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The Crack flick conclusion · by Sach O
Also used for cooking food.
Note: for you smart dumb cats that’ve missed out, here’s Rafi’s original post on the subject and my follow up analysis.
Whether due to Hype Williams, Clear Channel or strict content guidelines following Columbine, it became nearly impossible to illustrate reality on MTV by the time the 90’s came to a close. Instead of street tales, even credible emcees such as Biggie cashed out by releasing expensive gaudy productions to entice the crossover audience. Still, there remained a dedicated street audience served by hood videos and the occasional hardcore joint that got by censors. One of the better offerings, Jay-Z’s Friend or Foe features one of the most frank depictions of drug dealer extortion ever put on film. While the song already dismissed the metaphors and stylized dialogue popular at the time in favor of a concise description of a heist, the video’s matter of fact treatment really sold the concept. Jay-Z calmly walks up to the range with his boys, patiently explains the situation to his wincing competitor and exits left to grab the riches. Of course, the “keys” that Jay needs may not be quite the same kind as the song would have us believe, but that’s splitting hairs. Oh, and he made a video for the sequel for those who’re interested in seeing that dealer get what’s coming to him.
With a flood of jiggy drug dealers hitting the airwaves, even emcees previously associated with cocaine related rap began to raise concerns about how the glamorization of the drug trade might influence the youth. One of the more befuddling entries in this category, Wu-Tang Clan’s I Can’t go to Sleep is part street lamentation, part pajama jammy jam at the Wu Mansion and part Isaac Hayes in a purple robe looking scarier than scientology ever made him out to be. Children behind bars and cops jumping out the van with Ghost crying in the background make for powerful visuals…but Rza’s Wu-Wear bonnet and a glowing Chef from Southpark just don’t fit in. Still, the song and flick’s references to Marcus Garvey and Malcolm X are rather unique considering how materialistic the rap landscape had become by Y2K. A song calling for black pride and healing in the community simply felt out of place between Ja Rule and Juvenile whereas such a statement would not have been out of the ordinary ten years earlier. On the other hand, Rza had to be on something to think that he could get away with that Rip van Winkle suit.
Today, crack, drug dealers and the associated clichés have become so common place within rap music that no one questions their presence, visual or otherwise. In many cases, the subject of drug distribution has simply replaced or been merged with “sucka emcees” as a standard issue topic: something rapped about for the sake of rapping. Whether this speaks of the drug trade’s universal reach within urban America or simply of the music industry’s narrow topical range is still up for debate. No matter how played out or glamorized however, some still manage to squeeze life out of the concept. When the Clipse place a Dali style stove in the middle of their video for Mr Me Too, it may get passed off as absurd, but everyone knows exactly what they’re talking about.
Jay-Z – Friend or Foe
Wu-Tang Clan – I can’t go to Sleep
The Clipse ft Pharell – Mr. Me Too
Comments for "The Crack flick conclusion"
Well written.
It’s sad when it seems as if being a former drug dealer is not a nonessential fact, but a prerequisite for being a rapper.
Even sadder when it becomes detrimental instead edifying to the youth.
Life has been imtitating art too much in the hood lately.
— Bless 1 Aug 4, 07:54 PM
Life has been imitating bad art thats for sure.
Didn’t Paharell Parappa get the memo about Cristal?
— Dallas Aug 5, 05:11 PM
Yo.
Urban life ain’t simple.
Accordingly,
The music that comes from it ain’t gonna be simple.
Thats MY theory, on cracks + raps.
— ebonictronix Aug 7, 01:46 PM