http://www.youtube.com/watch?v=V2FxZfPRrAU

KRS One speaks on the N word

 

This is a very interesting subject and one, which my opinion is still forming.  KRS One, talks on a panel (I am unsure of the panels representation and the topic of the event).  Beginning with the analogy of dog meaning rice KRS gives a good brake down of language and how it is conceived and understood by different people.  He has a very deep harsh voice that is well-pronounced and slow in terms of speed.  He raises his hand when taking of the image in one’s head being rice, as if putting it in front of him or showing him it’s there.   There is a slight pause, this allows the words he is saying to be absorbed, but it is more for himself to gather his own words and thoughts.  His confirmation of the meaning of this analogy had him sit back, but still leaning forward with his upper body, and appearing unsure whether it is completely enough, as he nods as he confirms the meaning while pushing his arm out gesturing to you – being the individual who he is responding to, there are some chuckles from the crowd, due to it’s illogic and incorrect in terms of association, but if there is someone who does not speak a language very well, or even a person with dyslexia that muddles up letters, syllables or sounds, they can easily mistake one word for another no matter how dramatically incorrect it might be.  “If I say nigga” there is slight hesitance before this, possibly as he is considering the analogy and understanding and working through the theory whether sub / consciously.  He spells it out to emphasis and clarify the exact word / term of which he speaks.  His head while he says this nods as if in completely agreement with his verdict.  “Yo Nigga wasup, my nigga?” at this point his voice takes on a deeper tone emphasising the question, and “my” is dragged out slightly to stress, that you are mine, meaning we are a unison. His right eyebrow rises slightly as if further posing his question upon them.  This is a greeting many have greeted myself with, and I know their intention is not referring to me as a slave – rather my boy, my friend.  “If we thinking brother up lift meant, love, we joined each other, where is the wrong in that?” his posture straightens as his arms rise to do the action of up lift meant, which is important, as he is emphasising the action of unison and strength, his hand also gestures outwards stressing the we, and head shakes at the end of the question, gesturing wrong, but also saying he does not see the wrong.  From his perspective there is no wrong, as nigga is a word, it’s a word like rice, and it depends upon the speakers intention when saying this word and the receivers perception of this word, the body language and manner in which it is said also plays a major factor, as someone can refer to another in with rude insulting words, but their intention and manner is that of love and honesty. “Bitch nigga hoe…” he looks around as if there is many different phrases and possibilities he can say, and he does say “whatever” emphasising whatever one says to greet another it does not matter as long as they perceive, as it’s intended.  Talking of the respect, he points to his head, repeating himself many times, reordering the words, and shaking his head to emphasis them not seeing the disrespect.  His hand then goes out into the air, with the image of a black man and a tree, but his gaze stays directed towards whom he’s concentrating the answer to.  “That’s linguistics in its simplest form” his hand fingers lye on his thumbs while shaking his hand, like he holds linguistics in his hand, his expression is serious and straight, looking as if it’s very easy to grasp what I am talking o, but also I am explaining it and braking it down so you understand it’s simplest form.  “It’s ridiculous it’s stupid” his voice goes up emphasising the absurdity, his shoulders rise – gesturing why bother, and his hand goes forward – possibly to brush the idea away.  His head shakes refusing the proposal, while his mouth contorts to his left, and briefly he blinks, all subconscious but the blinking in that moment is as if he is trying to clear himself or his vision of this proposed notion.  “None of the linguistic people are stepping up” his hand gestures out towards the ‘people’ saying no one is coming to talk on this matter, his shoulders and upper back straightens slightly from the slouched position, to emphasis coming forward, as one who is willing to come forward would be confident and strong in there opinion and knowledge, and a straight posture with a straight back is body language for confidence and strength.  “Here’s the” his vocal tone increases a little emphasising something else I am throwing down, by using his arm he showing there is a division, and his arm rises to fall as if throwing down the ‘other’ part, his expression is that of a paradox.  “Other part to the argument” his mouth, begins to form a faint open smile, displaying irony.  “We created the term nigga” there is a slight pause, before, as he draws breath, but this pace and clarity of voice is important as it allows the words to sink in.  There is great weight put on we, stressing it’s from our community, not made by an outer body of sorts.  He puts an open hand to his chest, as he is a representative of the community of which h talks for, but to his chest also emphasises his heart, we as in those who are from my community or culture and in my heart in me.  His voice depends to say “nigga” emphasising the words pronunciation, but also the power of his voice and the word, potentially the community he talks of, as his voice represents that community.  His face remains earnest.  “Nigger, could be a racial…” this word I am unsure what he says his spelling out of the word does obliterate any possible confusion between the two words, his head turns to the right showing recognition to the controversy of the word nigger.  Could, is stressed suggesting he is going to interject the view, this phrase must not be used at all, that word I can not make out is probably meaning something insulting, and the pause at the end suggests the word is important.  Going on to affirm that no one should call another African nigger, his voice is very matter of fact, and decicive as if there is an agreement on that, he then says yes I can agree with that that is an insult.  But I wonder if it is okay to refer to another African as nigger – is that acceptable, if your intention is pure and sincere love and this is how it is perceived.  And as the words are so close in terms of lettering and pronunciation does how can one tell whether they are being called with an ‘a’ or ‘er’ and if the intention is pure and respectful does it matter?  He then says, “what if I call myself nigger”

Here he emphasis is on myself, and the spelling of the word, as his finger moves as he spells the word as if pointing out the letters as he says them.  When giving the example his body language means what he says, and his voice depends emphasising the importance of it, as if saying yeah that’s me.  At this point he leans to the side, and back, to then sit forward, as he asks “why are you mad?” his glare intensifies, as if becoming very intrigued into hearing a response, there is a brief pause, as if there could be one.  “I’m not calling you a nigger” this does answer part of my question that you would not call anyone a nigger, and when saying one could say don’t say that to me, he is respectful of their position, to then refer to them as brother sister, but it does bring it back round to it the bracket that it is a word and it depends upon the context and intention when this word is used as to it’s meaning.  “I’m a real nigger, straight up nigger right here” this is said with a sense of confidence, as he seats back, which also suggests an air of belief, and him looking and pointing downward to himself, emphasises “right here”.  “Why are you mad at me?   The person next to him nods very slowly as if beginning to see the perspective and argument.  “If I say I’m a bitch, all my real bitches get together” he says it with a slight smile, expressing some form of release due to his words, but him looking around and the tone suggests it is said with joy and sincerity rather than insulting disgraceful reference, and this is displaced in his voice, as it has an air of kindness.  He stresses I am defining myself with this term, so why should someone else be angry for my definition of myself, for example if he called himself a poet, why should someone else be angry, they may disagree, and state there case of refute, but it is not the arguers decision to label the ‘poet’ with this term.  He emphasises define and myself, as they are the most important words, and he points downward when referring to himself, and to the audience when referring to other people.  “And that then becomes the other argument” he shows this through his arms bouncing in the air, showing the drifting into or connection with the next.  “Do you respect my intelligence?” emphasis being on do you, as it is those that oppose the use of this word that must respect ones decision in defining themselves with this word, after they know it’s history, meaning and association.  His face, takes on a slight frown, as he puts the question to him, as if truly considering whether he is respecting his intelligence.  His voice stresses, “I’m telling you” as he is making the poser of the question and others understand and possibly believe he is not meaning disrespect with the use of nigger or nigga.  He turns to RZA, beside him and gestures while saying “my nigga”, this is done with a clenched fist, softly into his arm, the clenched fist has now got strong associations with ‘Black Power’ ‘Black Unity’ ‘Black Panther’ because of the original salute in the 68’ Olympic games.  This clenched fist is now used as a form of embrace and greeting as one would a hug or hand shake, it symbolising strength and unity, is important in today’s context of it being used within the Hip Hop and Black communities and cultures, as it is greeting and showing someone that unity and strength.  This greeting is doen by to fists meeting together.  KRS then confirms we know this word, and us talking amongst ourselves using it, is fine as we respect each other, and for this he turns to RZA, next to him gesturing between use with his hand, and entire upper body facing him.  But you – here he turns back to the audience addressing the questioner saying you on the outside of our interaction should not be offended, and if you are then you are illiterate in our culture, as in OUR, culture this can be said with respect and sincerity.  Respecting ones intelligence is probably the centre of this argument once it is conceived and accepted that, one does not approach another and refer to them as nigger, but one may refer to them selves and possibly even those from his culture as nigga, certainly himself as nigga or nigger.  One can refer to themselves as nigger, and a person from their culture as ‘nigga’ but they cannot refer to them as nigger (unless they are accepting of this) because that is considered an insult, and that was not the term made by those in their culture.

