Hickory dickory Dock, peep the new score by Ad-Rock

The late Dock Ellis' primacy as a pitcher for the Pittsburgh Pirates was way before my time, so director Jeffrey Radice's No No: A Dockumentary does a solid job chronicling a transitional period in baseball I was never really aware of, since I'm someone who doesn't pay much attention to baseball outside of whatever gets covered in the news. Now in theaters and on VOD after well-received screenings earlier this year at Sundance and SXSW, No No interviews Ellis' surviving teammates and uses footage of both Ellis in his heyday and an interview with Ellis from towards the end of his life to recall the period when black baseball players like Ellis became the first of their profession to criticize the baseball establishment for its racial slights at the time. The outspoken Ellis' iconoclasm--he got in trouble with the MLB for wearing hair curlers on the field--coincided with the rise of the Black Panthers and the emergence of Soul Train and Shaft in pop culture.

But, of course, the part of Ellis' life in No No that's the most fascinating--even more so than Ellis' activism--to audiences at Sundance or SXSW and anyone who's renting No No on iTunes is the no-hitter Ellis threw while on acid at a 1970 Pirates vs. Padres game. Ellis was the ultimate high-functioning addict, pitching terrifically while whacked out on something, whether it was LSD or Dexamyl, a.k.a. greenies, the stimulant that's still popular among baseball players as a form of medication to get through the most physically demanding aspects of the game.



Pitching on acid for nine straight innings isn't exactly a simple thing to do, as the late Robin Williams detailed during his final HBO stand-up special Weapons of Self Destruction. A clip of Williams' Weapons of Self Destruction bit about Ellis' infamous no-no (that's baseball slang for a no-hitter, by the way) is very briefly featured at the start of No No.



But Ellis' heavy drug use eventually spiraled out of control--due to grief over the 1972 death of his friend and Pirates teammate Roberto Clemente--and it ruined his career and marriages, so after his retirement, he got sober and became a drug counselor. While No No isn't exactly an anti-drug piece--the Radice doc mocks the clumsiest tactics of the anti-drug contingent by frequently cutting away to unintentionally silly footage from Dugout, a poorly acted 1981 educational filmstrip produced by the Kroc Foundation (the charitable group founded by Joan Kroc, wife of '70s and '80s Padres owner Ray Kroc, the McDonald's tycoon) to warn kid athletes against drug use--the doc's tough-minded exploration of the consequences of addiction would have pleased Ellis, who came to view the addicts he helped get clean as an achievement that was more important to him than any of his past feats on the pitcher's mound.

The other part of No No I looked forward to the most before its debut on VOD last week--besides the discussion of the LSD no-hitter--was its original score by Beastie Boys member Adam Horovitz, who made his debut as a film composer when he scored The Truth About Lies, an as-of-yet unreleased Odette Annable indie comedy that was first shot in 2012. Ad-Rock's funky No No score is reminiscent of the Beasties' instrumental interludes during Check Your Head and Ill Communication (which were compiled in the first Beasties album I bought, as well as one of the earliest CDs I bought, 1996's The In Sound from Way Out). It perfectly suits the doc's segments about the brashly attired, politically conscious pitcher's '70s heyday.

The No No score is also the closest we'll ever get to a second Beasties all-instrumental album, because I doubt Ad-Rock and Mike D will continue recording as the Beasties without the late MCA (and I wouldn't blame them). Horovitz's score is used judiciously too: thankfully, there's no score cue during the doc's most emotional moment, when Radice plays archival audio of Ellis tearing up and sobbing while re-reading aloud a letter of support he received from Jackie Robinson, the legend who paved the way for Ellis' accomplishments as both a pitcher and an athlete fighting discrimination.

Outside of the doc, the Horovitz score isn't available anywhere. The closest thing to the score's wordless soulfulness is, of course, the Beasties' first and last album of original instrumentals, 2007's The Mix-Up, particularly the lava lamp swagger of "Off the Grid." To borrow the words of an old Impressions tune featured prominently during No No's appreciation of the 1971 Pirates' predominantly black roster, The Mix-Up is a winner--just like Horovitz's new score and No No: A Dockumentary itself.

