A

The
Statement

Issue #2 |
March 2017
The Blaxploitation of Hip-Hop

A look at the complex, damaging and impact of the black cinema movement, and its influence
on hip-hop and Black american culture.
 The Statement: The Unfiltered, Chicago voice | Number 2 | March 2017

State of A
MIND
O ne of my fondest memories is a Christmas from the early 1990s. I was six or seven
years old, and I remember receiving an LCD handheld port of Pac-Man, which ran on AA bat-
teries. I remember a fantastic Christmas dinner, lots of laughs and gift opening, but I remember
watching Uptown Saturday Night for the first time with my family that really made that holiday
a definite beloved memory.
The comedic story of two friends, a steel mill worker (Poitier) and Cab Driver (Cos-
by), who pursue a stolen lottery ticket after a robbery, is one of the best narratives within a
film movement that is often revered for all the wrong reasons. The mise en scene [of the film]
is organic, lively and faithful to a community that had often dealt with negative circumstances
and unfortunate realities, but instead contained genuine themes that reflect the spirit of Black
American culture. A presentation that was entirely absent during the Golden Era of Holly-
wood, and is often downplayed for its significance during the American New Wave movement.
As an adult, Ive revisited this film a ton of times, and its honestly become better, in a current
climate that sees communities struggle to find a reason to be happy and cheerful. Thats what
the Black Cinema Movement should be remembered for the most. Being both a realistic and
cathartic reflection, of a segment of America that has never been fully embraced.
We get so wrapped up in the socio-politics of art and narratives, that we often obsess
over the core dynamics of empathy and authenticity, yet ignoring what exactly is the difference
between expression and exploitation. When I saw Uptown as a child, what struck me the most
was seeing Black people being presented as relatable black people. The music, the jokes, the
setting and the interactions; everything felt justifiably expressive and not misinformed. Nar-
ratives like this and films like Charles Barnetts Killer of Sheep, are the pinnacles of what urban
storytelling could be, but unfortunately took a backseat to the exploitive stories of pimps,
drugs, crime and stylized ambitions within a unequal social structure. Narratives that were the
unfortunate reality and popular execution, that shrouded the everyday mans dilemma, in Black
America. Art imitating life, but to what degree is imitation before it becomes exploitative?
During this era, Hollywood was facing a bankruptcies and several studios on the verge
of shutting down, while establishing a new generation of filmmakers and narratives to create
interest and new voices in cinema. Many of these black films had small budgets, one dimension-
al, negative portrayals of black characters and pandering storylines (blacks taking on The Man
aka White Oppression) that were obvious attempts to get black audience support. 95% of all
Blaxploitation films were engineered by white filmmakers and producers, as the industry knew
these films turned over an immense profit because of the relative sensibilities of Black audienc-
es. This isnt to say that The Mack, and so many other crime narratives arent entertaining. But,
it was easier to stylize the conditions that Americans consistently heard about on the news, and
give it a spin with some sort of flash, to generate interest and profit. However, stories like Cooley
High and Sounder, were too few, because sex and violence sells. If this genre is already cheap,
pulling profits from the exploits of its hyper sexualized narratives, then the movement belonged
solely to the means of profit, leaving us decades later, fishing for what substance is actually
there. A

HARVEY PULLINGS, II
EDITOR AT LARGE
 The Statement

Issue #2 | March 2017

The Blaxploitation of Hip-Hop

2 15

Articles
1 | STATE OF MIND
An introspective on Uptown Saturday Night, Black Cinema and representation

2 | THE BIG LEAGUE INDIE SCHEME

As WWE expands its brand into a more market types of the industry, we take
a closer look at the impact done to other promotions, and what it means for
their own business.

6 | FILM
As fans, are we criticizing films properly? A brief look at The Witch and The Neon
Demon, and the expectations of fans of specific genres.

7 | AN INHERENT VICE On the Cover

Blaxploitation made an immediate impact within the film industry and
Black America during the 1960s - 1970s. A movement that laid a solid
groundwork for Hip-Hop and future urban narratives. But, did it progress black
culture and entertainment, or create a foundation for an inherently damaged
structure?

Pivotal to both movements of Black Cinema and Hip-Hop, our covers

feature Snoop Dogg (90s Snoop Doggy Dogg) and Fred Williamson as
Black Caesar. Secondly, Chicagos immortal soul singer/song writer,
Curtis Mayfield and emcee/producer, Kanye West.
AVAILABLE
NOW!
 A Closer Look

THE

BIG LEAGUE
INDIE

Is WWE attempting to expand its brand in the name

of a healthier industry, or further damage an ailing
U.S wrestling culture?

The monopolizing of the wrestling industry after

the WCW and ECWs closing, has been a constant dis-
cussion for industry analysts and longtime fans since 2001.
Over the past 16 years, weve had multiple promotions
attempt to fill the void of ECW (Ring of Honor, Com-
bat Zone Wrestling, Pro Wrestling Guerrilla) and WCW
(NWA-TNA aka Impact Wrestling), but WWE has main-
tained its Goliath presence and continues to control the
growth (and lack thereof ) of the Pro Wrestling Industry.
However, the current developmental product (and
unofficial third brand) of WWE has created a damaging
platform for the industry, as well as for the landscape of its
own future.

2.
 The acquisition of AJ Styles and Shinsuke Nakamura sent waves throughout the wrestling world, as both men were unlikely candidates for success
within the WWE style. One year later since their debuts, Styles has been a solid hit on the main roster, having feuded with the likes of John Cena,
Jon Moxley Dean Ambrose, as well as Roman Reigns in main event matches. Nakamura, has been a hit on the developmental sector of the company,
within the NXT brand. A former two- time champion, Nakamura has faced off against Prince Devitt Finn Balor, Samoa Joe, El Generico Sammie Zayn
and others, but has been the focus of much concern regarding the companys perception of who is ready, who is over and who gets pushed.
All this, while deconstructing the indy wrestling scene, for the sake of controlling the environment of the industry.
From 2002 2008, Indy Wrestling, coupled with TNA and foreign promotions (NJPW, AJPW, NOAH), managed to create a healthy alternative to the
mainstream efforts of WWE. While TNA
struggled with its own identity and process,
promotions like ROH created stars in talent like
Bryan Danielson, Austin Aries, Nigel McGuin-
ness, CM Punk and several others, all whom
would have been unjustly jobbed or misused
under Vince McMahons and TNA s discres-
tion. While all the names listed above would
eventually make it to WWE in varying roles and
results, the current structure of the NXT brand
and its successors (ie. The United Kingdom
Championship tourney, 205 Live, Cruiserweight
Classic), has literally established a stage for the
Indy Wrestling style under the WWE brand,
which strips the external indy scene of its roster
and ability to vastly prosper.

