Author: Alex Winnick

This Monday I will be starting a Hip Hop Workshop with 10^th graders at Ben Carson high school in Detroit. We will be focusing our first session on the song, “Diamonds From Sierra Leone Remix” by Kanye West and Jay-Z. This is an adapted version of the original, “Diamonds From Sierra Leone” on Kanye’s sophomore album Late Registration. As a bonus track, the remix features Kanye’s career mentor, partner and closest friend Jay-Z, and serves as a testament to the continued success of their joint label, Roc-a-fella records. The song’s instrumental appears a third time on a mixtape by fellow Chicago rapper Lupe Fiasco, who adds his own perspective to the theme of Diamonds. All three versions are equally impressive (the joint Kanye/Jay-Z one may reign supreme), but are drastically different in tone and message.

Kanye’s original version revolves solely around his feud with Vibe, a magazine that rated his first album worse than Kanye felt was deserved. He uses the theme of Diamonds to relate to the famous hand sign of Roc-a-fella records, and uses this track practically as an autobiography. This song epitomizes why Kanye West is always the subject of much debate; his unrestrained ego is evident in every single line, but the diction is so well crafted, the flow so well delivered and the word play so intricate that it is impossible not to be a fan of this song. Yes, he’s a self-centered ass, but maybe it’s warranted.

On the remix, however, Kanye takes a much more laudable approach to the premise of the sample. He uses the first verse to explain his inner conflict between perpetuating a loved and enjoyable passion for buying expensive jewelry, and his knowledge that these jewels may conflict diamonds. These conflict, or blood diamonds, are being mined in many West African countries (including Sierra Leone) by men, women and children in war zones. Kanye’s insecurity about this issue candidly shines through his lyrics; it is an extremely critical and horrendous problem, and Kanye is struck with the knowledge he may be funding it. Interestingly, Jay-Z’s verse could not be more different. He adopts the same themes prevalent in Kanye’s original version, rapping about the continued vitality of his record label and his own career. This verse is famous for the lines, “I’m not a businessman/I’m a business, man!/Let me handle my business, damn.” With utter confidence, brilliance and swag, Jay-Z establishes himself as the forerunner of Hip Hop.

Finally, Lupe Fiasco chimes in on this beat, and continues Kanye’s insight into the subject of blood diamonds. He dedicates the entire track to the history and contemporary relevance to the diamond trade, and like Kanye, struggles with his role in the system. He too feels conflicted by the pressure of his culture and profession to flaunt expensive jewelry, even though he is cognizant of the ramifications of the trade. All three accounts merit a listen; while they vary in content they are similar in flow, lyricism and skill.

For years I wrote off anything attached to the name A$AP Rocky, assuming he produced music on the same level as the Meek Mills and 2 Chainz’s of rap. However, his recent album Long.Live.A$AP quells all of my skepticism and distrust. A$AP Rocky’s album is close to being on par with Kendrick Lamar’s Good Kid m.A.A.d City, but falls short in a few crucial areas. A$AP Rocky, despite showing amazing potential with this record, still cannot seem to abandon his common themes of drugs, guns and women, which permeate almost every song he’s ever released. A$AP shines when he is able to circumvent this habit and rap about significant issues. This dichotomy defines Long.Live.A$AP; half of the tracks (mostly those which feature other artists) are so outstanding that they could be considered the top Hip Hop releases of the year, while the other half are downright amateurish. A closer look at a few of the songs better represents the album’s range.

Arguably the most well known track off of Long.Live.A$AP is “F**kin’ Problems” by A$AP, 2 Chainz, Drake and Kendrick Lamar. As 2 Chainz is only useful when used as comic relief in absurd songs, I applaud his feature on this song. The premise is downright ludicrous, and there’s nobody better to perpetuate its ridiculousness than 2 Chaniz. Furthermore, he is deservedly only allowed a few words in the hook, which is arguably too many already. Beyond this, the song allows A$AP, Drake and Kendrick to boast their male dominance and establish themselves, essentially, as alpha males. However, they do so in a skilled and creative way, and it pays off. “F**kin’ Problems” is a catchy, well-versed song that, while most likely will not live longer than a few months, is more than enjoyable for the time being.

