connecting*the*dots

Music…

Who Wants To Be An Amerikan
by Aaron Beckum
Vancouver Film School

For my best friend…

Modest Mouse is running a make your own video contest for their song, “Missed The Boat.”

How can this not win?

(via Wooster Collective)

I found this striking mural a few months back while knee deep in my late night Flickr ritual of browsing imagery by contextual navigation of topical tags. As the night wore on I drifted from tags like art to street art to graffiti, eventually resting on Malcolm X.

After staring at the shot for a few minutes, I realized why this particular image struck me — on two distinct levels:

• The mere existence of such a powerful representation of Malcolm X and his words embedded in the public square for all to see
• The absence of his complete representation, both physical and philosophical, due to elemental deterioration over time

In the real world — before the internet created another dimension for the documentation of expression and our collective histories — all atom based elements had a shelf life.

Street art, by it’s very nature, had even a shorter life span.

But here I was, stumbling across this deteriorating, real world representation, frozen in time (at what point in time I have no idea) by someone who made an explicit decision to digitize the real for the sake of posterity.

Without the internet, this work — this message — might have already drifted away from our consciousness.

Speaking of the message, only a few lines of Malcolm X’s quote remained legible in it’s original format. It seemed familiar to me, so I took a few moments to run a Google search of the words I could decipher.

Thanks to the collective participation of people publishing to the internet, within a matter of moments, I was able to piece together the original context of the quote from the mural:

“With every succeeding page, I also learned of people and places and events from history. Actually the dictionary is like a miniature encyclopedia. Finally the dictionary’s A section had filled a whole tablet — and I went on into the B’s. That was the way I started copying what eventually became the entire dictionary.”

Context is knowledge, so I circled back to the image and added the text that would have surrounded the original quote on the wall if the wall were 50 feet high.

The Internet On This Day

Eighty-two years ago today, Malcolm X was born Malcolm Little to Earl Little and Louise Helen in Omaha, Nebraska.

Depending on your company, Malcolm X is often remembered as either an inspiration — an educated, revolutionary, evolutionary force — or an extremist that preached hate.

Without the internet, the latter of these two descriptions could easily edify his legacy for future generations to come.

With the internet, we have context of evolution and truth:

The Early Years In The Nation Of Islam

Debating At Oxford University

Returning From Mecca

A New Direction, Seeing Death In The Distance

The Assassination Of Malcolm X

Paying Tribute

Living In His Footsteps

Our Collective Responsibility

Prior to the internet, the reality of our lives drifted into the annals of time and both the discrete and general narratives of history were crafted by those with the power to publish and distribute knowledge.

Today, we must recognize the importance and responsibilities of living in a digital age.

It is our responsibility that we be vigilant in documenting our knowledge for the serendipitous discovery of our fellow man, both today and years into the future — no matter our focus or industry.

Because if it’s not us taking advantage of this platform, the traditional owners of history will be more than happy to seep into play and stake their claim.

And that would be a wasted opportunity to make his-tory, our-story.

I highly doubt Ron Paul or Chuck Hagel will make it through the Republican primaries, but if one of them were to represent the GOP, I’d have a bunch to think about.

And Dave is right; what’s with the protective, uber-patriotic attitude projected by Wolf Blitzer? Who is he pandering to? Are there really Americans out there that still think that US foreign policy over the past 50 years — particularly policy regarding the Middle East — didn’t in the very least contribute to a perfect storm of blowback on 9/11?

It must be a comfy place to own a world view where the US government operates around the world (and at home) with pure, egalitarian intent.

UPDATE: Ron Paul was asking great questions regarding Iraq prior to Shock and Awe. (h/t to Doc Searls)

I’ve found Hitchens to be a smug, smarmy, pseudo-intellectual asshole over the years, but I couldn’t agree with him more about Falwell.

UPDATE: Pre-whackjob Dennis Miller on Jerry Falwell:

Nashville, Tennessee.

A taste:

Opens tomorrow, May 11th.

‘Hip Hop Project’ is a Long Time Coming
Davey D

[…] “It focuses on Chris Rolle, a.k.a. Kazi, a former homeless youth from the Bahamas who bears the emotional scars of abandonment by his mother. As a teenager, he lived a rugged life on the streets of Brooklyn, but he eventually “found his way,” thanks to hip-hop and a dream of becoming a rapper.