Big Paycheck, Big Matches, = Same results The Last Chance?

The structure of the mainstream Was TNA the last chance at a
industry has always been in favor of the Big
man archetype with its wrestlers. For every
prominant U.S alternative to the
Bret Hart and Shawn Michaels, there are WWE brand?
several campaigns to push muscled monsters
as both the heel and face (ie. Hulk Hogan, Lex Luger, etc.). There is also the known fact that
WWE has always leaned more towards the entertainment realm of wrestling presentation The United States pro wrestling scene may
(big characters, merchandising) over the athletic, physical element of the sport. Other promo- have seen its last effort at mainstream compeition,
tions adhered to varying styles (ie. WCW = more southern and wrestling oriented, ECW = in TNA from 2002 - 2006. The company served as a
hardcore, violent and international styles), all which WWE adapted to, only because of the true alternative to WWEs brand of wrestling, but
immense impact of the compeition. But, after their foldings, independent promotions took never fully gained footing as a solid #2 promotion.
on the mantle of alternative choices for fans. At one point, TNA housed one of the best rosters
To simplify, Ring of Honor and a slew of the existing promotions have adhered to in the industry, since WCW circa the late 90s.
stiff work rate, smaller competitors and interpromotional cards for their business. From 02- However, poor booking, backstage issues, sense-
08, the indy scene had created a style that was largely scene as too dangerous, too physical less concepts and consistent difficulties in finding
and just unfit for mainstream fans. While it is very much debatable that the matches have proper leadership, ruined one may have been the
reached pure indy level of physical brutality and violence, the most recent stages have pre- last possibility of two mainstream offerings for the
sented audiences with a varying style than the normal style of Smackdown and Raw. Despite sport.
being a good deal on paper, the results of this expansion is only beneficial to WWE, with the Many consider the death nail for com-
competitors themselves being secondary. Are the paychecks bigger? Absolutely. The physical panys chances at success, was the releasing of its
toll of the indy style is beyond taxing on the human anatomy, and they deserve the opportu- franchise player, AJ Styles. There are other factors
nity to receive a bigger pay. All monetary discussion aside, this is not progressive due to the that play into their failed attempt at challeng-
monopolized landscape of the current wrestling industry. NXT is not (at the time of this publishing) recognized as a legitimate third brand. Its at ing Vince McMahon as an alternative, the main
best a niche brand meant to satisfy the demands of the pure wrestling fan, who still enjoys WWE. takeaway is what it means for the U.S industry.
With that business model, the exposure is limited to that of Raw and Smackdown, as well as the PPVs attached to those shows. NXT is There are no big companies left to fill the void of a
a self- contained stage that has definitely turned in some fantastic matches and entertaining events, but they are again contained. The results are secondary promotion, and the failure of TNA, the
events that feel like they are for the indy crowd, but never progressing to bigger opportunities (ie. interbrand challenges, etc.). Most WWE casual recent, aggressive aquistions of international, in-
fans are not watching NXT and following its rosters, but rather catching highlights of the shows, events and who the brand is pushing as their die and legend status talent, may have made WWE
crown jewel, which keeps the brand as more of a niche and fanboy darling, more than an actual legitimate stage. the undisputed captain of the industry. An unfor-
tunate reality of wasted talent, potential, money
and a brand that surely could have been something
special.
Developmental Brand for Veteran competitors, Match Quality, Match Importance?

