EVER found yourself genuinely delighted that someone is happy, despite your opinion of the reason for their happiness?
Like how an attractive damsel would be overjoyed by shedding some kilos, you’d obviously acknowledge her achievement of reaching a personal goal, but in the back of your head know that she doesn’t need the number on a scale to validate her beauty.
That’s how I felt Monday morning, watching highlights from the 91st Academy Awards. It was when legendary film director, producer and writer Spike Lee went to accept his first ever Oscar award for his recent film, BlacKkKlansman.
One of the best films ever to be made, Do The Right Thing, which Spike wrote, directed and produced in 1989 was snubbed by the Academy awards. Earlier this month, speaking to The Washington Post Spike was quoted saying “This is not in any way disrespectful to the Academy, but after Do The Right Thing, I just said ‘you know, whatever award it is, I’m not going to let myself be in a position where I feel I have to have my work validated.”
That quote alone lets us into the pain Spike felt from the 1990 Oscar Awards. On the other side of coin, his elation on Sunday night’s ceremony demonstrates how much the award means to him. And accepted the award with a moving speech.
I have not watched BlacKkKlansman, so I can’t say if Spike deserved the award for that particular movie. But on Tuesday morning I posted on Facebook that Spike is too great to be excited by an Oscar. Without trying to throw shade at the irrepressible director, the point I was merely trying to convey was that great artists don’t need to be certified by the academy institution to sanction their prominence. Especially black artists.
But what stood out for me, was how most of the young creatives on the social site, liked, agreed, loved and even shared the post.
I get why Spike was hurt by Do The Right Thing‘s loss, and why 30 years later, he jumped on Samuel Jackson’s arms like a lil kid, in accepting his award. Think about it, Spike was 32 years-old when the awards that celebrate cinematic excellence took place in 1990, and they had been taking place for more than 60 years. So you can imagine the clout, prestige and significance of a recognition from the Academy to a filmmaker born in the 1950s.
Not to suggest today’s young creatives don’t appreciate or yearn even, for industry recognition. There’s disinterest and distrust towards “honours” from industry gatekeepers. In music and film.
I was my mother’s one year-old sweetheart when Malcom X (also directed by Spike) was in cinemas. I watched the film years later and was astonished to find out that Denzel Washington, who played the US political activist, didn’t take the Best actor award in the 1993 Oscars. Why would I trust them, if they dismally failed to celebrate Denzel’s finest piece of acting?
Young artists don’t trust these institutions. After winning his Grammy last month, Drake gave an acceptance speech that displayed the power that today’s artists have taken from these ceremonies. “We play in an opinion-based sport, not a factual based sport. It’s not the NBA where at the end of the year you’re holding the trophy, because you made the right decision or won the games. Look, if there’s people who have regular jobs coming out in the rain, in the snow, spending their hard-earned money to buy tickets to come to your shows. You don’t need this right here. I promise you, you already won.”
Poignant words from the Canadian rapper on the Grammy stage, basically giving the prestigious music awards a polite middle-finger. And this by the way, is from an artist who a few years ago gave away his own Grammy awards on Instagram to artists who he thought were snubbed.
Social media has allowed artists direct access to their fans. Artists are continuously on the receiving end of affirmation from their followers, reminding them of the real impact their art has. Do The Right Thing grossed over $30 million in cinemas, with a budget of less than $10 million. I wonder how Spike would look at that snub, had the movie came out during the prevalence of social media. The validation that comes with seeing people from around the world, celebrating your work would have some effect on your view on awards. Black Panther director Ryan Coogler, said he appreciated how 2018’s big movie was appreciated by the audience.
While celebrating the Grammy wins of Cardi B, Jay Rock and Anderson.Paak on Twitter, J.Cole mentioned how this moment for them, is bigger than the awards could say.
Of course there are senior citizens in Hollywood who’ve had this thinking long before, like Woody Allen who has never accepted awards from the Academy. “The whole concept of awards is silly. I cannot abide by the judgement of other people, because if you accept it when they say you deserve an award, then you have to accept it when they say you don’t,” said the dodge old man.
I personally don’t have an issue with awards per se, it’s people running these bodies that I have gripe with. Black creatives are always chasing to be recognised by Caucasian-led institutions.
Someone made a point on my post on Facebook that Spike was also celebrating the milestone because of the tireless work he’s done as an activist for the inclusion of black people in Hollywood. I honestly believe it’s through the work done by people such Spike, that Black Panther and even Jordan Peele’s Get Out won Oscars. It’s through the noise he’s been making.
That’s good and all, but do we still need to be making noise about not being appreciated by white people? why should we fight for inclusion into institutions created by Caucasians ? Our generation doesn’t want to live out its blackness through white norms.
THERE’S nun more annoying than a female that raps about being a female who is a rapper. It’s in the ilk of old niggers spitting a bunch of remember raps-rhymes about how they were leaders of the game aeons ago.
Thank rap gods, Noname is neither. She can’t be classified an OG since her latest project, Room 25, is actually her debut album. She released her first mixtape two years ago, the critically acclaimed Telefone.
From the jump, you can feel Phoelix’s influence on this project. Dude has the executive production role in the album and officially features on two tracks. Because of this, the project is more musical than Telefone. It’s kinda bizarre that this is only Noname’s second project.
In the first track Self, she says this project will makes you question your reasoning on religion, relationships and even Kanye. But it’s her second that caught me, where she raps
Mr. Money Man, Mr. Every Day He Got Me
Mr. Wifing Me Down, Mr. Me-Love, Mr. Miyagi
Miscellaneous, Mr. Molly Inside My Sake
Incredible, incredible emptiness in my body
Heaven’s only four-feet tall, I set my ringer to it
Fucked your rapper homie, now his ass is making better music
My pussy teachin ninth-grade English
My pussy wrote a thesis on colonialism
In conversation with a marginal system in love with Jesus
And y’all still thought a bitch couldn’t rap huh?
Maybe this your answer for that good pussy
I know niggas only talk about money and good pussy
The Chicago rapper always spits shit that make you ponder on the extraterrestrial, without forcing it down your throat. Because of her poetry background, Noname always prioritizes the bars, but her Achilles heel is her monotonous flow. She isn’t the overly sexual Nicki Minaj, nor is she rambunctious and hella ghetto as Cardi B, drops bars as a Rapsody but maintains her uniqueness. Her flow is unconventional than most emcees in the industry.
But her music ends up sounding the same, even though it talks to a variety of things. On Ace, with Saba and Smino, Noname holds her own with some of her humorous lines-she has a great sense of humour which always suprises me because she seems a serious individual.
But because of her flow, she doesn’t lure your ear as Saba and Smino’s verse. She sounds dull next to these colourful rappers. This was the song where she flexed about being a dope all-round artist, but it also presented an opportunity for her to show us the ace up her sleeve in terms of flow. But dololo. The Dillaesque beat on Don’t Forget About Me sounds tailor made for Noname’s nonchalant flow.
This is lullaby music and bumping this album on a long drive to the other side of the country would be enjoyable. It’s good music. Every time I hear her rap, my ear itches to hear that old school Chance The Rapper. This is probably because Chance introduced the world to Noname.
On Montego Bae with Ravyn Lanae, she sounds like a woman out of high school more comfortable with her sexuality and knows herself more than she did when Telefone came out. On her previous album, she spoke about a lost lover on the disheartening Bye Bye Baby, but sounds a happier damsel on Montego Bae. Noname’s music feels like a hot cup of coffee on a cold day, enjoying it in a cosy warm bed. The track With You captures this feeling and is so relaxing, shame it’s a short song.