After skipping the next track, we arrive at the album’s masterpiece. “1Train,” featuring Kendrick Lamar, Joey Bada$$, Yelawolf, Danny Brown, Action Bronson and Big K.R.I.T. is without a doubt one of the best Hip Hop singles in the past year. This song is easily comparable to “So Appalled” off My Beautiful Dark Twisted Fantasy; both tracks feature a deep and hypnotic beat (Hit Boy keeps his streak going) and a series of superb verses from featured rappers. A$AP takes it a step further and eradicates all choruses from the song; these 7 rappers follow one another without any pause, spitting unbelievably powerful lyrics. This is unsurprising, as Kendrick, Joey and KRIT are considered the three best young rappers in the game at the moment, and bringing them together with such lyrical freedom could only have produced amazing results. Joey, at age 18, is grappling with the prospect of working with artists like Jay-Z, and staying connected to his networks and life at home. He states, “And I’m thinking about signing to the Roc/But my ni**as on the block still assigned to the rocks.” Anchoring this impressive team of MC’s, Big K.R.I.T. reflects on his process of becoming a true artist, powerfully remembering issues from earlier in his life. He recalls, “All I had was rap when all they had was wack/All I wanted was love, all they had was dap.” In my opinion, this is an utterly brilliant line. Considering his initial stages as a rapper, he maintains that he was making real rap music while his competitors were not; he was looking for the confirmation and was not receiving enough of it.

Conversely, the album also boasts songs such as “PMW (All I Really Need).” Standing for pussy money weed, this song offers nothing into A$AP’s abilities as a writer or rapper. The other songs fall under the same category, and are too congested with sounds of gun shots and harsh sexual references to be considered impressive music. Unfortunately, Schoolboy Q’s features appear on these types of songs, but his verses are for the most part much better. There are also a couple songs such as “Fashion Killa,” “LVL” and “I Come Apart ft. Florence Welch” that, while not on the same level as “1Train” are nonetheless excellent. All in all, A$AP is showing a ton of promise with this album, especially considering the unprecedented level of talent he was able to recruit in the form of his featuring artists. However, if he wants to really make a name for himself in the Hip Hop world, he needs to relinquish his juvenile obsession with rapping about girls, guns and drugs. If Long.Live.A$AP is any indication, he is on the right track.

Joining Jennifer Lawrence tonight on Saturday Night Live will be the folk/acoustic band from Denver, Colorado The Lumineers. Growing more popular by the day, The Lumineers have charmed listeners with their catchy, earthy instrumentals and chilling vocals. The band formed after frontman Jermeiah Fraites’ brother died from a drug overdose. In an attempt to cope with the loss, Fraites began writing and performing music with his brother’s best friend. After moving to Denver, the pair met Neyla Pekarek, and the trio formed. The story of the band’s inception translates to their music; most of their songs exude a beautifully dark tone along with a deep and relevant message. Their self-titled debut album “The Lumineers” provides a relaxing, cohesive range of songs, each one worth a listen.

The band is most famous for “Ho Hey,” an endearing love song sung in a chant-like response. This track can stick in your head for days, and is quickly rising the top hits charts around the country. However, the album is much deeper than its single; “Submarines” and “Big Parade,” the two most up-beat songs on the album, elevate the overall tone and add a much needed change in tempo. They contrast this with most of the other tracks; “Dead Sea,” “Stubborn Love,” “Flapper Girl” and “Classy Girls” all embody the folk/acoustic genre. They are slow, melodious and pleasant songs, but each has a distinct sound to it. While the topics vary, each song touches upon human interaction, and specifically love. In essence, this album is one giant love song, and should be listened to as such. I recommend playing this album on constant shuffle; do not worry about where one song ends and the next begins, and allow yourself to become hypnotized by the powerful and soft melodies.