"Waiting to see what comes next": Louie's current "Elevator" arc is a great example of the brilliance of the band SweetPro

SweetPro (Photo source: The Last Best Page)

(JAN. 18, 2019 WRITER'S NOTE: I wrote the following post a few years before I discovered that Louis C.K. is a racist, sexually abusive shitstain. I can no longer rewatch Louie. It contains all the telltale signs of that sexual predator's scummy behavior. Andy Kindler was right about Louie being a terrible show. "Next year, Louie's wife is going to be a throw pillow. Next year, a small bird is going to play the part of Louie," joked Kindler during the show's fourth season, which was full of strange casting choices Kindler found to be terrible. In fact, the fourth season, except for most of the "Elevator" arc, ended up being so atrocious that I never watched any of the fifth and final season. However, I still like the music of SweetPro. It remains the one good thing about Louie.)

***

"Look at his face: perfectly happy, belly is full, just looking, waiting to see what comes next. Do you know the only thing happier than a three-legged dog? A four-legged dog. Now if you'll excuse me, this dog would like to get some air."--Dr. Bigelow (Charles Grodin), Louie

Louie, which is now in the middle of its fourth season on FX, is currently one of cable's most intriguing comedic shows, mostly because it's expanding the horizons of what a scripted half-hour comedy can be. The show follows a fictionalized version of Louis C.K., who stars as himself, as he awkwardly navigates his way through both the dog-eat-dog world of stand-up and the difficulties of single parenting. In most episodes of Louie, there are long stretches that go without any humor, which makes Louie difficult to classify as a sitcom or dramedy or Drambuie or whatever.

Louie is less like a standard single-camera sitcom and more like a pair of different short films each week--or in the case of the third season's three-part "Late Show" arc and this season's six-part "Elevator" arc, a feature film divided into, respectively, three or six 22-minute fragments. C.K. writes and directs every episode of Louie, and he often edits the show by himself. What might surprise some viewers is that he doesn't score the show like how John Carpenter would score his own movies. That task actually belongs to the Brooklyn band SweetPro, led by Matt Kilmer and featuring Maxfield Gast, Adam Platt, Ryan Scott, Mike Shobe and Benjamin Wright. Kilmer prefers to call himself the show's "music coordinator" rather than "music director" because of the collaborative and jigsaw nature of SweetPro's work, "where all of the band members, and even Louis himself, write their own parts and we put them together," as Kilmer described it to The Hollywood Reporter.

The band's original score music on the show is either primarily jazzy or influenced by the sounds of whatever location Louie finds himself in, if the episode takes place in an ethnic part of New York or if it ventures outside New York. The music screams out urbane and ethnically diverse New York in much the same way that Joseph Vitarelli's jazzy score to 1994's The Last Seduction screams out New York.

SweetPro layers over many of its Louie score cues some sort of audio filter that makes them sound like ancient library music or old vinyl. As a result, the warm-sounding end credits instrumental that concludes every Louie episode feels like it's straight out of a '50s Blue Note album. It's the perfect accompaniment for all those excerpts of C.K.'s act that are filmed inside the place where his on-screen alter ego feels most at home: on-stage at the Comedy Cellar in Greenwich Village.

The band's cues are the best kind of cues: they don't heavy-handedly dictate how the viewers should feel, and they're distinctive without calling attention to themselves. ("As of now, there are no plans to put out the music but we want to do it and Louis wants it... There are issues that have to be resolved legally," said Kilmer to The Hollywood Reporter in 2012 about the possibility of a Louie score album, which would be fantastic to see; Kilmer hinted that the score album is in the works on Twitter earlier this month, but the release itself has yet to be confirmed.)

The most baffling thing about SweetPro's outstanding work on Louie is that it receives no attention from the film and TV music press, specifically online publications like Film Score Monthly, Film Music and Tracksounds. I think it's because Louie doesn't feature any gangsters, sword fighters, zombies, vampires, serial killers, monsters, robots or superheroes. It's not the kind of show Bear McCreary, a frequent subject in the articles and album reviews on those film and TV music sites, would be seen scoring. Neither is it the kind of show that would appeal to the Film Score Monthly crowd.

But Louie is a huge deal among comedy nerds like myself. And what the show is doing right now with its often unpredictable and philosophically minded "Elevator" arc is remarkable--comedically, dramatically and musically. Even at an advanced point in this arc (there's only one "Elevator" episode left), I still have no idea where the arc is going, but I remain riveted.