The biggest
complaint Ive had with
NXT in its current era
is its housing of veteran
talent, and calling it a
developmental brand.
Its no secret that WWE
demands that their
talent of any age, tran-
sition to their style. The Damaging the Indy Scene + Success Evalua-
companys acquisition tion
of talent from the Indy The constant acquisition of talent
circuit, international from smaller promotions is only hurting the
scene and TNA, is an indy scene. The amount (and quality) of talent
assortment of established that WWE releases, does not equal to the
competition. With the amount that is being successfully taken to
exception of its younger farm into superstars. Cody Rhodes has prov-
roster segment, the most en to be a fantastic edition to the wrestling
well-known talent (ie. world outside of the Vince bubble. But, for
Samoa Joe, Nakamura, Austin Aries, Bobby Roode) are already age 36-40. At this point, the wrestlers every Rhodes, there is a fear of losing a Kenny
are spending time on a roster that should be either geared towards younger talent, awaiting their call Omega, Kyle OReilly or an Adam Cole. Most
ups to the main rosters, or considered a legitimate brand, directly comparable to Raw and SD. All the of these talents provide match up concepts for
talent named have had their best matches outside of the WWE model, and while they still are able multiple bigger indy feds (ie. PWG, ROH,
to deliver solid matches, the best of their abilities have been arguably given elsewhere (ie. wasted in etc), and their absence
TNA). The lack of aggressive causes dependency on
opportunity given to them Nakamura at age 36 is still very capable of delivering 5 remaining talent that may be
immediately is an example of
the continued bias towards star bouts, but in my hones opinion has yet to fully devel- solid, but lack name value to keep
business afloat. Again, these guys
op heat as a wrestler in the company. His entrance is over,
talent outside of the WWE are being brought into WWE for
system. the continued success of the NXT
Nakamura at age 36
is still very capable of deliv- his mannerisms are over, the music is loved and he is a brand, but are not being aggres-
sively pushed to the main shows.
ering 5 star bouts, but in my
honest opinion has yet to ful-
champion. But, thats it. We have yet to see him blossom At one point, WrestleMania was
the goal of a wrestler, but with
ly develop heat as a wrestler into a true competitor under the banner. the event now booking itself as an
in the company. His entrance entertainment festival more than
is over, his mannerisms are ever, the peak of success within
over, the music is loved and hes a former champion. But, thats it. We have yet to see him blossom into the industry is being reevaluated. Is NXT seen as a
a true competitor under the banner. There are constant references to him being King of Strong Style, developmental house, an unnecessary and unguaran-
but he has yet to have one match that matches the intensity of his debut against Sami Zayn. The series teed step towards the main roster, or simply a healthy
of matches he had against Samoa Joe were entertaining, but did not live up to the atmosphere we had pay check where wrestlers can respectfully practice a
witnessed from the two men during their separate runs in TNA ( Joe) and New Japan (Nakamura). close version of their known style, without the financial
One could blame this on the restraint on their physicality, but there is something about the atmo- woes of the Indy scene? Is the CWC an attempt to
sphere of a big encounter that is absent from WWE events. Much of this is because the company fails finally legmitmize the Cruiserweight Division in
to TRULY acknowledge that these men are true vets and credible former champions outside of the the company, or a way to hurt the Super 8 tournament,
Vince system.There is acknowledgement, but the attempt to grass root stars who have established (and Battle of Los Angeles and countless other smaller, yet
superior) runs elsewhere, leaves me feeling like a chunk of importance and my own personal invest- highly prestigious brackets, outside of the commer-
ment is missing. Its hard to take WWE NXT seriously, when it relegates top athletes like Samoa Joe cial sprectrum? Is the UK tournament a way to show
to awaiting call up status, after spending 14+ years, facing top notch talent and having dream match the brands ability to display varying styles, or a way to
bouts with Angle, Kobashi and the late Misawa, as well as Punk, AJ Styles and others. All this, atop
being a legendary former World Champion. Much like the death of the territories signaled an end to the traditional structure of Pro Wrestling, the
If the NXT championship is only chased and pursued by those on the brand, and at best potential slow death of the indy scene is a disaster waiting to happen. If every wrestler comes up through the same
considered a developmental title, why should intended big matches surround such a questionable prize background of training, we lose unique quality and lose the ability to develop differing styles and varying match
even matter? Again, for the upcoming stars, it makes plenty of sense to want this for their resume, but ups (Dream Bouts), replaced by characters instead of personalities and abilities, and championships that reflect
why should a seasoned wrestling fan care that the vets are chasing a belt that anyone would give up in a contained success, instead of global recognition. A
heartbeat for a shot at the WWE title?
 a
FILM
With social media and technology giving us more ability to discuss and critique cinema than ever before, are we really under-
standing what were talking about?
T he age of machines and the internet has allowed us to have a voice in everything
that we find interesting and worthy of us stopping by and sharing our thoughts on. No matter if
we are inept in discussing the respected topic at hand or not, we share and post our thoughts for
an audience that is equal to rebuttal our statements, or blindly agree as a means of friendship or
otherwise. One of the biggest industries that has been effected by the fan reaction is the film
industry.
Nicolas Refns previous film Only God Forgives, a controversial arthouse film that left
many audiences questioning the directors ability to make another solid film after the critical ac-
claim of his 2010 film, Drive. The consensus from film critics based on blog sites and vlogs were
that the film was NOT Drive (No Shit). Many of them dismissed the films structure and lack
of accessibility, due to the heavy metaphors and lack of normalized characterizations. Expecta-
tions were not met because those who chose to cover the film, went in with their minds set that
the directors follow up would be a sequel in style to his previous work, rather than a follow up
project. His newest film, The Neon Demon, saw several people upset that the trailer did not give
them a clear idea of what the film was about. Once they saw the film, the eerie style and (again)
lack of normalized characterizations, metaphors and aesthetic uses over mainstream structure,
had many people dismissing the narrative. Refn had long considered the film a horror tale, and
all elements of the narrative supported that categorization, as well as the nods to other forms of
horror cinema. Many of them being outside of the common genre tropes of the American style of
scares. Well come back to that in a moment.
Director Robert Eggers feature film debut The VVitch, is another film that suffers from
misunderstood responses and illogical reasoning. The story follows a puritan familys encounter
with an evil presence, 20 years before the Salem Witch Trials.
After a strong marketing campaign, the film was a success
(making 30 million + against a 2 million budget) but received many
responses from viewers who saw it and said the film was lame,
boring, too long and my personal favorite, it didnt make sense (a
statement stemming from the Old English dialogue style).
The expectations of both films were geared towards their
different approach in genre tropes and narrative handling. Horror has
unfortunately been stigmatized into one form blood and gore. The
slasher, the zombie subgenre and the paranormal/supernatural subge-
nre, are the only consistent, identifiable formats for terror in main-
stream American cinema. The reaction to both directors projects is an
example of the constant illogical criticism, due to our own inability to
understand contemporary narrative types.
Film criticisms foundation is the ability to recognize cinema
in all its ability to entertain, inform and influence, but also to see the
influence of previous works, real world inspiration and creative liberties
that affect these creative efforts. Audience members are free to dismiss
a film and express their lack of enjoyment of a narrative. The problem
is in the lack of true understanding of what makes a film good, bad,
bad enough to be entertainingly good, and the immediate dismissal of
anything different than what weve been trained as being definitive of a in cinema. A
good story.
This doesnt mean that audience members should
come equipped with an almanac of worth of film knowledge
and history. But as a critic, we should be cultured in the past
and present of cinema, as well as socially conscious to what
makes these films work, fail to work, offend and impress.
Critics are supposed to act as a professional opinion about the
medium, and to a certain extent, an expert on comparing and
deciphering meanings (metaphors, references) as a means of
providing viewers with information about narrative complexi-
ty. This is something that very few sites do well, as many vlogs
and reviewers select movies to cover based on popularity and
for lack of a better word, pretentiousness, in regards to select-
ing movies that may be too complicated for them to dissect
and discuss. This, coupled with the lack of intelligent rebuttals
from commenters on social media and in public, leave criti-
cism in a manner of non-formal, no substantial conversation.
Many people dismiss this as not a big deal, but the inability
to discuss storytelling in a manner of logical break down, un-
fortunately contributes to indie films and arthouse endeavors
being extremely segmented, and far from common discussion
The Statement: The Unfiltered, Chicago voice | Number 2 | March 2017
 AN

INHERENT
D K VICE
Inherent Vice -
the tendency in physical objects to deteriorate because of the fundamental in-
stability of the components of which they are made, as opposed to deterioration
caused by external forces. (ie. Hip-Hop)

A ctivism, awareness and influence is the heart and soul of any socio-political arts
movements. For the past 30 years, Hip-Hop has been arguably the most gaming changing
culture that the United States has ever seen, specifically for the black community. Despite
being highly influential, the culture and genre of music has remained a complicated discussion
for its effects on marginalized groups since the late 1980s. Inspired by numerous external
factors, including politics and the civil rights movements, the influence of the 1970s black
cinema movement is often understated in its effects on the music and those involved. While
providing rap music with a solid foundation of strong black presence and counter culture, the
flawed infrastructure of these films have greatly impacted latter generations of black listeners,
emcees and future artist alike.