 

I must assert that I referred to Styles P’s character in the recording about the BET cipher as negro, which is one of the earlier uses of the term, and I am aware that in the 60’s certainly in America their were black people referring to other black people as negro’s.  I should have suggested the character be referred to as nigga rather than negro, as this pronunciation is not said any more.  I took the liberty in assuming Styles P would have said and did mean nigga instead of “figure”, as in other music he has recorded he often uses nigga, but as this was on national TV it needed to be clean.

 

This video is in many ways is a response to Julian Curry’s poem about young men’s use of the term nigger or nigga.  And if the deceased slaves were to hear this term being used by a black person towards a black person, firstly they might not realise (or immediately it would not be easily recognised) it stems from negro the derogatory term used as a reference to slaves, due to the change in syntax, the manner in which it is said, the speakers gestures and the receivers response.  Secondly, it is interesting that Negro the word given to slaves has now been changed and used roughly a hundred years after slavery.  The English language as a whole was forced onto slaves, as was that name, and English has adapted, to how blacks want to speak it, i.e. Creole – Jamaican broken English, and people who speak this form of English also speak standard English, while many Americans or people of English heritage do not understand any other language of any form.  Therefore this word can be seen as an adaptation of English to conform or suit the culture that uses it.  

Definitive Jux – Cipher

http://www.youtube.com/watch?v=ZEYbSivRcsM&feature=related

Definitive Jux – Cipher

 

Beginning with C Rays Walz introducing himself and his peers.  The scene is a small bedroom space, similar to my recording of Jam – Sam and Riff.  “Everyday is a struggle in the battle for asgard” is a reference to an album of the label Def Jux, and so is “the vein will have you stressed out during your labour days”; he merged an album from Vast Air Cold Vein with Aesop Rocks Labour Days.  Which is a good way of introducing the group, which surrounds him, and asserting himself with his words.  At this moment he is slightly hesitant in his deliverance – partly (possibly) because there is no music to guide him, it’s difficult to find your own rhythm and words when improvising with no music – but at the same time it’s liberating especially if one does it enough, it means you have greater say over your timing and rhythm, but the point of the music is not only for the vocalist, it’s the listener and it creates an atmosphere, also it probably means there is more than one party involved in the creation and production of the work, which all depends on the individual and what their creating and intention is for the creation.  This is probably what they’d do for recreation.  Aesop Rock has his hands covering his face as if embarrassed or nervous to be before the camera.  “So remain stay tuned cause this life is only the prelude, when the spiritual grab you, you better have a strong hold on your soul, cause your magic wand could become a broken pole” there is slight hesitancy, and a great deal of awareness of the camera, when there is a camera that intrudes a private space, in a time of recreation it often becomes a little unsettling, especially if there is a group of people in this space.  This is was I figured out earlier on in the academic year, when I filmed myself with my housemates.  It was a different situation but I was the one who had to be the centre of attention in a group of friends where attention is open to anyone and everyone at all times.  I wanted the atmosphere to be as comfortable and relaxed as it could but recorded and as though it’s a presentation of my poetry and they are my audience.  As I was not confident in this happening and I gather they weren’t content with my approach and the idea it fell apart and became silly. 

 

He looks around the room as if he’s receiving inspiration from ornaments in the room.  When referring to “you” he points to the camera, and I presume is talking to the possible viewers of this recording, when talking of the magic wand, he uses his hands to prompt the braking of it.  The music begins and sounds as if it maybe inspiring him to find his rhythm and words, as he references ‘his man’ performing on tracks and sampling spins.   His and Aesop Rocks eyes begin to look back and forth as if waiting for something to happen or be said.  He stumbles with the Keano Reaves, simile, but again his hands prompt his words.  Aesop Rock comes in, possibly noticing something that he can insert into the cipher, or simply noticing that C Rays is not finding his fluency.  I have no idea what they are referring to but one often gets that as you would with in a group of friend’s different ciphers or crews use different ‘slang’ or abbreviations.  Hear the beat drops and his rhythm and words bind, as his hands begin to gesture and reference his words.  Simply throwing out one, liners and images, his enthusiasm picks up possibly because of the interaction as well as the music beginning and setting a steady pace.  He does the actions fingers to lips showing with the line “stone a bark”, switching arms, and saying spin tangle, while switching and sort of tangling his arms.  It’s interesting because at what does ones gestures prompt the words and words prompts gestures.  When looking at my recordings of myself I have noticed that one sometimes comes before the other, and other times they seem to come at the same time. 

This is all in hypothetical speaking, but this is what happening from the creation of their music or possibly while the music is in creation.  His hands jolt up and down for a few lines as if emphasising the drumbeats. The point when he says “and I am still not high enough” sums up the energy, style and general ethos of what he saying for me, unexplainable.  Vast Air cuts in, as the camera zooms in on C Rays Wals, I think it was more of an intervention to get Aesop Rock a chance to spit, as Wals, was of the wall and not giving much of an opportunity for an intersection.  “Life is just a sitcom and you’re just another character for me to spit on” using the line from Wals to begin and find his feet.  Someone creates the spitting sound in the background emphasising his line.  His hand is bouncing up and down, looks more in frustration at not being able to express himself at this point, or as if he is trying to pin something down.  “Just so they could pump these forever CNN fucking devils, into the blood stream, where blood screams and blood vessels and scud missiles get shot out of the mouth” that’s a good example of the images that they tend to create, that which is gritty and abstract.  “Bazooka Tooth” refers to the name of one of his albums, and is a good way of advertising yourself, and also promoting oneself as a character or personality, as that album was an obscene combination graphic, edgy images and scenarios, but also calling himself a weapon that can disarm a tank is possibly more of his intention.  The camera’s focus drifts from Aesop Rock as his peers approve of his rhymes, and the loudest being Wals, who moves his tongue around his teeth as if subconsciously being reminded of something.  “I spark shit, just to start it a little higher, the level is a liar, MCs get shot down from planes in mid twenty two’s, what you fronting for?” here his hands, are gesturing his words, as they rise to beside his head, to then contradict his gesture of there being a level, unless it’s a reference to something, as he then goes on to talk of MCs getting shot down (lyrically, I am guessing their being brought down by himself) he then states why are you lying, this I am guessing refers to those rappers who talk of there street credit and great skills.  He then finishes by stating the claim, as he’s just hungry with an ugly style, enjoying himself, not overstating himself at all. 

 

It then switches back to Wals, who continues on his abstract obscene style.  He refers to them be super galaxy weirdoes, which is a good entrance to make after Aesop’s lyrics and claims.  “I can hear the hit before it comes” refers to the hit of the drums, and takes a simple observation and explodes into more of a prophecy, his eyes, move in the close up when saying “there she goes”, there she blows, I think it’s a reference to the blunt in the back ground.  And the ending is crazy, as there is the image of Vast Air lighting the blunt, which he refers to as the groupie, as it gets past around the ‘circle’, cutting on the line of Mohammed and asking if the mountain can move me is symbolic of the clip. 