Top Tracks: Stubborn Love, Ho Hey, Submarines and Dead Sea

You’ve been sitting in this chair for five and a half hours. Three trips to the bathroom, one to Pita Pit and two to the vending machine. Five different groups of lecture slides are open, sticky notes are everywhere and a combination of binders, calculators and textbooks are sprawled in every direction. You have just reached the point where you might be able to finish the entire review sheet if you skip dinner, turn it into four days without showering and make your friend (who has officially checked out and won’t stop talking) leave, please. On to the afternoon’s second cup of coffee and time to finish strong.

But wait. I have another solution. Instead of mad-dashing it until 3am, consider taking a few well-timed breaks in your studies. Turn off your phone, dim your computer screen to darkness, close your eyes and breathe easy. Put on the headphones and use these relaxing songs to ease your pain. A quick 3-minute break here and there can go a long way.

To start off, get a little funky. You need something to shake things up, staring at C-tools certainly isn’t the spice you’re looking for. Check out Lionbabe, a hot new group from NYC who brings the 1970s funk into modern house music. Watch the music video if you really need a distraction. https://soundcloud.com/lionbabe/treat-me-like-fire

Next, stay in the city and take a look at Brooklyn-based San Fermin. This group has been getting a ton of play on some popular music blogs, and are about to drop their new album in a month or so. San Fermin has tracks with musicians from the likes of Bon Iver and ACME. Let these stunning vocals and unique rhythm soothe your tension. https://soundcloud.com/teamclermont/san-fermin-sonsick

Now try an alternative to the traditional pump-up jam. This slight re-work of Edward Sharpe’s ‘Man On Fire’ will leave you energized, empowered and glowing. Make sure you close your eyes for this one- actually, go ahead, put your head down for a few minutes – the snaps will wash out all of the stress. https://soundcloud.com/edward-sharpe-mag-zeros/man-on-fire-little-daylight

Finally, open your eyes and enjoy this exceptional live performance. This is Hip Hop at its prime. http://www.youtube.com/watch?v=e0HYp8d-RmE&

Stephen Chbosky’s novel The Perks of Being A Wallflower is one of my all time favorite books. Ever since I heard the rumors (circa 2010) that Emma Watson would be taking on the role of Sam, I was tremendously excited to see the film adaptation of the book. A few weeks ago I ventured to the second floor of the State theater (which, in my opinion, is the most suitable movie theater on the planet for this film) and was mesmerized by gorgeous cinematography, attractive people and a familiar storyline. However, despite these stellar qualities, the film does not barely compare to the book. As an epistolary, the novel’s strongest feature is the insight the reader gains into Charlie’s mind and soul. The narrator’s voice is of paramount importance, and although there is a narrator in the movie, it is much less present and has thus has far less of an effect. I remember reading it for the first time and empathizing with Charlie more so than I have with any other character in a book I’ve ever read. His simplicity- his brilliance- lies in his unique cognition. The language of his thoughts characterizes his genuinely warm heart and his profound struggles to make sense of his world. Without this technique, the film loses a considerable amount of impact.

The film did, however, have a few redeeming qualities the book lacks. The cinematography was impeccable; everything from the lighting to the costumes to the scene transitions was the perfect representation of the book. The pacing also frequently changed, allowing us to identify with Charlie’s scattered mindset. There is an amazing scene in which Charlie’s family is at Church on Christmas, and the scene switches from an up close shot of someone putting a communion cracker on his tongue, to an up close shot of two teenagers putting strips of LSD on their tongues. Visual effects such as this are (obviously) impossible to convey in a book, and thus brought the story to new dimensions. I was surprised to see how the setting changed from print to screen. The book never mentions in which city Charlie lives, but in the movie it is abundantly clear the setting is placed in Pittsburgh. Furthermore, the characters are all in the upper-middle class, as evidenced by their large, lavish homes and expensive parties. This fact is not presented in the book. I was also surprised at the way Patrick’s character evolved in the medium switch. In the movie, he is much more flamboyant, hilarious and charismatic than his character in the book.