I had to rewatch a few times Todd Barry's seemingly incongruous "Elevator (Part 5)" monologue about the pleasures of being a single man without kids, in order to understand what exactly Barry's oddly captivating description of a typically mundane day in his life has to do with the thread that's tying all these slightly obtuse "Elevator" episodes together. That would be Louie's difficulties in communicating with nearly all the females in his life, particularly his ex-wife Janet (Susan Kelechi Watson); his temporary neighbor and new girlfriend Amia (Eszter Balint), a polite single mom from Hungary who speaks barely any English and is spending only a few weeks in America; and his 10-year-old violin prodigy daughter Jane (Ursula Parker). (I've noticed that the woman he's had the least trouble communicating with during the "Elevator" arc is Amia's elderly aunt Ivanka, who's played by Ellen Burstyn. During his first encounter with Ivanka, when she's distraught and stuck inside the titular broken elevator in their apartment building, Louie calms her down by getting her to pretend she's in "a little waiting room with no chairs and no windows, like on purpose." The "waiting room" advice sparks his friendship with Ivanka, which leads to his romance with her niece. It also may have saved Ivanka's life.)

Todd Barry

The centerpiece of "Elevator (Part 5)," Barry's enjoyable five-minute monologue goes into precise, GoodFellas-like detail about the little victories of Barry's previous day (a free donut; a free bowl of ramen; getting the Poughkeepsie club owner to correct the misspelling of his last name on the sign of his dressing room door, an act that absurdly and amusingly garners applause and cheers from everyone in the bar who's listening to Barry's story, except a puzzled and typically cranky Nick DiPaolo). The monologue is left open to interpretation. Are those little victories some sort of message from the universe to Louie that he should stop obsessing over the things that keep him miserable and take it easy, just like the three-legged dog from cranky Dr. Bigelow's bit of romantic advice to Louie about deciding to "pick a road"?

Or is Barry's life a sign to Louie, who's afraid of being lonely and is so worried about losing Amia, that a life without women or kids to challenge him would be a pathetic, empty and lonely one? (A few viewers in the A.V. Club's Louie comments section have been pushing towards Barry's story as being on the pathetic side, while others view Barry's life as perfect. Not waking up until 10am is indeed the shit.)

Whatever the case, SweetPro's score during the monologue--as C.K. cuts back and forth between the bar where Barry's recounting his day and Barry's odd journey to Poughkeepsie, the same town where the dog lost his leg to a coyote--is a little treat to behold. It shifts from loungy to Latin to bluesy and upbeat, and of course, each movement in SweetPro's monologue suite is layered over with that filter that makes the cues sound mono instead of stereo. The monologue suite brings to mind the Beastie Boys' "B-Boy Bouillabaisse," the extraordinarily structured 12-minute Paul's Boutique track that consists of nine movements, "each a distinct little world that could stand on its own," as PopMatters describes it in its analysis of Paul's Boutique.

The "Elevator" arc is full of similarly good musical choices from SweetPro, whether's it's the Hungarian folk motif that represents Amia or the source cues at the bars or diners where Louie is frequently seen struggling with communication. SweetPro's country-western source cue at the diner where Pamela (Pamela Adlon) has a one-sided talk with Louie ("No one wants to be with you, Louie, stop lying!") amplifies, in a bizarre but somehow fitting way, Louie's discomfort with the sudden return of this single mom he was in love with two seasons ago, but he now finds to be obnoxious, immature and less attractive. C.K. also experiments with not using any SweetPro score music at all for one entire "Elevator" episode: "Part 4," which contrasts present-day Louie and Janet with young, childless Louie and Janet (played respectively by Conner O'Malley and Brooke Bloom, who, unlike Watson, isn't black, which is yet another odd touch).

The arc also contains superb musical moments that don't involve SweetPro, particularly my favorite scene of the entire arc: the "Elevator (Part 3)" violin duet. In the hallway of their apartment building, Amia and Jane communicate through music and demonstrate how much better they are at communication than Louie is with, well, practically everybody (I especially like the genuinely nervous expression on the face of Parker, who actually started playing the violin when she was only three, while she's dueting with Balint).

The duet is a rare moment of genuine beauty in the scruffiness and frequent ugliness that both define Louie. It's also one of many moments in the arc that have made Louie viewers like myself feel like Dr. Bigelow's three-legged dog: eager to see and hear what comes next.

"Oh my God, that's the funky shit!": Five hours of badass sample flips

David McCallum and Dre, brought together through the magic of both Photoshop and a Wacom pen tablet

Dr. Dre is reportedly executive-producing a scripted TV series for FX about the connections between L.A. organized crime and the music industry. My reaction to that bit of news is "So when's Detox coming out?"