The Statement: The Unfiltered, Chicago voice | Number 2 | March 2017


By the standards of historical cataloging, Uptown Saturday Night is a Blaxploitation film. The music,
the urban tone which my family couldnt help but to commentate on nostalgically, coupled with the stellar
cast of Bill Cosby, Sidney Poiter, Harry Belafonte, Calvin Lockhart and a stellar supporting cast, really makes
the film a classic outing of predominate black narratives. Despite being a prominant example of the cultural
representation of the Black American middle class during the 60s and 70s, the most well known content of
the genre are based on more negative (but highly revealing and insightful) tales of crime and decadence.
Flash forward to the mid to late 1990s and hip-hop was the official soundtrack to the same inner
cities (black communities), just as Motown had been for the 60s, 70s and 80s. Many (I myself included) were
avid listeners of hip-hop, but only gangsta rap. Puff Daddy & The Family, BIG, Lil Kim, No Limit, just to
name a few, were all the big artists of that time, and favored an explicit style. Violent content, sexualized lyr-
ics, braggadocios criminal stories and the worshiping of money, materialism and power, is what sold records

While Poiter was indeed a prestigious and talented actor, he represents

the archetype of the clean black man/safe nigga of White American prefer-
ence. Films like Lillies in the Field, Raisin in the Sun and Blackboard Jungle,
all played to the presentation of Poitiers ability to carry out well written
narratives that often discussed the racial sensibilities of society, but within
a degree of non-threatening presentation.

and carried the cultures Golden era into its most profitable decade. As a listener, it wasnt until I got into
my late teens and 20s, that I started to discover the origins of the music genre, and its political beginnings,
that maintained a more uplifting, party atmosphere than the 90s era. Much like the negative brand identity
of blaxploitation had smothered several black narratives into one category, the trend of urban exploitation of
crime culture, had unfairly damaged the diversity and complexity of hip-hop. Two influential movements in
black history, victims to business models that adhered to sells, profits and trends, rather than the truth they
were/are built on.
Ironically, the influences of the explicit content within Blaxploitation, not only inspired the artists
of the golden era of hip-hop, but helped shaped the New Jack cinema (Hood film) movement in the 90s,
amidst a progressive movement that saw more black content stand out from stereotypes (ie. The Cobsy Show, A
Different End, etc.) .

Social turmoil, blacks on film and Blaxploitations hiphop groundwork.

Without going into the extensive history of black actors and the lack of predominant leading
roles, its common knowledge that talent of color has dealt with many of unfair disadvantages in cinema.
Many roles were far from three dimensional characterizations, and merely stereotypical depictions of
blacks in American culture or foreign lands. During the Golden era of Hollywood, nearly all of its core
talent (both behind and in front of the camera), were white.
Talent such as Mantan Moreland, Willie Best, and Academy Award winner, Hattie McDonalds,
were often relegated to stereotypical, negative roles that were often played as the comic relief, sidekick or
foils to the serious, intelligent white leads. While history shows us that there were several films that did
contain black casts (all unknown), many of these films lacked the budget of the studio backed endeavors
of Orsen Wells, Cary Grant, Frank Capra, etc. Until the arrival of Sidney Poitier into cinema during the
19050s, many of the endeavors were far from fruitful outings.
The importance of Sidney Poiter is extremely vital to cinema, but is often an unjust exercise in the
observation of blacks in cinema, pre-Blaxploitation. While Poiter was indeed a prestigious and talented
(Top to Bottom Right) Cary Grant and Grace Kelly, two of
actor, he represents the archetype of the clean black man/safe nigga of White American preference. Films Hollywoods legendary actors within its Golden Era. Sidney Poitier
like Lillies in the Field, Raisin in the Sun and Blackboard Jungle, all played to the presentation of Poitiers and Bill Cosby, two actors of color who exploded into the main-
ability to carry out well written narratives that often discussed the racial sensibilities of society, but within stream, Max Julien as the iconic Goldie, and Larenz Tate and Tyrin
a degree of non-threatening presentation. Turner from Menance II Society. All talent during movements that
intially are reactions to the standards of cinemas love affair with
white characters.
 Poitier may have been the favorite amongst broad commercial audiences, but
the absence of brooding masculinity and dominance (ie. Woody Strode), still left some-
The importance of Blaxploitation is its framework as a medium of
thing to be desired from black audiences and socially conscious white audiences. While
Poitier did indeed win several awards, receive countless nominations and deliver strong
cathartic expression, resulting from social anxieties and artistic
performances, his personal brand on the big screen did not fully embrace the cultural oppression from the predominant, white American establishment.
aesthetic of the black man.
The importance of Blaxploitation is its framework as a medium of cathartic
expression, resulting from social anxieties and artistic oppression from the predominant,
white American establishment. No matter what you read on black cinema in the modern
era (60s present), Melvin Van Peebless Sweet Sweetbacks, Badass Song will continue to
be the prime example of black expressionism being molded into not only a statement,
but the groundwork for what people of color could do with cinema. The films explicit
synopsis, (a black orphan who, having grown up in a brothel, now works there as part of
a sex show. When the police need a patsy for a murder in the black community, Sweet-

Poitiers film endeavors often came with a sense of moral ob-

ligation to portray blacks as happily tragic figures, that allowed
white audiences to sympathize with black characters, disapprove
white villains but still not feel an intense disdain for their own
real life privilege. What Peebles aimed to do is to aggressively
commentate on the racial climate for blacks, while aesthetically
adhering to French cinemas more open minded sensibilities
regarding sexual behavior amongst people.

