples of brisk 80's film making. They are compulsively watchable, and that has been key to their appeal. They are part of any true action fans collection and get at least a yearly rotation in DVD players worldwide. That director John Mctiernan could have two such films on his resume speaks to his understanding of the genre. Neither seemed to be conceived as masterpieces but both ended up becoming just that.
Even more shocking is that, given the reverence for the original Predator, the reboot seems to be generating more excitement among fandom than resentment or apprehension. Perhaps it's because, as great as the original is, the story is high-concept enough to sustain a re-imagining. Perhaps more than any other genre, action films benefit from advances in film-making and weapons technology. We are now in an era where directors and screenwriters can conjure up whatever they wish. This has been both a blessing and a curse, but as long as restraint is shown it needn't be a concern.
What stands out most in the new international red band trailer for Predators is the ferocity of it all. It seems fully committed to the Most Dangerous Game motif, with the testosterone overdosed protagonists all sporting thousand yard stares that are meant to cover up fear. A First Blood style spiked booby trap can be seen at one moment. The main characters are not performing black ops in central America like Arnold and his crew. Instead they have been rounded up on a strange planet that serves as a giant game preserve. The only sense of unity among them stems from the mortal danger they all face. They are totally stranded and isolated. Truth be told, their predicament is scarier than the one dramatized in the original.
This may not end up being as influential or beloved as the original, but it most certainly looks to be a high octane offering on it's own terms. My anticipation for this is officially in high gear, even if it is directed by the same guy who made Armored. Predator can never be replaced, but perhaps I can now make room on my shelf for a worthy companion piece (The highly underrated Predator 2 notwithstanding). Expect the critics to be as divided on this one as they were on the original (Roger Ebert liked it, Gene Siskel didn't).
By Scott Tre
True Pop songs rarely move me. In fact, the lead singles off even my favorite artists albums don't appeal to me for one simple reason: The first single is often what the artist and/or label deem to be the most marketable. I've always felt that if you truly want to know what's in an artists soul, you have to wait for one of the subsequent singles. Better yet, buy the album. His most potent work is possibly buried there.
When The Source Magazine gave Nas debut Illmatic the then coveted "5 Mic" designation in the spring of 1994, it caused a slight furor. Much of it revolved around the perception of east coast bias on the part of the burgeoning Hip-Hop media. How could a new and relatively unknown artist from New York receive a level of praise that has eluded even the best and most popular artists from other regions?
Up until that point, the only thing anyone had heard from the album was the Large Professor produced lead single, "It Ain't Hard To Tell", which employed a sample from Micheal Jackson's "Human Nature". The song featured Nasir Jones at his abstract and braggadocios best, but it was nothing that would convert non believers. It was a bit too subdued, courting lyrical enthusiasts almost exclusively. Though dope, it didn't seem to herald the coming of a genre changing album.
My friends and I anticipated the release of the album. We all thought Nas was undeniably dope due to his posse cut appearances and the year and a half old single "Half Time". Still, none of us could fathom that he'd be the new golden boy. He just didn't seem to have that "it" factor. How superficial teenage minds can be when contemplating art.
The local college mix show that we all listened to was the only way that transplanted New Yorkers could get their fix while living in GA. The name escapes me at the moment, but I remember the station being 88.5 and the show being on Sunday nights. They would always debut the best underground Hip-Hop from all over, with the emphasis often falling on the northeast region. Some nights they may even play an exclusive from a Ron G mix tape. On one particular night, that's exactly what they did.
As usual, I kept the my tape on pause in preparation to capture some gems. While getting my clothes ready for school the next day I heard something world changing emanating from my speakers. Almost like the pied piper was calling to me. It was a piano sample, looped in a way that I had not quite heard before. It came courtesy of came courtesy of Ahmad Jamal's "I Love Music". Even with the DJ's incessant yelling, it called out to me. It demanded that I awake out of my drab routine and take notice. It coasted over the peaks and valleys of a plodding boom bap track. "What song is this?" I wondered. "Whatever it is, the beat is dope. Could it be? Yo!"