 

The blunt at the end is exactly what Lupe Fiasco was referring to as fingers.  And it applies for both the street culture and Hip Hop as it is common in many circles to simply do as they this cipher is, and it’s a form of practice and recreation.  The BET cipher looked and felt a lot more conventional and prepared, where as this cipher was more instant, although this is usually the ethos it varies in environment and situation.   

Styles P., Papoose and Lupe Fiasco – Cipher

http://www.youtube.com/watch?v=8gsKSFzMtiE&feature=related

 

Styles P Papoose and Lupe Fiasco – Cipher

 

The cipher – an important part of Hip Hop culture as it is not necessarily about impressing unless one approaches another with that notion.  A cipher acts as unison, where those who have something to share and receive can do so, and a cipher is not only for rappers or MCs but dancers as well.

 

Styles P

Starting with the name of the channel it is aired, is a direct address and an entrance that allows him to introduce the rappers who make up the cipher.  He uses his arms in rhythm with the music to help show who he is talking of.  Using his arms to show the cipher, by doing a swirling motions, looks interesting as his arms are whirling round in a circle which there is no definitive end or beginning to.  It reminded me of a swirling wind, spiralling upwards, which is possibly created from the angle of the camera at this point.

 

I am constantly aware that it is recorded for television and therefore lacks the energy true authenticity of a cipher also it has probably been shot with a number of scenes and edited for television purposes.

 

Papoose

“Over one hundred soldiers died this month, I drop info, out of one hundred the majority was Negroes” this is a probability, and cleverly put together.  It would good if his face was more visible, be able to see expressions.  Though from what can be made out it’s solemn and serious.  “They still finding human remains at ground zero” that’s a sharp line, and good rhyme, and good entrance to the start of the show.  The camera makes the ‘cipher’ disjointed, as most ciphers are usually close, tight, it could be said it is a reflection of the atmosphere and their relationship or connection.  He does turn to those beside him briefly when replying to his statement about George Bush and ground zero.  This is a good example of what many rappers do and how a lot of rap started, as Papoose gives short, sharp, lyrics that are aimed to keep ones attention, but when doing this sometimes you may need to fill a space and the easiest way of doing that is by bragging or something to that affect.  “Black entertainment Papoose is the best” with this he uses his hands as his flow and rhythm quickens to ensure he is in time with the music for when the next bar comes.  This is also a possible sign of improvisation as he had used awareness and braggadocio when referring to BET and had to adjust his voice for the music, I do it myself when improvising.  As when with Alias 52 west, I was not on point lyrically and was unable to pronounce a word, so I repeated it and followed the musical pattern, this different to Papoose as he released he was out of sync and quickened his rhythm, where as I miss pronounced and repeated, but we both adapted ourselves to follow the pattern of the music. 

  

“Nasarimus, wait till my album drop, he hop up, I clap him in his hip, you can call it hip hop” a play on words that did not stand up for myself, as it is made to have a literal meaning and by hitting someone in their hip they fall which combats them hopping up, but it feels sloppy and more aggressive rather than assertive.  This aggression is clear through his voice, which is clear and forceful important as his movement is limited to moving back and forth, and not seeing his face means no facial expressions.  He plays with the words feet and defeat, and puts his hands to his throat, showing cutting a throat emphasises death of a battle.

 

Lupe Fiasco

“They say the game is the belly of the beast” the entrance slams himself into attention.  And is a metaphor that definitely works for Hip Hop or the street culture. After this line he pauses briefly, holding a slightly crouched slanted position as if hiding his belly, or hiding from the idea of the beast.  “Blunts for fingers” a good play on this concept of street culture, also a good image, which is gesture with his fingers, and the teeth.  His flow and content is the best as it’s fluent and consistent but it is difficult to understand in parts due to his pronunciation.  “Nike Airs for feet, Blasphemy for prayers” taking the most abundant trait of a culture and using it in the metaphor is well observed and has great impact. 

 

Heroin for a son and is married to da streets,

crack pipes for lungs

and he never sleeps

just spies with dice in eyes,

loves life cause he likes when it dies,

with a baking soda soul,

he coughs up pleasure,

clothes made out of dollar bills that’s been sowed together

he knows

he’s clever

jealous, his house

all the liquor that’s poured out goes straight into his mouth

rides around on a stray bullet

with prostitutes, pimps and dope dealers tied to it to pull it

TV in his head

The metaphor is at it’s strongest until the line above.  Referring to marriage he uses his fingers to gesture marriage.  Lupe Fiasco’s expression is more of delight (for his rhymes).  There is not a shot where he looks the camera directly in the face.  This helps the creation of a different energy and force.  Papoose was directed towards the camera, and aggressive.  Lupe kept looking between those beside him, with a slight smirk, as if asking whether they are completely aware of what he’s doing.  “Crack pipes for lungs” his open palms are facing the sky, while he leans back and draws out the word lungs.  This possibly emphases the state one is in when on Crack, a feeling of bliss and a ‘heavenly’ state (hence the palms to the sky), and the lungs is drawn out as to emphasis the word.  “Just dice in his eyes” is a reference to an American street gambling game, and implies he is only thinking about money from the street.  “A baking soda soul, he coughs up pleasure” he forms his hands by his lips to then gesticulate them dispersing from his mouth.  He moves his entire body (which is in shot) in time and rhythm with his words.  This is something I do myself, whether with or without music, when enjoying and feeling the music and or words all of me works in a subconscious unison.  As with Alias 52 west I was in time with the music and felt the music, which was, why I was in time and rhythm but I lacked composure and belief in myself to be assertive and assured with my delivery. 

“He knows he’s clever” he leans to the side, pointing Papoose then his head and looking from the side of his eyes, appears sly and sneaky a trait of this character he talks of, but he also had a slight smirk, like I talked of earlier.  Lupe knows what he is saying is clever, and defiantly includes in some form his peers standing beside him, which is why all of his attention appears to be directed towards them.  This could also be suggested as he briefly points to Papoose when saying he’s clever.  “Jealous, his house, all the liquor that’s poured out goes straight into his mouth” he drinks all the alcohol not doing the tradition of paying respect to the dead, is why his house is jealous.  This ties up loosely with him loving life as he like’s when it dies, as metaphysically his soul has died, and he coughs blood (referring to him coughing up pleasure) because of the drugs he takes, which is one of the few pleasures his soul has.  “Rides around on a stray bullet” is a good image, and followed by those who are tied to it to pull it is humorous if you take it literally, but metaphysically it is precise those street dealers have their hand on the trigger, and are highly influenced by money – which I think is the link with TV.  Doing the gesture of driving brings attention to a street dealer driving around with a loaded gun or even, driving with a gun, that is shot and hit’s the wrong person “a stray bullet”.  I don’t know what “strippers sliding down the legs” represents, but he does the action, and the image is visible but misty, because a stripper sliding down one’s leg is difficult to place.  When finishing he has the same smirk on his face.  He has used more gestures and expressions to emphasis and expresses his sentiments than Papoose and I think than Styles P does.  And in terms of clothing he is the odd one out, also in the middle of the two and the second to rap.  As if they are or portray exactly what his metaphor represents and he is trying to make them understand it.  What is said in his rhymes surrounds him, sandwiching him and acknowledges him but that’s it.