backs employer gives him up to two white cops, whom Sweetback ends up killing. Sud-
denly the target of a massive manhunt, he decides to flee to Mexico) stood out amongst
any film at the time, due to the extremity of both the content and the depiction of black
sexuality, the movie was an instant draw and lightening rod for controversy.
Sweet Sweetback is an interesting and complex work, as it represents several
cinema constructs, cultural differences and the differing sensibilities towards cinema, in
both white and black audiences. First off, the film is an independent work, primary con-
structed by Van Peebles (edited, directed, co-produced, written and starring in). Aesthet-
ically, the film operates more with arthouse sensibilities than its unjust categorizing as
an exploitation film. There is sex, but what the film does is set itself as the Anti-Poitier
movie. Sweetback is a character that embodies curiosity, masculinity and sexual conquest,
amidst a world of racism and brutality.
Poitiers film endeavors often came with a sense of moral obligation to portray
blacks as happily tragic figures, that allowed white audiences to sympathize with black
characters, disapprove white villains but still not feel an intense disdain for their own
real life privilege. What Peebles aimed to do is to aggressively commentate on the racial
climate for blacks, while aesthetically adhering to French cinemas more open minded
sensibilities regarding sexual behavior amongst people.
Unfortunately, Sweetback is one of very few films that have a massive influence
from blacks, from behind the camera. The film was praised by many, but also combat-
ed several critical reviews and analyzations from blacks and whites, both rejecting it as
senseless violence and outrageous sexual content. This is in many ways, the exact frame-
work for the inception of gangsta rap, during the late 1980s by hip-hop supergroup, (Top right to Bottom right) Sidney Poiter represented the shift towards audiences interest in possible leading males of color. Woody Strode was a
rugged actor whose grit, stature and masculine presence on screen, added much needed ground for future talent. Director and writer Melvin Van Pee-
N.W.A. The running theme of many audiences and critical analysists, is the difficulty in
bles ambitious, groundbreaking and game changing Sweet Sweetback, introduced more vigar for black talent. Lastly, NWA, pushed the movement of
acknowledging expression from exploitation, and the true dynamics of a quality piece of gangsta rap into a cultural phenomena that transcended color, music and cultural barriers.
work.
 Blaxploitation was ideally meant to be a contemporary offering
Superfly, The Mack, and Black Cesar, for example, were all box office sensations. However, they are for black audiences (and socially conscious whites), but was
unjustly blanketed into the Blaxploitation category, despite each being solid crime and social narratives. Pimps,
drugs, prostitutes, crooked cops and luxury were the primary focus of the film movement, which unfortunately sabotaged in the name of profit.
and unfairly trapped black audiences in a sensationalist reality of which they already lived in every day. White
studios had decided to exploit the potential format of excellent, contemporary cinema, created by Van Peebles, (Top Left to Bottom Right: )
but creating a factory line of cheap, highly questionable narratives. The music of these films were often amaz- Curtis Mayfield, James Brown, Marvin Gaye, The Wiz, Ronald
ing, handled by the eras premier artists (ie. Marvin Gaye, James Brown, Curtis Mayfield). All soundtracks, Regan, Muhammad Ali. All key figures in both Hip-Hop and
Blaxploitation
materials and artists that would serve as some of the pillars of musical inspiration, creativity and sampling in
the hip-hop community.
The unfortunate truth is that the solid entries into the movement are often lost, due to their respected
genre being ignored or considered secondary to being a Blaxploitation work. By, 1978, the film that put a death
knell in the predominant movement was the music oriented, The Wiz. As an urban adaptation/reimagining of
the overrated classic Wizard of Oz, the film not performing well at the box office, made Hollywood consider
films with a paticular, immense black character were no longer profitable at the box office. While the failure
of The Wiz is a complex exercise in both artistic racism, and brand bias, the irony is that the death knell was
sealed by a music oriented production that reimagined an existing work, just as hip-hop culture in it itself is a
reimagining and restructuring of several other cultures and music, in the name of creating a new form of music
and urban representation. Blaxploitation was ideally meant to be a contemporary offering for black audiences
(and socially conscious whites), but was sabotaged in the name of profit. This would carry over in vast ways to
the movement of hip-hop, which is still going on today.
The movement was full of solid dramas, gangster films, crime, comedies and romances, all hidden
underneath the blanket terming by some historians and those involved in the movement.

Hip-Hop: Beginnings, Compton and generalizing crime culture

While the musical element of hiphop did not diversify until the 1980s, the culture took flight in the
70s. Soul music had initially been the music of social commentary and the urban plight for Black Americans,
thanks to artists like Curtis Mayfield, Bobby Womack, Roberta Flack and William DeVaughn.
Hip-hop during its infancy was heavily present during inner city block parties, utilizing growing mu-
sical technology (drum machines, etc.). Turn tabling and scratching were pivotal during the early days, as well
as the Jamaican style of rhyme delivery, called toasting (ie. one of the foundations of rapping). Muhammad Ali
is often cited as the influencer for many of hip-hops elements. His rhyme trickery, confidence, comical trash
talking and flashy personality is one of the biggest influencers of hip-hop, as it moved towards mainstream
accessibility. This would accompany breakdancing and graffiti as the major components of the quickly evolving
genre of urban expression and music. It was a voice of the impoverished youth, as well providing an outlet for
groups effected by the injustices of the economy, social structures and political agendas of the United States.
In the 1980s, Hip-Hop had grown into a dominant and influential genre. The music was geared more
towards the aesthetic of a party atmosphere, with a clothing style that was more andrognist to the decade of
the 80s. Groups like Grandmaster Flash and the Furious Five were socially conscious of urban issues,
creating both party records and political messages about the time (ie. White lies, The Message). Inter-
estingly enough, the Reagan era of Hip-Hop was not a militant display of black hostility, as we had
seen during the 70s film movement. Instead, the music was informative and cultural, with an
unapologetic stance of youth and revolt.
Boogie Down Productions and Juice Crew walked an aggressive line that narrated more urban
decay (drugs, prostitution and crime), during their battle period of Bridge Wars. The beats of the
content were heavily sampled from soul music, and was considered to be the template for East Coast
Gangsta Rap. Despite this darker work, artist like Run-DMC, Rakim & Eric B and Kool Moe Dee,
still provided music that was absent of the aggressive narratives that would soon become industry stan-
dard. This period as the PG-13 equivalent of the Sidney Poitier era, where the gears were in motion,
but not yet in full effect of the black experience (ie. Melvin Van Peebles).