As a young adult, however, Kazi set aside that dream to dedicate his life to helping wayward teens. He launched a mentoring program named the Hip Hop Project, with the goal of getting youngsters to write, record and release a compilation album. Another goal was to get the young musicians to move beyond the all-too-familiar themes of sex, violence and misogyny. Kazi challenged them to dig deep and find their inner voices.

The process became a four- or five-year journey, as Kazi explored the deep-seated issues these teens faced, which went way beyond lyrics. In a recent interview, he explained that most young people lack the confidence to open up and express themselves, instead displaying only anger and a facade of callousness. He soon realized that they had developed callouses to protect the tender parts – their hearts and spirits.

Kazi understood that their lyrics initially reflected the pain resulting from a fatalistic view of life. The album became a secondary concern, as he realized that the kids needed healing to get on with their mental and spiritual development. And while dedicating every waking hour to assisting them, Kazi confronted his own issues over abandonment.” […]

Let’s hope the rumors are nothing more than that.

UPDATE: David is warm to the idea of Disney imagineers coming up with a Downtown Disney fit for Greensboro.

No thanks. Call me old fashioned, but I don’t Disney where I eat.

The Crimson Permanent Assurance, indeed, but younger… and willing to work with their masters while sailing the high seas… and a happy ending?

Arrr!!!

via Tony Herrera (welcome back to blogging, man!)

Larry Lessig of Creative Commons is quite possibly the last person I would’ve expected to have a civil, working relationship with the late head of the MPAA, Jack Valenti.

I was ready to tar and feather Valenti after watching Kirby Dick’s brilliant documentary, This Film Is Not Yet Rated.

Live and learn, I suppose.

Each Sunday, I’m going to spotlight a Hip Hop artist who isn’t a product of the music industry and can’t be cornered into representing the stereotypes that are so convenient for American mainstream media to manipulate.

This week, it’s Dead Prez.

Let’s kick it off with an interview of M-1 by Tao Ruspoli of LAFCO, where M-1 breaks down both his inspirations and his very real decision to make revolutionary choices on a daily basis:

Now stic.man, the other half of DP, who shares an experience from childhood — and the American educational system — that put him squarely on the path of self-determination, self-expression, independence and freedom. Again, brought to you by the folks of LAFCO:

Every revolution needs to be documented, otherwise who would believe that it was ever happening in the first place? Atlanta based photographer, Shannon McCollum, is the man who does just that for DP:

Are you feeling what goes into their work yet? Now, the product itself:

Uh, uh, uh, 1-2, 1-2
Uh, uh, 1-2, 1-2, uh, uh
All my dogs…

[Hook]
It’s bigger than..hip..hop..hip..hop..hip..hop..hip..
It’s bigger than..hip..hop..hip..hop..hip..hop..hip-hop

[M1]
Uh, one thing ’bout music when it hit you feel no pain
White folks say it controls yo’ brain
I know better than that, that’s game
And we ready for that - two soldiers head of the pack
Matter of fact, who got the gat?
And where my army at? Rather attack and not react
Back to beats, it don’t reflect on how many records get sold
On sex, drugs and rock ‘n’ roll
Whether your project’s put on hold
In the real world; these just people with ideas
They just like me and you when the smoke and camera disappear
Against the real world *echos*
It’s bigger than all these fake-ass records
When po’ folks got the millions and my woman’s disrespected
If you check 1-2, my word of advice to you is just relax
Just do what you got to do; if that don’t work, then kick the facts
If you a fighter, rider, biter, flame-ignitor, crowd-exciter
Or you wanna jus’ get high, then just say it
But then if you a liar-liar, pants on fire, wolf-crier, agent wit’ a wire
I’m gon’ know it when I play it

[Hook]

[stic.man]
Uh, who shot Biggie Smalls?
If we don’t get them, they gon’ get us all
I’m down for runnin’ up on them crackers in they city hall
We ride for y’all - all my dogs stay real
Nigga, don’t think these record deals gon’ feed your seeds
And pay your bills, because they not
MCs get a little bit of love and think they hot
Talkin’ ’bout how much money they got; all y’all records sound the same
I’m sick of that fake thug, R&B-rap scenario, all day on the radio
Same scenes in the video, monotonous material
Y’all don’t here me though
These record labels slang our tapes like dope
You can be next in line and signed; and still be writing rhymes and broke
You would rather have a Lexus? or justice? a dream? or some substance?
A Beamer? a necklace? or freedom?
Still a nigga like me don’t playa-hate, I just stay awake
This real hip-hop; and it don’t stop ’til we get the po-po off the block
They call it…