 

Styles P

Don’t call me the ghost no more, call me the phantom

Real brothers love us, street brothers understand him

This is for the man with his hand on his canon

Right at this moment, I know we need atonement

Malcolm is dead, Martin is dead, the gun is the barber

Let me know who want to pattern their head

And I’m back to the clip fill to the top

Ill grill with a bop, police coming through – can’t still a rock

I don’t give a ‘f’ like I wanna die, cause I’m gonna die

You two figure, don’t boo who figure

Wanna play the game figure out who’s who figure

After you do that, figure out who’s true figure

Lot of brothers died of BS nonsense

School of hard knocks, no parent teacher conference

Got to learn the rules real fast move fast

Stand up and mash so they know that you ass

 

The entire verse is in first person, but also applies as a response to Lupe fiasco, therefore Styles, takes on an assumed character.  The definition of a ghost is a dead person who re-appears in spirit form, or a shadow of different dimensions and a phantom is a spirit that can be seen, felt or heard, or if used as an adjective someone appearing to be real but not actually existing.  Let’s say he is referring to Negroes, “real brothers love us street brothers understand him” here his hands and body rocks and moves with each word, by the last word of that line his arms are cradling themselves as if that’s the love coming from the brothers.  ‘Real’ genuine brothers love Negroes, understanding their position and act of the phantom (not existing).  “I know we need atonement, Malcolm is dead, Martin is dead let me know who want to pattern their head” that certainly comes across aggressively when taken literally and if still working in the street metaphor, it also is a contradiction as he says I know we need reparation of some form to then say let me know who wants to die.  His expression when saying this is slightly surprised, as if he did not know what was coming (if it’s improvised he probably did not).  “And I’m back to the clip, filled to the top” he points at his mouth between this and “ill grill with a bop” the clip is a refers to bullets in a gun, but Hip Hop culture refer to their mouths as guns and if that is the case with Styles, he is ready for vernacular triggering. Police coming through, can’t steal me as I’m a rock, at this point holds his hands up and his expression is still that of pleasure and surprise.  “I don’t give a ‘f’ like I wanna die, cause I’m gonna die” here he uses upper limbs precisely pushing them to his left, and then further to his left when saying he’s going to die.  This is said with assurance and matter of fact, and backs up his line of the gun is the barber, and he will pattern heads, this is the Negroes phantom and perspective, those who could have saved us is dead and the reality is now I’m going to die cause that’s what happened to the leaders and that is reality.  At this point the camera shows a shot of Lupe, and he is frowning as if in disbelief of what he’s hearing.  “You to figure don’t boo who figure, want to play the game figure out who’s who figure” this is in reference to Lupe at the beginning of his verse when he said “the game is the belly of the beast”, and the ‘game’ applies to every situation, and you have to play it, therefore he tells him how.  When he details the things of what one needs to find out he uses his hands like blocks, as if sectioning it of, and it is very matter of fact.  Find out the hierarchy or status system, then, work out those who are genuine.  A lot of brother died because of these problems, “school of hard knocks” his hands go across each other drawing a line, saying it’s harsh but that’s the reality and it’s no nonsense hence the deaths.  He shakes his head and upper limbs when saying no parent teacher conference, adamant to ensure one knows the severity and reality of this school.  Saul Williams in Telegram

 

We are discontinuing our current line of braggadocio

in light of the current trend in “realness”. (stop).

As an alternative, we will be confiscating weed supplies

and replacing them with magic mushrooms,

in hopes of helping niggers see beyond their reality.

 

The reality is what Styles P’s character was drawn into, all of the leaders of change are dead, so there is no hope, but I suggest Saul Williams, is saying you must be guide for yourself, change things for yourself, and be an example, one must lead themselves first before they can find a leader or lead others. 

 

“Got to learn the rules real fast move fast, stand up and mash so they know that you ass”, I am unsure of the mean of “so they know that you ass” he slams his right arm down emphasising smash and the authority or stamp one must leave to let others know you mean business. 

 

The ending showing the cipher does not quiet display a cipher as it does not show a forth or two other pairs of feet to complete the circle.  But the sentiment is the cipher is where it first blossomed.  

Daniel Beatty – Duality Duel

http://www.youtube.com/watch?v=BVe2pEZB7VA&feature=related

Daniel Beatty – Duality Duel

 

He has a faint, brief smile, as if he knows what’s about to come and must compose and contain himself.  “There’s a battle going on inside of me, between my well-crafted external persona and an internal force trying to brake free” he frowns as he says inside of me, as if asserting this with the raising of his brow, his head nodes slightly as well, as he stays completely still, moving his head round slowly addressing the entire audience.  He uses his hands, to gesture the two ‘personas’, his hands begin to slide together slightly as if they are about to join, as that is the intention of the poem, but not to be implied yet.  “It’s a battle you see between the nerd and the nigger in me” his left hand turns on it’s side and pushes forward slightly, as if offering something to the audience, but it’s only a small insight at the moment, which is why the gestures remain small.  When saying this his voice is specifically soft and high, emphasising the ‘nerd’, he also has a slight gleeful pleasant expression on his face.  He then uses his hands again to gesture the two personas. His voice deepens significantly with “the nigger in me”.  His eyes widen, a ferocious aggressive facial expression that is emphasised by a confident but subtle nod, he pauses briefly wit this expression as if to allow the image and detail of his words to fully impact.  “Can the nerd and the nigger co exist?” said in a calm, inquiring voice, that’s of the narrator the ‘nerd’.  He then brakes quite smoothly in the second persona the nigger, his body slants to the left and his head turns to the right, while saying ”they goin have to nerd” like a confident, nonchalant, forceful school peer.  His face holds an expression I cannot see due to the camera angle but I imagine it’d be serious.  “But nigger it doesn’t make sense” the nerd in denial and in his pleasant manner refuses the fact of them merging.  This is comical simply because the idea of two persona’s arguing about existing together, but importantly because of his delivery and adaptation of himself into the personas.  “I didn’t spend four years in the Ivy League learning how to think, talk and feel in order to jump into a rage every time they try and kill me” the nerd is logically stating why he cannot be a nigger, he counts the think, talk and feel, senses one has for emotions something a nigger refuses.  Like with the Cipher blog of Styles P, Lupe Fiasco and Papoose, the Negro has no feeling he is a phantom (not existing), because he does not use and poses such emotions.  “The truth is nerd, I always been around, when that poison Ivy bullshit was beating your ass down these strong nigger arms they held you told you not to feel it, gave you time to heel it, and become a nerd again.”  He slips back into the slouched slant, with a forceful voice and attitude.  The ‘nigger’ is the inner strength, while the nerd is thoughtful, emotional and sensitive.  His neck twitches emphasising the characters attitude, and manner, and his arms are curved possibly to emphasis there always there for protection.  “When that poison Ivy bullshit was beating your ass down” his right arm nudges forward a little as if the nerd is standing right next to him, and technically in terms of how he has positioned the two characters he is, his nudging represents the reminder, I am reminding you of why I am here, and is a bit like the child in the playground poking or pushing the ‘nerdy’ kid.  Made a reference of poison ivy, like they are only weakening you, here his face remains stern, and aggressive, emphasising the important traits of the character.  “Told you not to feel it,” said with assurance and force, as he pushes his arm forward again.  That’s important as the arms that keep him strong nudge the nerd so he feels the power of the arms, and why he can refrain from feeling getting ‘beat down’ from the poison Ivy.  “Gave you time to heel, and become a nerd again” important as he is talking to the nerd persona so while he is not feeling he takes the nigger’s traits, his tone of voice is final towards the end, as he reaches the end of the line but also the end of the nerd not being able to feel, and having heel the hounds.  “But nigger” as if to say yes but hold on in a very cool manner.  The dialogue between the to personas of how of how to get publicity is extreme and more for comical effect, but does lead onto the point next point, also this is meant as an internal dialogue therefore getting a smooth progression of the back and forth is important, and the humour is part of each personas characteristic.  “You are more than that cold stony glare, those waddy timberlands and that nappy head” a good image of a well-known stereotype.  His expression is of disappointment when saying this, especially with “and that nappy hair”.  “Aw hold up now” is good, show of interchange between characters, consistency in terms of positioning, timing and the progression of the dialog.  The nerd said before the nigger was too aggressive and he displays it.  His voice dips, with “you in jail” and his hands point down, “burning in a nigger in thug nigger hell” the nerd is being passive, assertive and confrontational.  “Aw shut up nerd you aint heard a word I said” here is the rage that has been slowly building through out the dialog, when saying this he nudges him again, that is in reference to smacking his “well brushed head”, and that’s a reply to the nerd labelling his air nappy.  “Without me there is no you” “no nigger lets talk this thing through” that’s interesting as they are two personas of the same person but this gives it the edge of it being two completely different people and the nerd is scared of the ‘physical battle’ that’s suggested.  His expression changes from anger and rage to fearful.  Emphasising the different characters.  He pauses, as you’d imagine one would in a situation where one is threatened and is fearful. 