In 1988 however, N.W.A (Niggas with Attitude) would swiftly change the industry and genre of hip-
hop. An effect that exceeds far beyond music, but fashion, society and business altogether unto this day.
(Left to Bottom Right:) NWA and arguably their predecessors, the politically
Straight Outta Compton was an aggressive statement regarding the lives of young black men in charged, Public Enemy. A chart discussing the birth dates of Hip-Hops
Compton, California. Where previous lyrics had painted urban plight golden era emcees, correlating with Black Cinemas most prominent releases.
and circumstances as rough living conditions, they did not venture
into the aggressive territory of profanity and blatant attacks on law
enforcement. This was not an attempt to please all audiences, but
rather the young emcees (Ice Cube, Dr. Dre, Eazy-E, Arabian Prince,
MC Ren and DJ Yella) attempting to shed light on their realities in
the gang ridden and crime infested areas of LA, using hip-hop as
the platform and tool. Songs like Fuck the Police were aggressive
commentaries on the infrastructure and forces that often oppressed
marginalized groups. This was some of hip-hops most
authentic narration, as the style was a product of a point a view that
had yet been shared on wax. Because of the aggressive efforts of artist
like Public Enemy and KRS-One, who began to convey more polit-
ical stances with their efforts, Hip-Hop had become a now prevalent
counter culture in mainstream society.
However, the complexity hip-hops evolution into gangsta
rap, much like blaxploitation, is structured within a self-oppressive
form in itself. Both movements are artistic and social liberations of
the black male, while often degrading and pushing aside the black
woman. Hip-hop would also suffer the same fate as Blaxploitation, and later, New Jack Cinema (popularly
known as the Hood film). Again, develping into a violent trend, rather than an actual statement.

Name Birthdate Film/Release Date

Gangsta Rap in (What is hip-hop?) / Blaxploitation connection and blanket terming
Snoop Dogg October 20th, 1971 Superfly / July 1st, 1972
Tupac Shakar June 16th, 1971 The Spook that Sat by the Door / September 21st, 1973
Though Sweetback is a response to the years of lackluster, insulting roles of actors of color, the film is Nas September 14th, 1973 Black Caesar / Febrary 7th, 1973
also a representation of the purity of an artistic outlet, absent of the constraints of an overseer. Biggie Smalls May 21st, 1972 Lets Do it Again / October 11th, 1975
The presentation of masculinity, strength and sexuality, all presented within the format of a grand con- Ice Cube June 15, 1969 Dolemite / April 26, 1975
quest, is what made Sweetback a stand out narrative. A vast majority of black films after would adopt a formula Dr. Dre February 18, 1965 Car Wash / October 22, 1976
that consistently saw sexuality, violence and blackness, developed with a minimal production cost, exploiting
the material (and real life social constructs) for profit. After the success of N.W.A, the hip-hop genre became
The categories do not reflect a specific connection to the individual rapper or
a slave to the very format that was meant to shed light on an oppressed sector of the country. Suddenly, hyper
duos, and the release of certain narratives. However, the films listed are some of the
masculinity, the romanticism of violence and crime, as well the consis-
key titles during the movements heyday. The genre was unfortunately crammed with
tent objectification and sexualizing of the female gender, became the
standard format and artist branding for the 90s. Because of the aggressive efforts of artist
filler that did nothing but satisfy demand of movie theaters that needed black cinema,
since more popular titles like Sweetback generated much critical response and massive
This is a near parallel occurrence to the black film movement
of the 1970s. An outside source leeches onto a movement after seeing
like Public Enemy and KRS-One, who began returns. While some artists authenticity outside of the music have been questionable,
the initial financial opportunity or success, ignoring the central impor- to convey more political stances with their the influence of the films is undeniable. Just as many were born during the days of their
development and their release, the films were still relevant to the public during the
tance of its cause and existence. The original culturalism of hip-hops
inception was lost amidst the controversy of the profane format. efforts, Hip-Hop had become a now prevalent artists prime years.(ie. Doggystyle was released just 20 years apart from The Mack).
Blaxploitation has been discussed with hip-hop several times, counter culture in mainstream society. A film of this age would be of generational influence for an artist, as it would
but mainly covering the obvious influences such as violence, content and
homages to the era. But the relationship between both essential move- However, the complexity hip-hops evolution be of childhood and/or teenage interest. While artist like Snoop managed to take the
questionable inspirations and turn them into successful careers and endeavors, many
ments are examples of a variation of an inherent vice.
The key players of the late 80s to 90s era of Hip-Hop are all
into gangsta rap, much like blaxploitation is who followed those successful artists have damaged communities and themselves. This
children of the late 60s and 70s. Two decades steeped in the movements structured within a self-oppressive form in isnt a dig at hip-hop or its pioneers, but rather an observation of the cause and effect
of inspiration. Despite Blaxploitation being an overall negative portrayal of urban black
of black nationalism, civil rights activism, shifting political ideals, music
and Blaxploitation. The hip-hop scene as a subsidiary culture of street itself. life, there are many truths to its narratives. For better or worse, these very complexities
fueled many rappers content, causing them to shed light on the unfair disadvantages
life, so the evolution into the aggressive form of gangsta rap was
of poverty and being black. Socially conscious lyrics like Tupacs Only God Can Judge
inevitable. The following rappers, some of the most popular in the
me speaks on the issues of gang violence, amidst a hostile white society And they say its the white
genres history and of the era, were born and old enough to witness the film
man I should fear but its my own kind doing all the killing here. Just like Blaxploitation, gangsta rap
movement at an early age.
contains social consciousness, that is often wrapped within hypocrisy. For every It Takes a Nation
of Millions to Hold Us Back and Fear of a Black Planet, there was a No Limit Records and Vanilla
Ice-esque attempt to capitalize off the popularity and relevancy of the genre.
 If 95% of Blaxploitation was produced by white execs, then an undisclosed percentage of the romanticiz-
ing of pimps, sexualizing women for profit and urban crime in gangsta rap is their fault. The content within gangsta
rap, which in its infancy discussed drug culture, police brutality, masculinity within gang/faction/clique affiliation
and murder, are all prevalent and very much existent within the black community. The issue is that all the narratives
discussed in hip-hop, does more to liberate the voice and justified anger of black men, but is very meager towards the
narrative of the black woman.
Blaxploitation shelled out countless films that presented audiences with the sexualized, rugged black man.
Whether that be in the form of a detective (Shaft), cowboy, (Boss Nigger) vigilante (Hammer), or sympathetic drug
dealer (Superfly), black men were finally able to indulge in their suppressed desires, abilities and just their overall ex-
istence. Yet, black women were subjected to the role of hoes and sex objects, secondary to black male existence. This
didnt change in hip-hop unfortunately, as the issue of women being objectified is still a common practice. During the
90s, the boom of the hypersexualized black video girl took off, while black men again had an outlet to express their

