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Tha Carter IV might’ve gone straight to No. 1, but the crits haven’t been too impressed, many lamenting that Lil Wayne’s new joint lacks the swaggering strangeness that made Tha Carter III such a phenomenon. (Perhaps not surprising after eight months in Riker’s Island.) But if you’re looking for the old Weezy, Adam Bhala Lough’s ride through Wayne’s world, filmed over six fly on the wall months as III broke wide, offers a deep dose – too deep for Wayne himself, who sued to block the movie after its 2009 Sundance debut. (At this writing it’s still in legal limbo in the States but widely available on DVD elsewhere.) Rambling and disjointed in a good way – style here utterly matches subject – The Carter finds Wayne alternately ensconced in Amsterdam and on the road, pursuing a hazy but remarkably productive creative path that somehow melds constant consumption of pot and “purple” (cough syrup-spiked soda) with a work ethic that would put most performers to shame: mic and mobile recorder are always to hand to catch the couplets Weezy spills readily off the dome (and invariably plays back – he never listens to any rap but his own). Immersed in the idiosyncratic internal rhythms of an artist who seems to live fully in the present and entirely according to his own beat, this insinuating doc burns slowly but builds surely, finding bits of revelation in a stonking live “A Milli”; misbegotten interviews with a poor Dutch journalist who has the temerity to bring up poetry and jazz (the movie’s Dont Look Back moment) and another who asks Wayne to envision his own death; or brief, quiet flashes where you suddenly remember there’s a guy called Dwayne Carter Jr. under all the layers of weirdness and weed.
In 2009, Scott Mescudi aka Kid Cudi released his debut LP, Man on the Moon: The End of Day. A genre-bending album that broke barriers by featuring songs dealing with depression, anxiety and loneliness, it resonated deeply with young listeners and launched Cudi as a musical star and cultural hero. A Man Named Scott explores Cudi’s journey over a decade of creative choices, struggles and breakthroughs, making music that continues to move and empower his millions of fans around the world.
In July 2007 the famous Miles Davis Hall at Montreux was witness to a gathering of the Wu-Tang Clan. With the exception of the sadly deceased Ol’ Dirty Bastard, the whole Clan was present: RZA, GZA, Method Man, Inspectah Deck, Raekwon The Chef, U-God, Ghostface Killah and Masta Killa. Also joining the party were some of their extended family members: Cappadonna, Streetlife and DJ Mathematics. This rare gathering of the full clan took Montreux by storm and got the whole audience on their feet and jumping with a set featuring all their best known hits and classics plus a number of solo tracks, including a clutch of Ol’ Dirty Bastard hits.
Feature documentary that showcases the close-knit ties between the Hip Hop Music community and America's social and political policy in the last 30 years.
A waxwing conducts a ritual on a satellite dish to achieve a spiritual experience. He succeeds. Official video for 'Shadow of the Bird (feat. Waxwing)' by Zuhair Mehrali.
Explores the beginnings of Rap music on the West Coast in the LA area, mostly focusing on Uncle Jamm's Army and Alonzo Williams with the World Class Wreckin' Cru (with footage of Dr. Dre and DJ Yella performing before they created NWA).
Childhood was complicated for Yoshida and he faces Japanese society as an outsider after his return from London alongside his parents. He feels displaced and frustrated, but soon finds new strength through hip-hop. Under the name of SEEDA, he starts to rap and deals drugs to produce his music while surviving in Tokyo. When he realizes that his new life as a rapper can’t simply undo the connections to his family, it’s too late.
A collective born by the love for Hip Hop culture, in one of the most contradictory places of all. They tirelessly seek to foster and strengthen this culture in the region, taking their name all over on Brazil and the world. Facing all kinds of prejudices, together, they persist in the battle to be better for others. Because they believe that culture is not about what we like, but what can really change lives.
1988 marked the year in which the debut album of the Chilean band De Kiruza - Oficial was released, where the single "Algo está pasando" stood out, the first Chilean rap recording.