 

The nigger begins to breaks it all down for the nerd, his face displays pure rage and aggression, and his arms are know very forceful as they’re pointing and nudging.  “Cause these little niggers in the street they need you, but they think they can’t relate cause you act all removed” that’s with great emphasis on “they need you”, the next part his face screws up as if reacting with discussed and disappointment to him acting removed, but as he says removed his facial expression adjusts and chest is pushed out displaying a possible removed person.  “When the truth is nerd what they are is you” said like he is breaking it down completely, and revealing what he has been hiding or denying.  “No matter how hard you try to deny the way you think talk and feel” going to Ivy league school did not teach him emotions, rather it was a veil for the emotions of his inner nigger, which is he is anger, rage and frustration, as said earlier that rage will keep him in jail and of the headlines, which is why the nerd neglects or disregards those feelings, and they have been tamed so much he is scared of that side of him.  “Your daddy still smokes heroin, your brothers still on crack” said in with an earnest, matter of fact expression tone of voice.  “Your mama is still black” there is no denying or hiding the truth, your mother, where you come from is black, the final blow of the list of realities.  He had a similar ending with his “Knock Knock” poem.  Similar in the sense that it was powerful and he had built it to a fever pitch of intensity.  The ending is good as the nigger finally breaks through and releases the reality and lets out the rage and anger but telling the nerd he must let the nigger in him be free, as that can help to benefit others. 

white boy dance

http://youtube.com/watch?v=V7kATBQ33k4&feature=related

White Boy Dance

The title is a reference with current popular culture – the saying “white men can’t dance”. The quality of the picture is poor but from what can be made out of his attire he comes across as a suburban, ‘Brady Bunch Family’ stereotype. Starting by swaying from side to side gives the impression what one is about to witness is comical because of the stereotypical category he fits, and the comedy will be embarrassment of the performer.  That lasts for a few seconds and most people are probably confused, as the host’s baffled expression.  The music cuts and he carries on the symphony with the trumpet – which one expects since he has entered with the instrument.  It is obviously staged and rehearsed as the music sound controller of the event knows exactly when to cut and the performer knows exactly when to come in. 

 

In the middle of his trumpet rendition there is a voice, which says “yeah” – possibly part of the track, but does suggest he has more attitude and fervor than he first shows, which is expected as it is obviously a TV program before a live audience. 

 

The laughs from the audience suggests little is known on there part what the performer is doing, or to expect, and him braking from the trumpet and into a dance is a complete surprise – as one hears through the crowds screams once he begins dancing.  Even at this point one is unsure of whether to be embarrassed for the performer or not, as he is in rhythm and clearly has rhythm but is doing a hop mixed with a side step move, with his arms flailing in the air – and it still looks geeky, which can be embarrassing if one is not comfortable, but he clearly is therefore all of those stereotypes and clichéd brackets can be pushed aside and one can be entertained.  But part of the entertainment is the unexpected; a geeky ‘white guy’ going from trumpet to a variation of different dance moves all of them of a particular style, culture and very extroverted also doing them very well. 

 

He begins doing a move where he is holding his belt, shuffling, then kicking up his feet to the side.  Here it appears he has a massive grin across his face, and his entire body is moving with the music, important as for the audience to receive an emotion from a performance the performer must at least have a sense of the emotion themselves.  And by the clip of the audience one can see their enjoyment.  He goes form a dance I think was ‘heel and toe’ into a cowboy move.  Each new dance move he does is at the beginning of a musical bar or progression.  This shows he has some form of awareness of music and formats, but also that it was probably carefully put together, as each new dance move has been a progression of how he moves his body, going from a hop mixed with a side step, which is the least connected, but is there as he needs to begin with something completely opposite to static, and playing a trumpet, and that move has a slight connection with the trumpet as it is going up and down like when you pull the horns of a trumpet.  Into a shuffle with his legs kicking out, into the heel and toe, and all of his movement is being directed from his waist / hips region.  Then the cowboy move where there is little adjustment of his body needed and then quite unexpectedly begins to ‘back up’ with his behind, sending him into the running man, which he does with great spring and zest as his legs lift approximately a foot of the floor.  He then dips into a limbo, and at this point there is a member of the audience who rises from his seat where he begins to dance – why?  Is not apparent, one can only assume, he is showing appreciation, sheer enjoyment or trying to make a statement (look I can do that to), I figure it is one of the former, as the audience appears to be joining in the enjoyment of the entertainment with the act.  He then moves into a swirling move (I have not the faintest idea of what it could be) and into a shimmy.  He then brings his body back into its normal postured stance, to begin the Harlem shake, which the crowd erupts in response to.  This is not just with his shoulders, but entire body.  His upper body leans back, from his hips up, and he holds that position until the rhythm syncs back round, his leg even steps to the side, in time with the rhythm.  From here he stretches his legs out and in, jumps in the air doing and landing with the splits switches hands with the trumpet, which he has been holding the entire time, changes the direction while in the position of the splits.  Hops up, jigs back in his starting stance, at which point the music cuts, and he plays the ending with the trumpet.  Immediately after his facial expression, is yeah, how about that?

 

Throughout the performance there was an atmosphere, which he created of what is going to happen, as the host’s expression details.  And from that point there was chemistry between the act and the host.  With this you saw the act ‘back up his behind’ towards him, showing the host attitude, as the host originally came across skeptical.  The acts flamboyance and charisma was a major factor in killing the skepticism of the host but most important of the audience.  This flamboyance was only came to surface once he began to dance, but he finished with the same attitude he danced with.       

eyedea vs brother ali

http://youtube.com/watch?v=obZj6nEWdj8

Eyedea vs Brother Ali Battle @ Scribble Jam

 

Eyedea

The sound and picture quality is poor, but it is viewable.  Eyedea, begins with “eh oi” to quickly gather his rhythm and flow, but also the drop of the beat.  Opening up the battle with “so what your in my crew but still you be the whackest (worst), yesterday he was like come on Eyedea lets practice” is humorous and lets the audience know the position of both Emcee’s, it also shows wit, assertion. 

When he begins his body is moving with the rhythm of the music and words.  He stoops down and shimmies his shoulders, important as you must have attitude and charisma in front of an audience but the intensity of the event is heightened when before an audience which surrounds you and in a verbal battle where you have a set amount of time to deliver extemporised lyrics which are being analysed by both judges and the audience.  His body language towards Ali is straightforward and confrontational, assured Eyedea strides towards him till he is an arms length away before then turning to the crowd when saying the ending of that lyric.  This is important, as it helps the crowds reaction, which is exactly what one wants, it would have been good to see his facial expression as that may have prompted more of a reaction from the crowd.  He then turns and walks away to keep the energy he has flowing, it also allows him to come up with another punch line before addressing him with it.  When saying, “you’re my friend and all but the only way you’ll be me is if you pretend with your dick” he does the hand motions, but his voice, goes higher before deeper and a little more drawn out to emphasises the ending of the line. 

 

Eyedea says, “fuck your rhymes” with power and bass in his voice, but again he turns to the audience and uses his hand by pushing down before Ali – emphasising the lyric, but also it emphasises it to the audience, which is why they may have had that reaction. 

“You need a new testament” hear he waggles his finger before Ali’s face, lecturing and professing to him what he needs.  While saying this Ali is rubbing his face, possibly tactics and or nerves.  Tactics implying you are boring me, you are not doing very well.  