[Hook 2x]

[Repeat 6x]
D.P.’s got that crazy shit
We keep it crunked-up, John Blazed and shit

(*”They call it, call it, call it” -> stic.man*)
(*”Fake, fake, fake records” -> M1*)

More Dead Prez:

• I Believe
• They School
• These Are The Times
• Radio Freq
• Mind Sex
• Hell Yeah

(shot by taoruspoli)

Founded in 2000, The Los Angeles Filmmakers’ Cooperative is a mobile production company based out of a fully equipped school bus. Loaded with digital HD video cameras, 3 editing stations, a portable library, a screening room, and room to sleep 5, the LAFCO bus has seen countless adventures in the United States and beyond, producing dozens of music videos, documentaries, and narrative films.

Click To Play

LAFCO’s clients include Sony Music, Big Imagination Group, JVC, dead prez, The Outlawz, Talib Kweli, Yellowcard, and several others. LAFCO was awarded the Best Editing prize at the prestigious Ann Arbor Film Festival for work on their first feature film, Camjackers.

Can you say dream gig?

National Poetry Month is coming to a close in a few days, but Clement Mallory might have just put it to bed last night with a bang.

With a packed house in the lecture hall of the Greensboro Historical Museum, Clement effortlessly moved the crowd as the emcee of the competition, displaying a rare range of lyrics and emotion, delivered across numerous poems as the judges tallied their results.

But there’s something other than talent that separates Clement from his peers.

While he’s making moves as an up and coming performer, it’s his foundation as a teacher and his Brooklyn born and raised personality that makes his approach unique.

The first half of the show consisted of a teen competition and by any “standard” of a spoken word competition, the kids delivered more poetry than passion — mostly standing behind a podium and reciting their words.

But as a teacher, Clement’s concern was visibly focused on the kids growth as poets, performers and their confidence with their own voice, not their current ability to rock the stage. His realness, casualness and sense of humor seeped from his soul each time he addressed the crowd — whether killing time between acts, giving advice to the kids after the adults slammed or while making connections with his next opportunity through an ill shout out.

Before the show was even half-way through, he had the audience completely eating out of his hands.

In the end, the finals of the adult slam came down to two poets battling it out for the first place prize — Monica Daye and Keith Robinson (A.K.A. The Arsonist). If it were up to me, they both would’ve walked away with top honors.

Click To Play

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Keith Robinson (A.K.A. The Arsonist) ended up bringing home the $250 first prize, but it wasn’t because of this powerful drop. Let’s just say that this Marine veteran of the first Gulf War wasn’t feeling the actions of our current president.

Look for that winning slam on next week’s Lyricist Wednesday.

Another great night in GSO.

A few years old now, but as powerful as ever:

The reporter didn’t correct himself, forgetting to mention that the wall that Banksy addressed actually divides Palestine from itself *not* just Israel from Palestine.

In any event, Banksy went to town with his unique style:

(originally uploaded by FREEPAL)

(originally uploaded by FREEPAL)

(originally uploaded by the walker cleavelands)

He followed up the street art with a more traditional painting of Jesus & Mary unable to get to Bethlehem because of the Israeli wall:

(originally uploaded by FredR)

Classic.

In five days, it’ll be the four-year anniversary of “Mission accomplished.”

Unbelievable.

btw, Steven Connell is amazing.

(direct link to the first pod of the seven part series)

From 2000 to 2003, I lived just down the road from Williamsburg, Brooklyn, first in Park Slope and then Gowanis.

As consistently penetrating as the New York City media is, not once did I even hear a whisper about the toxic issues my former neighbors in Williamsburg have been dealing with for decades now.

Instead, I reveled in the culture. Now I’m thinking, at what cost?

Gotta love that “self-interest” angle of capitalism, eh?

UPDATE: I’m currently watching part 6 of this 7 part series. Be sure to watch it all. It’s beyond disturbing. Greensboro residents are worried about strip clubs? Try living next to Radiac Research Corporation — a nuclear storage facility, where the radiation level can be pick up from a geiger counter flipped on at the front door.

It also resides across the street from an elementary school.

Scary stuff and great reporting.