Black women were subjected to the role hoes and sex objects, secondary
to black male existence. This didnt change in hip-hop unfortunately, as the
issue of women being objectified is still a common practice. During the 90s
the boom of the hypersexualized black video girl took off, while black men
again had an outlet to express their struggles and masculinity.

struggles and masculinity. In the 70s, it wasnt until Pam Grier exploded on the scene with her series of exploitation
and Blaxploitation outings, that black women were given a protagonist outside prostitution and romance with the lead
character(s).
Despite arguably being the first female action hero, her roles of revenge and militancy were often put into
effect utilizing her sexuality. Foxy Brown (1974) sees Brown (Grier) pose as a prostitute to infiltrate a sex ring to
find her boyfriends killer. A progressive role that manages to exploit its central character, all while empowering her
simultaneously. The same occurrence would occur again in the 90s, when women got involved in gangsta rap. Hip-
Hop outside of the aggressive street tales had several female emcees, like Queen Latifah, Roxanne Shante, The Real
Roxanne, MC Lyte and Salt -N- Pepa, whom all displayed their lyrical ability just as the guys. All the women made
an impact, but were not
Despite arguably being the first female action hero, her sexualized within the
roles of revenge and militancy were often put into effect genre and their material.
However, Lil Kim and
utilizing her sexuality. Foxy Brown (1974) sees Brown (Grier) the ironically named Foxy
pose as a prostitute to infiltrate a sex ring to find her boy- Brown, were two of the
genres top rappers that
friends killer. A progressive role that manages to exploit its again presented us with
central character, all while empowering her simultaneously. sexualized presentation.
The same occurrence would occur again in the 90s, when The problem was the
portrayal of their talents,
women got involved in gangsta rap. which like the black
women of the 70s, were
overshadowed by the male
gaze. The only female gangsta rap that managed to stand against the exploitative marketing was Death Rows Lady of
Rage. Yo-Yo (a protg of Ice Cube) consistently denounced sexism and rapped about the empowerment of women in
her lyrics, but never reached the level of popularity as several other female artists.
Sadly, female emcees that followed (ie. Gangsta Boo,) were remembered for their explicit branding. While so were
more sexualized than others, they were (and still are) exploited, rather than being highly revered for their talents.
As of today, the current hip-hop scene is reminiscent of the days after Blaxploitations glory days. Much of
the genre is diluted of its most militant, persistent social commentary, settling for an accessible sound that please most
(Top): Pam Grier as the iconic, Foxy Brown. A symbol of strength, beauty and immense sexuality, that
audiences. The black cinema movement of the 70s had come to an end during the 80s, and black actors had begun would involuntarily become the structure for women involved in Hip-Hop. (Left to Bottom Right): Da
to be presented in more mainstream efforts, rather than cheaply produced narratives. Films like Black Caesar were no Brat, Missy Elliot, Gangsta Boo, Foxy Brown and Lil Kim, Lady of Rage and Yo-Yo. Important figures in
longer in demand, and were being replaced with gimmickier outings like Action Jackson. Being black was no longer the female contribution of rap music.
seen as a scary endeavor, but could rather be formatted to be a fun and cool experience, outside of the socio-political
themes. Hip-hop now has lost a ton of its political stance, since the culture is so diluted, in the name of equality and
accessibility to the new generation. The modern era of this explicit content has lost a lot of social consciousness, due
to the lack of new foundation set as a motivating source.
The Statement: The Unfiltered, Chicago voice | Number 2 | March 2017
 What Drill music (a Chicago based hip-hop style) managed to do is embrace its youthful rebellion of
violence, substance abuse, and hostility, without much consciousness and intelligence of its predecessors. Songs
like Dont Like by Chicago rapper Chief Keef, places a large of amount negative concepts into the spotlight
of what the young movement deems as unacceptable in the new culture. And a truly saddening and terrifying
example of the generational divide amongst crime culture, comes with the song Game Over by Lil Bibby. In
a frightening line, Bibby state:

I'll kill bitch and I'll kill her kids / It all depends what her nigga did.

The philosophy of no women, no children., of yesteryear is proclaimed to be essentially gone within

the narrative of this song, as years before, crime had been a male sport, often leaving women and children
untouched as prime targets. The current violent climate of black communities, particularly in cities like Chica-
go, has seen women and children suffering at the hands of violent offenders, often appearing to be both targets
T.I: An Empathetic
and bystanders. This divide is only going to increase, as the children of todays youth (giving birth and having Gangster?
children as children themselves), do not have the moral obligation to embrace, cherish or protect the lives