“You’re only dope cause Slug let you in the crew” got a good crowd reaction, and is good awareness of those surrounding him as well – but is a play on the truth, as Slug a member of The Rhyme Sayers Collective (there crew) was the first to be introduced and tour with Ali.  It is a little unclear and shaky as Eyedea stumbles over some words.  At that point he keeps eye contact and himself facing Ali, keeping the tension of the battle and the audience can see into.  Turning and pointing when referring to Slug, was a little difficult and clumsy to get around but there was at least an idea of who or where Slug was if anyone was unsure – though who Slug was is not important.  And the expression on Ali’s face is a smile, which on his part shows humour and he is relaxed enough to enjoy the humour and moment. 

 

“You only sold two copies of your new tape” another punch line, straight after the other, the first was possibly a build up to the second.  He first goes to Ali and point to his face showing two fingers referring to the selling of the tape then turns to the crowd with his fingers, and there is greater emphasis put on the “two copies”. 

 

Eyedea goes back to where h was standing and stoops down saying, and “still I just brake” referring to before the punch line, he finds a way of breaking up each blow, so the rhythm and the flow is not consistent and the lyrics are not consistent but the punch lines have a massive effect on the crowd, especially since the parts in between are complete fillers the crowd and possibly Eyedea are simply waiting for the next punch line.

His finish was not strong, he was in the middle of a delivery, but that is what happens in battles, you can’t be completely sure of the timing of your rhymes. 

The crowd, react to it the most they have all recording, and by Eyedea’s reaction and the way he ended it, with “but wait wait” it was not a good ending.  His expression is what, it happened and I am going to hold my position or ground now – arms folded ready to receive.    

 

Brother Ali

“Rhyme Sayers for life” asserting how he feels about his crew.  Beginning with what do you say to Eyedea, advocates there is respect and possibly nerves.  Coming in strong and quick is important, as he is able to pick up momentum and asserts himself into the battle.  “So what, I am an albino that just grabs the stupid ones while I murder you with rhyme flow” uses weaker points of Eyedea’s lyrics to start his.  His shoulders tense up slightly as if to show there is tension inside of himself surrounding that topic, but then he finishes it of with assurance, to then state

“Thought you would have known

When we drive into Ohio,

That you’d be on the ride home

Knowing that you’re my hoe”    

When broken up as above it is easier to see the rhyme pattern, you can ear it when said, but it is not very clear and is said quite quickly.  He stamps his authority down with that statement, and uses the lyrics Eyedea opened up with to his advantage (Eyedea’s lyrics about practising), he is naturally big with a powerful voice, and through this creates more of a presence, this comes across in his emphasis of “my hoe” and his, body language is brazen, aggressive and confronting.  He shakes his arms quite furiously, which helps emphasis the emotions, but also is in tandem with his flow – and is probably because of his flow.  This gives him the lift he needs as the crowd erupt. 

Eyedea has a great deal of energy and a high voice, and uses this by moving around a great deal, but also by making emphasis on every gesticulation he does.  But Ali’s is gripping due to his power, which you only have to emphasis a limited amount of times.  He mixes the rhymes with suggesting he has fallen of as he did not battle the last person very well, but he says “I can’t tell” and shrugs his shoulders, and is stepping back as he says it, as if to say you have never been that good, that’s why I can’t tell. 

He uses the tape scenario to his advantage, but the build up and delivery was a major influence of the impact.  “At least I got a tape” was emphasised as if at least I am good enough to have one, and he leans in with his upper body when saying this. 

The ending was weak, but at the same time shows awareness and sensitivity to the surroundings.  As host was saying times up, and Ali noticed this addressed him, with “I am sorry” and a hand up.  This is also good as he was really smashing Eyedea and he broke it with a soft, harm and sensitive apology, which if anything only adds and shows more of his character.

The hug at the end shows it is all friendly banter.    

 

Saul Williams – Telegram

http://www.youtube.com/watch?v=tjvVf2PKoV4&NR=1

 

Saul Williams – Telegram 

 

“I’m falling up flights of stairs” is a great image, as it is impossible for one to do but it captured me, also the whole thing is abstract and obscene is it’s a good start.  The delivery of the line was important, as it’s the opening.  He pauses and looks away, keeping a solemn expression, this pause also emphasises the line brake and as a piece of literature the use of punctuation.  “Scraping myself from the sidewalk, jumping from rivers to bridges, drowning in pure air” each line displays himself doing a different physical activity that is more extreme.  The last line drowning in pure air is a powerful metaphor- and leads on to the next line about Hip Hop without a pause, like the others- this brakes the pattern and rhythm he had going but also adds greater meaning to the connecting lines.  He begins to show the images with his hands.  It looks quite natural but his hands begin moving up and around his body when showing the blood on his flesh, and his shoulders curl up as if to show mangled flesh, and then his hands diving and swooping forward showing the stuffing of a bag.  “Over sized record bag” maybe a metaphor for the labels and brackets music and more specifically Jazz and Hip Hop is slammed with.  By now his body has already turned roughly forty-five degrees, and when he shows the “tuber lips” his hands slowly expand showing the swollen lips- and there is a rhythm, which he dictates, his facial expression and vocal tones add to the growing intensity.  “Diamond shredded teeth” he shows with his fingers to then do the action of throwing.  His expression appears engaged and intense, as his eyes squint and entire body moves as a rhythmical unison when doing an action.  “Dissonant chords find necks like nooses” is a great line, and his showing of it is allows one to view the words in action (with a little imagination).  His facial expression shows despair and emotion one would expect to see of someone who is being hung.  All of this is whirling round with abstract images tying them together, but in the bigger picture it is Hip Hop which he is stating is the dissonant chords that find necks and are hanging them, which is “Harlem” who is tied by the rope – Harlem and other communities where Hip Hop began are being strangled, by the music created by it’s own culture, but they are still in complete rhythm and synchronisation with the music.  And damn that loop is tight, not only refers to the loop he has made an image of, and the loops made through music but the loop holding and strangling the culture and communities.  “Nigga’s are gona die, cop car swerves to the side of the road” he throws his hands in and out, and uses them to show the car moving, his body leans to the side as if he is having to move for the swerving car, when referring to the swerving car his facial expression had a moment of surprise – possibly him being in the complete moment of his words and actions. 

 

He scribbles on his hands, and balls them into a fist – while keeping his rhythm and pronunciation relatively clear – this creates the tense atmosphere that the scene he is depicting has – where there is a great numbering of things happening at once and it’s all to much to take in, for it to then calm down as there is someone of authority to control it. 

 

Saul Williams, remains still when repeating “you have the right to remain silent” this is important as his lack of movement may count as the silence, but also it helps the image of person in authority telling you your rights, as he shows little or no facial expression with the repetition. 

 

He then begins with “Telegram to hip hop- stop”, moving his index finger into the air, as if saying I am now talking, and listen.  He turns his head to the side empathising – stop, this then becomes a theme where every time he says “stop” he turns his head his right, becoming a mere nod as he reaches the end of the poem. 

 

The telegram to Hip Hop is in a form a summary of the poem, as he said earlier Harlem is “shaken from a rope but still on beat” and now he says “the ghetto’s are dancing of beat” does that mean as a collective, or they were not on beat in the first place, or am I reading it to literally.  But where he says “the masters of the ceremony have forgotten they were once slaves and have neglected the occasion of this ceremony” ties in well with earlier on when he said (as an emcee) “I can’t wait to play myself at the party tonight, nigga’s are gonna die”, as I saw that as an example of an emcee forgetting why and what they are representing and celebrating.  By this point the turning of his head has became a nod, and it is as if it is in complete affirmation of the words he is saying, rather than telling someone or people to stop.  Through out this ending part he remains still and relatively expressionless, which is good, as he is giving orders in a solemn manner.  He then leans into state, give my regards to Brooklyn – the mother town of Hip Hop as that is where the culture first came together as one and erupted into the underground culture of the eighties in America.     