While we wait for an album that's never going to drop, I want to revisit one of Dre's greatest sample flips, off his last official album, 1999's 2001. "The Next Episode" kicks off "Kids Come Running for the Rich Taste of Samples," a five-hour playlist of my favorite sample flips. I've juxtaposed dozens of bangers with the tunes they sampled. So "The Next Episode" is followed by the piece it sampled, "The Edge," a cinematic-sounding 1966 David Axelrod instrumental performed by David McCallum, back when he was both Illya Kuryakin and a Capitol recording artist on the side (instead of trying to become a pop singer like Crockett or Tubbs, instrumental pop was McCallum's bag).

Likewise with Ghostface and Henry Mancini

In some cases, I've grouped a frequently sampled work with two or three of its "descendants." I've also taken a Frankenstein's monster of a track like Redman's "Tonight's Da Night" and juxtaposed it with the tunes it was formed from (in "Tonight's Da Night"'s case, Isaac Hayes' "A Few More Kisses to Go" and the Mary Jane Girls' "All Night Long").

I always enjoy playing Spot the Sample, a game that's become much easier now thanks to a site like WhoSampled or ego trip's "Sample Flips" series of interviews where beatmakers talk at length about their favorite moments of sample wizardry by other beatsmiths. A whole section of this playlist is devoted to the work of the late J Dilla, whose way with hooks (for instance, I was never aware that he chopped up Rick James' "Give It to Me Baby" on Common's "Dooinit" until Questlove pointed it out recently on Hot 97) has been frequently spoken of with awe by the interviewees during the ego trip series.

Several of the sample sources on this playlist are movie themes (the Curtis Mayfield-produced themes from Let's Do It Again and Claudine) or re-recordings of movie themes (John Dankworth's cover of his own Modesty Blaise theme). DOOM's use of a lesser-known Henry Mancini piece (the Thief Who Came to Dinner theme) for a Ghostface Killah joint he produced was a particularly inspired choice and is, of course, part of the playlist.

If FX greenlights Dre's project, will it tank like John Ridley's UPN show Platinum, the last attempt to make a serialized drama set in the rap world (not counting The L.A. Complex)? Fake hip-hop has rarely sounded convincing on these crime shows. The Law & Order franchise does an especially terrible job coming up with fake rap or rock acts whenever an episode involves the music industry. Law & Order writers' ideas of what's popular in music are always hilariously seven or eight years behind present-day sounds, like in Criminal Intent's 2007 "Flipped" episode with Fab 5 Freddy as murdered rapper Fulla T or "Discord," the Briscoe/Logan-era mothership episode that guest-starred Fringe's Sebastian Roché as a rapey hair band idol known as C Square, whose late '80s-ish, Warrant-style sound would have barely sold any CDs in the era of grunge, which was when "Discord" first aired. The involvement of Dre on one of these shows (even if it's just as an EP and not as a showrunner) could change all that.

Take it away, Dre.

Complete tracklist after the jump...

Five rap jams where the rappers drop malapropistic pop culture references that make them sound like John Witherspoon when he referred to "Public Enema" during House Party

One of my favorite lines in the original House Party was John Witherspoon's Granddad from The Boondocks-esque neighbor character complaining about the titular party blasting the music of "Public Enema." On a similar note, my favorite line in Zack and Miri Make a Porno is "Han Solo ain't never had no sex with Princess Leia in the Star War" because instead of Star Wars, Craig Robinson calls it "the Star War," as if the fictional conflict were the Civil War or the Vietnam War.

The "Public Enema" and "Star War" lines remind me of an article I read in a hip-hop magazine once. The article listed moments when rappers dropped malapropistic pop culture references or flubbed up celebrities' names. When they flub up the pop culture references like in the following five tracks, rappers suddenly sound old and out-of-it like that Witherspoon character from House Party (the Beastie Boys have been in the game for a while, but hopefully, they won't sound too out-of-it on their promising-sounding new album Hot Sauce Committee Part Two).

Thanks to "I Know You Want Me (Calle Ocho)" by Pitbull, I'm in the mood for renting a film by "Albert Hitchcock."

1. "My Weezy" by Lil Wayne
Like Mojo Nixon during "Elvis Is Everywhere" and Sound of Young America host Jesse Thorn, Wayne calls Star Trek's Vulcan hero "Dr. Spock" (a la baby care expert Dr. Benjamin Spock) instead of Mr. Spock.