There were many other smaller details that make me think the book is far superior to the movie. A quintessential characteristic of Charlie’s is how often he cries- it defines his emotional range and adds a unique element to his personality. However, in the movie Charlie only cries once, and it happens to be in one of the most important scenes of the movie. And the list continues. Too much time is spent on Mary Elizabeth. Charlie’s sister never gets pregnant or has an abortion. Charlie does not have his breakdown during his intimate night with Sam. The relationship between Charlie and his aunt is far too underdeveloped. Even more so, Bill is a minor character in the movie while he is a major, major presence in the book. The scene where Bill invites Charlie to his house at the end of the story is one of my favorites, and it does not exist in the film. Overall, while the movie is incredibly pleasing to watch, and is aesthetically wonderful, it lacks the emotional depth and profundity of the original.

This past Wednesday evening I settled comfortably in an armchair at the Trotter Multicultural Center to see the film Something From Nothing: The Art of Rap. The event was hosted by the student organization Hip Hop Congress, who supplied the perfect atmosphere for movie watching, complete with a roaring fire and popcorn. Having seen the trailer for the film, and feeling blanketed by this wonderful atmosphere, I was excited for the movie to start. About an hour and a half later I exited Trotter, disappointed and barely entertained.

Ice T’s debut documentary film seeks to uncover the methodology and praxis of Hip Hop through a series of interviews with the genre’s pioneers and founders. Instead, the movie turned out to be a cycle of three different elements: large, panning shots of city skylines to establish the scene, a freestyle or a cappella verse performed by a prominent rapper, and Ice T answering his own interview questions. I was struggling to decide whether or not the film was a documentary centered around the evolution and culture of Hip Hop, or an autobiography on Ice T’s life. In the most annoyingly frustrating way, Ice T would offer an answer to his own question before the interviewees could begin speaking, or else, after letting them speak for a moment, connect their responses to his own career. This is a shame not only because few people on the planet actually care about Ice T’s responses to these questions, but also because this movie does succeed in accessing some of the most pivotal and esteemed artists in the Hip Hop world, yet Ice T does not allow them to elaborate. Aside from his interviews with Nas, Eminem and KRS-One, I feel as though I did not gain any understanding of the rappers’ artistic processes and developments.

Interviews range from strictly freestyles to extensive conversations, and from backyards in Beverly Hills to the streets of Brooklyn. A number of artists write a short rap on camera, displaying their abilities to extemporaneously create a verse; while others, like Kanye, choose to perform some of their most well known pieces. Each rapper Ice T interviews discusses either the first moment they entered the Hip Hop world or how they get in the mood to create music. Yet, through all of this, I do not feel connected to the artists in any way; the intimacy a one-on-one interview like all of these is supposed to grant is lost on screen. I gain no insight into the lives of some of my most favorite and idealized artists on the planet, and it is because of this that I scoff at this movie. It is a shame that Ice T wastes these valuable connections by talking over his interviews and asking moronic questions.

The ridiculous melodrama of the film does not help its success, either. Every single interview is preceded by an extra-long shot of a city- an effect that is compelling maybe when used once or twice in a film. However, its overuse, combined with the absurd shots of Ice T silhouetted against a sunset as he says things such as “To me rap was always one of two things; I was either out to drop some knowledge, and give the streets some game, or it was straight up combat.” The simple fact that he says this in the final scene of the movie proves that its subject matter is heavily skewed towards his own life, more so than Hip Hop’s.

This film is irritating because Ice T prefaces it by stating that its purpose is to expose the true art in this art form. Yet it barely scratches the surface, and too much emphasis is placed on artists’ individual experiences, rather than the essence of the culture. Also, some key Hip Hop legends, including Jay-Z, Talib Kweli, Black Thought, Lauryn Hill and 9^th Wonder were all missing from the repertoire. A documentary on Hip Hop seems incomplete without these voices. I also wish he allotted more time to the interviews with Q-Tip, Common and Nas. These are rappers who have the most knowledge to offer on Hip Hop (not to mention the intelligence to articulate it well) and they only spoke for a couple minutes.

To conclude, next time you decide to film a documentary, Ice T, spend less time answering the questions you yourself ask, and more time listening to the artists who have more to offer on the subject. And definitely spend less time changing your outfits- you look flat out foolish in some of these scenes.