Def Poetry – Julian Curry – Niggers Niggas & Niggaz

http://youtube.com/watch?v=wD-UpHlB9no

Julian Curry

 

He begins with his head down, and stroking his chin, as if encouraging thought or composing himself before his performance.  To then look up and address the crowd with a loud positive and direct voice. 

He launches into the poem with a start that may not work as well on page but leads into his poem well.  It is certainly for performance, and instantly engages the audience into the poem.  The first time he addresses the crowd- there are laughs and mumbles, as the audience are unsure of how to respond, but he is confident in his actions to ask again- which the crowd respond better to.  To then state straight away “that was a trick question” – humorous and witty, also leads on well to the poem. 

 

When referring to the trick question and the tricky ones, he takes a step back and begins waving his hands in a swirling motion.  This appears subconscious and as if it is to help the rhythm of his words.  I think referring to the trick and the tricky ones is for the performance, as he is able to directly address the audience but this would not be appropriate in all circumstance. 

 

“Nigger’s been past through our families” here his hands are out of shot but he uses his hands by pulling them back. The cancer simile emphasises the inheritance but also gives it a conation of pain, which he shows with his eyes closed, his body bouncing and raised vocals when saying cancer.   “It use to be said by slave masters” his hands come out, and pointedly, as if pushing out into the audience.  “Who weren’t into the business of breeding and dancing -niggers- they only wanted good old feel niggers” here he uses his body well, to show dancing, but there is not to much movement, as this would distract the audience from the poem.  His movement to show the dancing was in his shoulders, neck and hips, keeping his feet planted.  Then referring to what ‘they only wanted’ he voice changes, expressing the harsh reality with despair.  His arms and should come up and over to show the “feel niggers” – but what does this term feel niggers mean?  I think it maybe a refer to the pain of being beaten and having to ‘work’ rigorously there for they would not try to complain or fight for their rights as a human being.  He pauses after saying this, I feel he could have held that pause for a little longer just to allow the feeling for the feeling of what he was saying to have a slightly longer / stronger impact – as then he moves onto a new subject, one of how the “feel niggers would feel” seeing the word nigger being used today.  When this is said it is said with passion – as with the entire poem, it is actually more or less a similar tone to how the rest of the poem is said, and the movement of his body I feel is not necessary it acts as a slight distraction.  But on the contrary, all of these slight movements and very slight pauses he has is his rhythm, which does add to the poem.  It helps the feel of frustration and anger, but these emotions could be better felt through silences after important lines or words and a greater variation in tone.  To me, this feels as if it could be a rap- possibly is a rap.  His hand stretches out- as if doing the notion of feeling, and neck jerks as if in complete agreement with himself, and honestly wondering.  I thought he was using his extended arm to show being on the A’ train, but it extended upwards, then his fingers sprung out with “approximately three o’clock”.  It is probably impulsive, or an action he was meaning to do, but was not timed right.  I often do impulsive movements, it is not something I want to tame, but it is something I remain aware of, I think when reciting a written poem it is good if one can restricted their movements, to when necessary, as this is exactly what has been with their written text, and as in this case one can complement the other and can also become confusing if not concise and seen in the same vein (in terms of expression) as the written text. 

“With any day of the week” his expression is not clear, but he screws his face up, his vocal tone increases and he shakes his extended arm; this is done as if in disbelief and despair.  He then uses his hands to show “great great grandson” – it suggests the notion of a ‘grandson’ being a little child, which is not true in all cases but for his emphasis of the anguish in the poem it is okay.  When talking of the places he moves a little to much and does not need as much and movements, as with “the word that made black families pack up from the south and move north” if said with the same passion and vigour, but less movement, and then aloud for the audience to clap, to then begin again it would have showed greater control- and gain a higher level of attention, as there would have been a slight pause.  Consequently this is difficult to suggest and do, as this energy that he has is being stimulated in part from his movement.  Though, “would he slam…” had a lot of movement before he needed, it showed he had a great deal of energy to release, but also the slight impatience.  Showing slamming someone against the wall, is good, as he has created the seen of being on the train and there are children using -nigger- while the great great grandfather is present. 

It is important that before he shows the slamming onto the wall he says, “would he slam a couple of these BOYS against the wall”.  I was concerned early that referring to a great great grandson as a boy was possibly wrong.  But hear you see why it is done.  He emphasises boys, and these ‘boys’ maybe grown men in reality but in the context they are boys as they have not considered the compound history, meaning and use of the word, therefore they are boys as they are not thinking of there actions or words.       

The position of his body is important, as some of the audience can only see his back, this reduces the impact, and if he was to do the same thing but in the front – instead of to the side, then more could see his expression, which shows hurt and anger.  The use of nigger at the end of every line is important as it emphasises the use and the pain, which is also done through “do you know how I was killed – they murdered me with hot rods of steel – now how do you think this makes me feel-”.  This is important as it is intense from the energy and anger of the performer, but the content is a powerful image. 

 

Instead of going straight away into the next line, I would have paused for a moment, as that was a powerful part of the poem, and the silence allows the image and words to sink in.  By him carrying on with a lower tone it does create a slight contrast with positives and negatives, as he goes on to say “or would he just sit there”.  For this to have greater impact and not feel like a rant I feel it could benefit from a change, such as

Or would he just sit there

and listen

silently, like I do

silently, as we all do.

 

So what do I do?

I go down to Wall Street,

they call it Wall Street

as centuries ago….

 

The line breaks use of punctuation act as silences.  The reason I feel it can benefit from this is it is more concise.  Having it as he does it feels as though it takes longer to get to his point.  Although by saying silently like white people doe it immediately brings up the racial barrier, which is then crushed by silently like we all do.  And by stating why they call it wall street instead of asking if people know is more direct and does not allow for people to wonder into why, although the intensity of his performance and delivery makes it hard to drift, but easier to forget, as it is delivery mostly at one level of expression.

With centuries ago, he turns and uses his arms and body to show this.  Making it completely obvious and certain it was a long time ago.  They rhythm and rhyming of “down on the street, slaves with shackles on there feet, were there to be bought and sold by the fleet shares of Intel” is handled well and emphasised by the pauses and dragging of syllables and words.  He uses his voice well with “where’s my niggers …” as this emphasises the change in character, but the original use of the word.  There is a distinct difference in the two characters referring to his niggers, this is done mainly through accent and tone of voice, but the manner in which he carries himself.  As the first character – the slave master – had a southern accent but an earnest and contained manner.  Where as the ‘street’ nigger, is a confident, less laboured New York accent, with a laid back manner.  While talking about who should be blamed he uses his hands and neck as if he is rapping, I think this is understandable as this is said very rhythmically as if it is part of a rap to music.  It is also apt as he is talking about some of the instigators of the culture that uses nigger and the music. 

 

Saying what he hopes the poem is making the listener do I do not like as is subjects a type of listener, also I feel once it is suggested its impact is not the same, when I heard this part of the poem I did not feel that at all but it made me aware that is not what I am doing and I did not think that was the point of the poem.  I certainly like the rhythm it was delivered in, and the way it lead up to the “I got to go now…” and the movement, the showing of he has to go was controlled, sharp and concise.  The ending is strong and more of a rap, and had great energy.            

 

                        

Def Poetry – dead prez – 4 The Hood

http://youtube.com/watch?v=0LMVjKuBkz0
The manner with which they enter the stage sets presidents for the performance.  Dead Prez are a Hip Hop duo- their music focuses predominantly on racism, critical pedagogy, religion, activism against what they perceive as governmental repression, and corporate control over the media, especially Hip Hop record labels. 

 

Their demeanor on stage is very out spoken, confrontational and cultured.  The culture they represent is Hip Hop, shown in their loose baggy dress, and slight bop in their walk.  Their shouting is not very clear, but shows confidence and immediately reveals their approach.  RBG- a phrase they shouted out stands for ‘Revolutionary But Gansta’ which epitomizes the image they portray, and their stance within their culture and community. 