2. "Oh Word?" by the Beastie Boys
"This is not a fantasy, I'm not Mr. O'Roarke." Wow, I didn't know the racially ambiguous but Latin-ish Mr. Roarke was really an Irish bloke all along.

3. "Shazam" by the Beastie Boys
Mike D misidentifies Fred Sanford's dead wife Elizabeth as "Weezy."

4. "Flip Flop Rock" by Big Boi featuring Killer Mike & Jay-Z
Big Boi refers to Penelope Cruz as "Penelope Ann Cruz," while Killer Mike admires the authority of "Commander Picard."

5. "Blindfold Me" by Kelis and her then-husband Nas
Nas probably meant "Mickey Rourke in 9 1/2 Weeks," but for some reason, it came out as "Gonna surprise you like Hugh Grant in 8 1/2 Weeks." Confusing the works of softcore porn producer Zalman King with the oeuvre of Chris Columbus, the family-friendly director of Nine Months, Home Alone and I Love You, Beth Cooper, is a common mistake in hip-hop. The other day on the street, I overheard a freestyle battle where one MC insulted the other to the beat of Drake's "Over" with "Got a text from your girl saying she wanna ride my penis/Like Hayden Panettiere in Delta of Venus."

"Rock Box" Track of the Day: Beastie Boys, "Shambala"

Song: "Shambala" by the Beastie Boys
Released: 1994
Why's it part of the "Rock Box" playlist?: It's featured in the Breaking Bad third-season finale "Full Measure."
Which moment in "Full Measure" does it appear?: A Beasties instrumental from Ill Communication that contains Tibetan monk chants and references to Adam Yauch's Buddhist beliefs, "Shambala" accompanies the not-so-pacifist sequence where Mike (Jonathan Banks), the ex-cop-turned-cleaner who works for drug tycoon Gus Fring (Giancarlo Esposito), wipes out four Mexican cartel members at a chemical supply warehouse.

Around the world in 520 words

I don't keep track of the size of the Fistful of Soundtracks channel's international audience, but I know I get a lot of listeners from Europe. Some of them have mentioned AFOS in their tweets or newspaper pieces. A writer from England's Observer paper described my station's format as "tunes from films and TV, surprisingly listenable."

Over in the Netherlands, someone plugged AFOS in a Facebook post.

In Dutch, the post says: "Jimmy Aquino draait al sinds 2002 Film- en TV muziek op zijn eigen radiostation, altijd in themas. Omdat het voornamelijk een one-man-show is, worden de programma's slechts wekelijks geupdate. Naast de wekelijkse show wordt het station gevuld door een jukebox vol trailers en de bijbehorende muziek. Aquino weet niet alleen ongelofelijk veel van filmmuziek, hij tekend ook strips en schrijft korte verhalen."

Google Translate's slightly malapropistic version in English says: "Jimmy Aquino has been around since 2002 Film and TV music on his own radio station, always themes. Because it is mainly a one-man show, then the program is only updated weekly. Besides the weekly show, the station filled by a jukebox full of trailers and the accompanying music. Aquinas not only knows an incredible amount of film music, he also signed comics and writes short stories."

I appreciate the praise, but like most blog posts that mention AFOS, it's not 100 percent correct about the details ("Because it is mainly a one-man show, the program is only updated weekly"). The Dutch listener is right about the Fistful of Soundtracks channel's one-man staff but somewhat incorrect about the weekly updating of episodes of the one-hour program that originated on college radio (which was also called A Fistful of Soundtracks). I do update the Wednesday reruns of that program each week, but I haven't recorded a new ep since "Dance Into the Fire" in 2008 because I've been underemployed for a while, and it's become too expensive for me to continue producing the program or to pay Bruce the announcer again to re-record the program intro in the reruns and introduce me as "Jimmy J. Aquino" instead of the now-outdated "Jimmy Aquino."

However, I haven't stopped updating the Fistful of Soundtracks channel's daytime playlists. A couple of weeks ago, I added to the "Chai Noon" playlist some Dilwale Dulhania Le Jayenge numbers from a new Shahrukh Khan soundtrack compilation and some tracks from the new Abhishek Bachchan/Aishwarya Rai movie Raavan, and then I added the Beastie Boys instrumental "Shambala" to the "F Zone" playlist after the Breaking Bad season finale devoted an entire sequence to "Shambala." This week's additions to "Assorted Fistful" are selections from Varèse Sarabande's expanded version of Michael Giacchino's Star Trek score album.