I ran to my tape deck and hit the pause button. My deck, chomping at the bit like an overeager gunfighter, released the tape and and allowed the beautiful track to leave its footprints. Then, Nas voice came in. I was so excited that I wasn't in the frame of mind to truly take in the words. I just listened. The relatively complex rhyme structure combined articulate enunciation with street slang. Everything formed murky nostalgic pictures. Almost like you were traveling through the recesses of someones mind. Every once in a while a true gem would stand out, like a phrase from a Bible verse:
Born alone, die alone, no crew to keep my crown or
throne I'm deep by sound alone, caved inside in a thousand
miles from home I need a new nigga, for this black cloud to follow Cause while it's over me it's too dark to see tomorrow
That's how each of the verses played. The picture that emerged is that of an introspective soul whose mind wanders well beyond the confines of the high rise project where he lives. We allows his consciousness to wander from one picture to the next. Every now and then, loneliness rears its head and he is brought crashing back down to reality. That would be the black cloud mentioned in the bolded line above. The negative thoughts that obscure the light and stifle ambition. Still the author prattles on. The world doesn't stop, and neither does the authors mind or his memories.
The amazing piano sample embodies the mix of emotions conveyed in the lyrics. At once sentimental and nostalgic, yet somewhat somber and world weary. A feint sense of hope permeates it, which is emphasized by the shout outs that close the song out:
To everybody in Queens, the foundation "It's yours!" The world is yours To everybody uptown, yo, the world is yours
"It's yours!" The world is yours To everybody in Brooklyn Y'all know the world is yours "It's yours!" The world is yours Everybody in Mount Vernon, the world is yours
"It's yours!" Long Island, the world is yours "It's yours!" Staten Island, yea the world is yours "It's yours!" South Bronx, the world is yours "It's yours!" Aight
Nas seems to be encouraging the listener to dwell not on where they are, but dream of where they could be. The world is bigger than your block or your borough. Even though it is directed toward New Yorkers, the message doesn't come off as exclusionary as one may think. I'd like to believe that Nas was imploring his Big Apple brethren to think bigger and more positive.
Now doubt that the title was probably inspired by the phrase made famous by Brian De Palma's bloody opus Scarface. Nas is part of the cult of Montana, but the song itself seems to speak of something a bit more elevated than the base and shallow ambitions displayed in that film. Allusions to New York city drug culture are made (hence the mention of the murderous Pappy Mason), but the culture is not glorified or reveled in. They come of as more of a point of reference. The opening line is a good clue as to where Nas head is at:
I sip the Dom P, watchin' Gandhi til I'm charged Then writin' in my book of rhymes, all the words
pass the margin
The author is fueled by not just by liquor but the life and philosophy of a spiritual leader who sought peace and equality for his people. He considers the duality of man, the ability to indulge earthly pleasures while dreaming of higher things. Not as contradictory as the notion of placing a "positive/conscious" song in the midst of an album that celebrates hedonism and violence. It comes of as more of a meditation. I defy even the most die hard Scarface fan to argue that Tony Montana had quite so much on his mind in his quest to dominate the dope trade.
Producer Pete Rocks of key singing during the hook lends an air of sincerity and earnestness. The incessant cutting of the hook from T La Rocks classic "It's Yours" adds an air of old school celebration. It adrenalizes and sedates, making you feel alive but woozy. The mix of themes and emotions is entrancing. It leaves the listener a bit unsure as to what particular response Nas was aiming for.
The initial response to Illmatic was muted outside of New York. It took a full two years to be certified Gold by the RIAA. It did so just after Nas truly became mainstream with his more radio friendly sophomore release It Was Written. At the time, I considered the muted response to the album as proof of my pet theory that you really had to be from NY to "get" Nas and his music. I can see now how pompous and xenophobic such a perspective was. Music does not belong to the region that spawned it. Truly great art transcends boundaries. This is evidenced by West Coast rapper Fashawn's recent Ode To Illmatic mixtape.
Upon moving back to NY I realized that anyone could love and appreciate "The World is Yours", but for New Yorkers it holds a special significance. It speaks to our conflicted relationship with our city. It illustrates the way dominates our perspective and gives us comfort, but oppresses us in a way that urges us to seek solace elsewhere.
For me, "The World is Yours" is New York, and the most affecting Rap song I have ever heard. it not only represents post golden era New York Rap at its best, but one of our most gifted artist at the height of his power. Nas touched on a feeling that I think even he couldn't really describe if asked. Such is the power of a truly gifted soul. They rarely understand what they posses. The song is the perfect balm for differed dreams, making you ponder your limitations while asking you to be bound by them.
Thanks Nas. Thanks Pete. You affected my world. For that I am eternally grateful.