 

From the first line he shows aggression and anger expressed through his face.  The use of his arm to emphasis ‘you’ and for never.  Also never is said by both on stage, stressing their point, which is then explained.  One being the main recite and the other a backing- is potentially distracting and weakens the impact.  For e.g. suggesting an oppressor “Jeffery O’Dommor or Hannabal Lector” both say this, and are at similar positions on stage, so the viewers focus has to change slightly (more so for the live audience).  The rapper who is reciting is direct and has greater control of his body, and draws the attention because of this, but the rapper walking up and down, is a distraction, it could come across as if he is nervous, or unsure of what to do, though because of their relaxed, directionless entrance onto the stage at the beginning it does not feel awkward or out of place, but still a noticeable distraction. 

 

With ‘Pepsi’, he stumbles; this acts as a small bump, but carries on smoothly, especially with his change in tone for ‘they all fucked up’.  His stumble maybe perceived as- frustration towards the subject he is talking about, as his face is screwed up, and the use of his is direct and pointed arms is like a person lecturing another. 

He counts the drugs on his fingers when referring to them as political parties.  This emphasizes the options available, which he then claims is very similar as they are all bad.  When referring to Marijuana’s political party- they both hold out their arms, and one looks up- as if asking ‘why or how could this be?’.  ‘You really think your vote counts?’ is said with aggression, irony and rhetoric, and he stoops down looking pointedly towards the audience, like he is asking them specifically- he then pauses – this pause I figure is natural, like the entire reciting and performance, it is a sharing of his ‘rap’ or ‘lyrics’, which does not appear re-hearsed, and sometimes it appears as if he is trying to remember the next lyric- as with this pause. 

This is quite similar to myself when reciting something written.  This recital is from a song, and this rap follows the rhythm, but as there is no music it is his own rhythm he is following.  Consequently, the pauses and rhythm is different for many reasons but this means the words might not be subconsciously there as there is no stimulant.

 

When reciting written text from memory I usually subconsciously picture the words or images I am saying, and sometimes the image is blurry or not there, meaning the pause is longer than it should be, and can disrupt, confuse and complicate the poem.  Which is a reason for my dilemma of whether to have paper and even whether to recite something written at all sometimes, but the more I recite a poem helps me to remember it (though this can make me dislike a poem, and lose the connection and enjoyment of it).

He says ‘ask my folk’ a reference to his race, and shows the constant changing in tense, but it also shows the direction, or intended audience (which is everyone, though there are many generalizations, about the government mainly).  His use of hands I do not feel is necessary to show ‘throw they shit out’ as the emphasis from his voice was enough, and the physical gesture clutters the performance, and distracts from the fast moving pace of his words.

 

Showing the hush money is emphasized with his finger to his mouth.  But the impact is his eyes- they widen as he stoops down- it’s as though they tell a story.  He stomps his feet and points up to show ‘big businesses’, that all comes across as one movement or interpretation- mainly because it was natural and smooth.  ‘Money is the president’ he leans back, looks up and closes his eyes- as if looking for a higher purpose to show what money is. 

‘Don’t be porn’s’ he pushes his arms out, and drags out the word porn emphasizing being the one who is pushed out and told what to do.  Then he uses his arms to showing being armed.  His feet stomps on the ground, emphasizing the action of a robbery or threat of some sort. ‘run up on them’  his action is complete with his words, both stating I’m hear and ready to take you on.  With if ‘congress’ and ‘progress’ and ‘process’ they have similar syllables so they sound good together but emphasizes his point.  I do not under stand why he holds his hands up when saying change the process- maybe it is emphasizing what the process currently is, the compromising of those who are in congress. 

‘Talking like that these crackers will call you crazy’ is his own rhythm and rolls of his tongue, and interestingly he rolls his arms at the same time. 

The ending is very strong, as he talks of being called crazy, with a relaxed and calm tone to then say what he claims as crazy.  When refer to Jay-Z  his voice rises his gestures intensify, and also he stays standing in one positions, allowing his words to take ‘presidents’ and his passion and aggression is vented also through his arms and body which move with a slight rhythm.

 

Vintage NEO SOUL

http://www.youtube.com/watch?v=cQLoKQJxjAc&NR=1 Vintage Neo Soul 

Sonia Sanchez 

Sonia begins talking 2:17 minutes

When she says what does it mean to be human?  A major impact is her expression.  Raising her eye brows and turning her head to the side, her hand going up as if to say stop, wait think about that, her hand reminded me of a question marker and it was a question.  Therefore she is using her body to show the text of her words (at least that was what I saw).  “What does it mean to be human after we were enslaved in the place called America”, she shows this with her hands, the gesture of where we are now / where we are know. 

 

From 3:04 minutes

“We didn’t have, the tools to survive” hands turn in, as if trying to find a way of showing the words she is saying.  This is something most people naturally to, express with hands. When doing or reciting poetry it is a naturally thing to express with your hands (certainly for me it is).  She turns and says, “look at us” a very firm tough, expression held on her face as she uses the mayor as an example.  Which shows that giving a talk is similar to free styling / improvising a rap or poem, the difference being you do not have to follow a specific rhythm or be conscious of the way you use your gesture to express yourself, but to come across flamboyant and assured your delivery must be consistent.  

“I don’t mean that in a chauvinistic way” her arms go up, hands turn out and flick in to she herself and us as in her race.  Throwing her arms up and down to express the struggle and building of schools, but when saying “Atlanta most especially” her hands stop moving briefly a to emphasis that she is talking about the city that she is in.  When talking of colors she says it in a rhythmical way, which ‘probably’ came naturally, but that is another reason why a speech can be impacting as if the speaker is relaxed, natural, articulate and expressive in what they are saying, the same with a reciting of poetry even when being read from the page.  She does not only address one side of the audience she swivels and talks to the whole audience, and when she pause her body movements stop, which emphasis the pause as her entire self has paused for that moment. 

 From 4:27minutes

She stumbles slightly when talking and trying to remember the curator’s name.  Whether it was to help her remember or express a thought she put her fingertips to her to her temple, then once said the name released her fingers as if now I have released what was in my head.  Then she corrects herself, as if in a conversation with someone and you naturally re-hear a comment and go back to correct this.  Her hands and her nodding of her head shows the stumbling, and points to \her to express ‘I’.  she closes her eyes (maybe to help clarity of thought), and in trying to remember the occasion she stutters.  She puts her hand out when saying “I had samples of my writing”, as a showing of those samples.  She shows the telegram with her hands as if a title / or heading.  And with report to work, she pauses and her facial expression and hand movement speaks.  The picking up of the glasses case to show her father and express the words “see see see” but she doesn’t do this once or stay in one position, she turns and keeps saying the same thing using the same gesture.  The humorous part is in her voice rather than her words. 

Her hands shows the different components of the outfit she is talks of, and her voice and delivery makes it sound specially.  Saying “I didn’t get there their time” it is her vocal expression and body language that makes her seem proud of herself for being early, and shows herself sitting (like a patient child at a school desk) arms folded on the table.  She shows her case as an example of the telegram and then a hand gesture to show the receptionist telling her to sit down.  Then she scratches her head and throws up her hands in a gesture of I don’t know, and frowns to show her confusion, and shows the heads peeking.  Then she doesn’t just say ‘no, telegram’ but she gives the words character and life, and gestures the telegram and changes her posture to show this. 

 Last Poets, Abiodun Oyewole. 

From 18:01minutes

“Poets now using words for the sake of the sound and the beat.  Not using words for the sake of substance and message, their not taking the word and feeding it life, letting the dead word continue to be dead”

This is an important point, and has to be handled from the point of view why does and is the writer producing this work.  To give the word life when performing you have to have a connection with words and feel the expression and life that you (as the person performing) give the word.  But if the words you are expressing is not written in that light it means when reciting the