The above Dutch phrase "hij tekend ook strips" means "he has also drawn comics." Google Translate thinks the post says "he also signed comics." Yeah, I don't write comics. I just autograph them. The "Sampler" script and The Palace were actually the work of South Korean laborers.

Shows I Miss: Cheap Seats

In some ways, the Sklar Brothers' hilarious Cheap Seats, in which Randy and Jason snarked MST3K style on old footage from both the ESPN and ABC Sports vaults, was more watchable than the classic Minneapolis-based comedy show that influenced them. It was faster-paced than MST3K and only a half-hour long. At two hours, MST3K could occasionally be tedious viewing--especially when the B-movie was so unwatchable not even Mike and the Bots' jokes could make it watchable.

I particularly liked it when Randy and Jason would make music references even the MST3K writers probably wouldn't have understood (like their observation that a mustached, helmet-haired Scrabble tournament champ looks like he stepped out of the "Sabotage" video). It's too bad the show, which ran from 2004 to 2006 on ESPN Classic (a channel that at one point, attempted to ruin its best show by stupidly adding a studio audience to the Cheap Seats set), will never see the light of day on DVD. I assume that's due to footage and music rights issues. There are so many Cheap Seats gems like the "Sabotage" running gag during the Scrabble tournament footage, the Cheap Seats/MST3K crossover and the "Pam Poetry" odes to a blond '80s ESPN rodeo commentator named Pam Minick that I want to revisit without having to hunt for them on YouTube.

"I bring the juice! You bring the gin-ick, Pam Minick!"

AFOS: "Kids Come Running for the Rich Taste of Samples" playlist

Airing tomorrow at 10am and 3pm Pacific on the Fistful of Soundtracks channel is the Fistful of Soundtracks: The Series episode "Kids Come Running for the Rich Taste of Samples" (WEB87) from February 26-March 4, 2007. The title is a play on the classic MST3K line "Kids come running for the rich taste of Sampo!" In WEB87, I played '70s--and at one particular point, '80s--themes that have been sampled by hip-hop artists and juxtaposed them with the songs that contain those film and TV music samples.

1. Johnny Pate, "Shaft in Africa (Addis)" (from Shaft in Africa), The Best of Shaft, Hip-O
2. Jay-Z, "Show Me What You Got," Kingdom Come, Roc-A-Fella
3. Curtis Mayfield, "Superfly," Superfly: Deluxe 25th Anniversary Edition, Curtom/Rhino
4. Beastie Boys, "Egg Man," Paul's Boutique, Capitol
5. Isaac Hayes, "Hung Up on My Baby" (from Three Tough Guys), Double Feature: Music from the Soundtracks of Three Tough Guys & Truck Turner, Stax
6. Geto Boys, "Mind Playing Tricks on Me," We Can't Be Stopped, Rap-A-Lot
7. Shirley Bassey, "Diamonds Are Forever (Main Title)," Diamonds Are Forever, EMI/Capitol
8. Kanye West featuring Jay-Z, "Diamonds from Sierra Leone (Remix)," Late Registration, Roc-A-Fella
9. Quincy Jones, "The Streetbeater (Sanford & Son Theme)," The Reel Quincy Jones, Hip-O
10. Masta Killa, Ol' Dirty Bastard and RZA, "Old Man," No Said Date, Nature Sounds
11. David Shire, "Main Title," The Taking of Pelham One Two Three, Retrograde
12. Mix Master Mike, "Suprize Packidge (Remix)," Suprize Packidge (The Automator Remix), Asphodel
13. Dennis Coffey, "Theme from Black Belt Jones," Do You Pick Your Feet in Poughkeepsie?, Paul Nice Productions
14. Lalo Schifrin, "The Human Fly," Enter the Dragon, Warner Home Video
15. Love Unlimited Orchestra, "Theme from Together Brothers," Funk on Film, Chronicles/PolyGram
16. Stu Phillips, "Knight Rider," NBC: A Soundtrack of Must See TV, TVT

Rik Cordero: Better Know a Blogroll Link, Part 5

I'm a bad Pinoy. October is Filipino American History Month, and I haven't posted anything that's related to FAHM until now.