Tupac grew up with a Afeni Shakur, educating and influencing his T.I is an interesting modern example
of the empathetic gangster construct that
intelligence social conscious with the rhetoric of the Black Panther move- weve seen and heard in a variety of black
ment and American culture for whites and blacks. While impoverished, he narratives (both in cinema and rap music),
was cultured and well spoken, which added insight and layers to his lyrics which in a way harkens back to the character
of Goldie in Michael Campuss The Mack.
of violence, racism and society. However, the absence of this structure in During the characters transitional period,
the youth, had left many of the up and comers one dimensional, stereo- which sees Goldie reclaiming his status on
the streets of Oakland as a Pimp, there is a
typical and lacking depth of commentary. Much of this is ironically and scene where he presumably goes back to his
complicatedly wrapped in the very material of the 90s, that was then (and old community. He pulls up in a brand new,
white Cadillac, instantly getting the atten-
tion from the young boys of the neighbor-
around them, let alone that of women as children as the previous generation did. hood. One of them makes a comment:
Blaxploitation had acted as a template of sorts for many rappers personas, interests and social
perspectives/analyses in their lyrics. However, many believe and point at the fact that the alarming boom of Boy: Goldie, I wanna be like you.
underage pregnancies, youth incarceration and exploitation in crime culture in hip-hop during the 90s, to mid
2000s led to this current generations morally questionable behavior and content. Tupac grew up with a Afeni Goldie responds:
Shakur, educating and influencing his intelligence and social conscious with the rhetoric of the Black Panther
What did I tell you about that? I dont
movement. While impoverished, he was cultured and well spoken, which added insight and layers to his lyrics
wanna ever hear you say, you wanna
of violence, racism and society. However, the absence of this structure in the youth, have left many of the up be like me. You can be a lawyer, a doctor,
and comers one dimensional, stereotypical and lacking depth of commentary. Much of this is ironically and anything you wanna be, but I never, ever
complicatedly wrapped in the very material of the 90s, that was then (and now) deemed of quality and better wanna hear you say, you wanna be like
substance. Much of the 90s era of hip-hop played a critical role in influencing then young black men and wom- me. Okay?!
en, to indulge in sex, partying, materialism and recklessness, creating a generation of unexpected pregnancies,
criminology as well as an admiration for gang culture, imprisonment and the romanticizing of the Legacy after As of today, T.I has transitioned from
Death (ie. Tupac, B.I.G). Parallel to all this, again, is the structure of the black cinema properties, that glorified a ultra- successful hip-hop artist, to a
militancy, the degrading of black women, crime and violence, during the 70s. businessman, managing artists on his own
If the perspective of young black men and women is influenced by the endeavors of the fictitious label imprint. The vast majority of T.Is
and their very real, very demeaning endeavors (ie. Goldie, Youngblood Priest, drug dealing, prostitution); content from his catalog, is the typical
along with the practices of accessible black professionals (ie. rappers, rappers turned businessmen, social subject matter of street culture; bravado,
media models, strippers), what we live within is a culture that makes the young and desperate believe that violence, masculinity, sex, hustling. How-
the exploitation of others is justified, as long as you make it in the end (giving back being optional). The (Top to Bottom): We are now removed from the generation which was directly ever, for the past few years, hes shifted
ideology where the desperate and miseducated, partake in negative practices, meant to better their own influenced by the ideologies of Youngblood Priest. Artist like Chief Keef and Lil his tone to a more socially aware, political
circumstances and those around them. We often finger point at white superiority and systemic bigotry as
Bibby practice a new set of rules told through their music, that is very much an commentary, that has seen him dismiss
effect of the previous gangsta rap era. The violence of the past era of Hip-Hop the content he used to rap about, in favor
the motives for these inherently bad conditions. While that structure is absolutely at fault, at what point showed remnants of the flawed perspectives of crime within the 70s, which has
does the awareness of this system, now coupled with our own wrong doings and self-destructive, negative unfortunately evolved into a much more violent, and socially revealing format (ie. of more important, positive and enlight-
investments, become a vice which can only be blamed on ourselves? Our mediums are the artistic expression Drill). ening matters. This is all well and good,
but it goes back to theGoldie complex
of our plights. Unfortunately, those very movements are poisoned from outward, as well as within. A
mentioned above. The wrongs done , in the
name of the possible and future good.
 A Film of the Month

THE

CONTEMPORARY
GANGSTER
During the era the influential, phenomenon of Copollas
The Godfather, a smaller film made a big statement within a growing
market and culture.

B lack Caesar (1973), managed to adhere to all the sensibilities of the gangster subgenre of crime
cinema, but also adds a considerable amount of black iconography that many ethnic narratives had long been
absent of.Starring Fred Williamson and featuring a soundtrack by James Brown, the film is only exploitation by
its meager budget and (by social standards) its predominant black cast.
While the film itself is a remake of the Edward G Robinson classic, Little Caesar (1931), director Larry
Cohen managed to explore elements of Black presence within organized crime, that (at the time) would become
lost amidst a slew of other black films. A young Black gangster (Williamson) manages to take a section of Har-
lem with permission from the ruling Italian crime family, and turns it into his own empire. The politics of color
within the crime world, crooked cops (a staple of gangster films and not just Blaxploitation) and the descent of
the main character into a deplorable, power hungry monster (despite his initiative originally being for the pro-
gression of black people).
The strength of the film lies in the importance of presenta-
tion. At the time, there were not an overwheiming amount of strong
characterizations for actors of color in cinema. For audiences to witness a
crime narrative where the black guy, whose flounders between unethical
behavior, despite his good intent, was a huge step forward. The use of
soul music from James Brown, was a way to step away from the con-
servative, more formulaic cinematic outings of the previous golden era,
and lace the narrative with a more vibrant, cultural approach. Just as we
covered in this issues feature article, the blanket terming of several en-
tries into the Black Cinema movement, miscategorized several well done
narratives. One should not write Black Caesar as simply a Blaxploitation
film. The only exploitive dynamic of the film is its lackluster budget.
The characters in the film are portrayed as a human, and not stereotypes
of an ill-informed creator or viewer. This is a film and story that uses its
style, its grounded budget and atmosphere, to create a world that is both
realistic, entertaining and insightful in its themes of the impoverished culture and aspirations, of the cornered
black male, and the vulnerability of both the streets and criminology.
While its sequel, Hell Up in Harlem, is purely unneeded and unneccesary, the original film is meaning-
ful in all its style and execution. It serves as a solid entry into the gangster subgenre of cinema, but told through
the black perspective. A
 The
ISSUE #3 Statement a

a FILM CRITICISM EXCLUSIVE:

TAME VIOLENCE,
HAPPY ENDINGS,
& TOO MANY
TRAILERS
A look at the current landscape of mainstream
cinema, past and present narrative quality,
marketing and the knowledge and lives of the
viewing audience.