Minority history months always remind us to celebrate our past history. What about history that's being made right now?

The work of talented Fil-Am music video director Rik Cordero is worth celebrating in any occasion. Born in Queens and raised in Strong Island, the New York-based founder of Three/21 Films is making noise with his clever videos for the Roots, Nas and Snoop Dogg. Earlier this year, the FOBBDeep blog bestowed upon Cordero the honor of "FOBB of the Week."

Most of my favorite hip-hop videos are the less glitzy ones, like Sanji Senaka's video for the Pharcyde's "Passin' Me By" and the Beastie Boys' lo-fi "Three MCs and One DJ" video. Cordero's gritty work reminds me of those classic videos.

The first Cordero joint I ever saw was the Office Space-inspired video he directed for the Roots' "Get Busy." Cordero's dark-humored, torture imagery-filled video for the Roots' "75 Bars" is even doper.

Cordero made a powerful video for Nas' "Be A N****r Too," which contains cameos by John Cho, James Kyson Lee, Danny Hoch and former Wire cast members like Larry Gilliard Jr. (D'Angelo), Andre Royo (Bubs) and Gbenga Akinnagbe (Chris).

In the "Sly Fox" video, Nas and Cordero bash the racist rhetoric of Babble O'Reilly and Fox News:



Changing music industry trends--like the fact that most viewers now prefer the Interwebs over MTV for their music video fix--have caused record labels to slash video budgets. So directors like Cordero have had to become more creative, like when he channeled R&B videos from the Donnie Simpson era of Video Soul in a lighter-hearted and more recent Three/21 video, for Q-Tip's "Move":



As Cordero and his Three/21 business partner Nancy Mitchell have said in a promo for their production company, Three/21 makes more than just hip-hop videos. They've also done videos for artists from other genres (Tigers and Monkeys, The Mighty Sweet) and both short and feature-length films.

Cordero's other videos can be viewed at Three/21's YouTube channel. This Pinoy filmmaker is going places.

Rudy Ray Moore (1937-2008)

Fuckin' up muthafuckas was his game.

Comedian Rudy Ray Moore, a.k.a. trash-talking '70s action hero Dolemite, a.k.a. the Human Tornado, has died of complications from diabetes. He was 81.

Famous for its stiff martial arts choreography and production values that were so low that the boom mike gets enough screen time to qualify as a supporting character, Moore's 1975 cult classic Dolemite is a pretty bad movie (bad not meaning good in this case). Not a lot of bad movies are fun to watch (exhibit A: Nicolas Cage's last few action films). But Dolemite is fun to watch--and endlessly quotable ("Man, move over and let me pass 'fore they have to be pullin' these Hush Puppies out yo' muthafuckin' ass!").

Moore's B-movies have had such a huge influence on the hip-hop generation. Robin Harris is seen watching Dolemite and quoting from it during House Party, Ol' Dirty Bastard's "Got Your Money" video consists of nothing but footage from Dolemite and the Beastie Boys constantly reference Moore in their music (the classic "Hey Ladies" video recreates a sex scene from one of Moore's movies):

One of my favorite MADtv sketches spoofed Dolemite and its wooden actors and lousy production values. As the "Son of Dolemite," a half-naked Aries Spears ran around fuckin' up muthafuckas in "Pas-uh-DEE-NUH!" with his beergut hilariously hanging out of his bikini briefs.

It's been kind of a tough past three days for the hip-hop generation. First, we have to endure the sight of Sarah Palin attempting to relate to us by "raising the roof" on SNL*, and now a favorite blaction hero dies.

* I'm not a fan of SNL's "really white white people trying to rap" shtick, but Amy Poehler's got skills. When 8 Mile co-star Brittany Murphy guest-hosted SNL a few seasons ago, the show did an 8 Mile-inspired sketch about a fake feud between the cast members from the East Coast and the cast members from the West Coast, and Poehler was killin' it.

I just want to hear Girl Talk

The moment in which Girl Talk mashes up Ahmad's "Back in the Day" with Rod Stewart's "Young Turks" during "Shut the Club Down"? Too damn genius.

Likewise with Thom Yorke being edited to look like he's singing Blackstreet's "No Diggity" (during the second video, which is based on "Still Here," track 3 from Girl Talk's Feed the Animals album). I don't know who edited these music video clips together to GT's Feed the Animals tracks, but somebody get this guy an editing award.

Music: "Still Here" by Girl Talk: