One of the most arresting parts of the movie is a sequence that juxtaposes traditional African dance with Krump.
what's interesting is that La Chapelle showed them that footage...supposedly none of the Krumper kids were aware anything like that had been done before.
We're getting ready to see this with some of our gay friends (two guys and one woman)...I'll get back to you with the obvious voguing comparisons after the show.
By the way, I saw Urban Bush Women at the Joyce Theater last night and I was surprised to see that beyond the usual dances inspired by the African diaspora (including some capoiera moves), apparently stripping is emerging as an influence in modern dance (lots of twerking taking place).
By the way, I saw Urban Bush Women at the Joyce Theater last night and I was surprised to see that beyond the usual dances inspired by the African diaspora (including some capoiera moves), apparently stripping is emerging as an influence in modern dance (lots of twerking taking place).
I've been amazed at that. They even had a thing on Oprah the other day when they had a freakin' pole and showing women how to be sexy for your man. I don't know I think it's a little messed up. It's like.....your husband is going to strip clubs anyhow so just do it at home so he doesn't leave you and blow the families money.
I think the Pussy Cat Dolls have got things going a little as well.
Just got back from the film and one of the most arresting parts of the movie is a sequence that features Tommy the Clown lounging with his little man Larry on Tommy's leopard print velour comforter.
Just got back from the film and one of the most arresting parts of the movie is a sequence that features Tommy the Clown lounging with his little man Larry on Tommy's leopard print velour comforter.
Tommy did have several suspect moments in the film?
Yeah I gotta co-sign on this one. I am pretty sure you wouldn't say that "Ghey" shit to anyone of those cats that is in this doc. They would probably lay you out real and further more if you watch this film you might learn something about how important this is to them, and how amazing it is for them to be able to perform for hundreds of people.
what's next? DJ's in clown make-up? I don't know about the people in the film, but David Lachappele (The director) is most certainly gay. and maybe he got to make the film because he was already "connected" to this particular community and it's members. I'm just sayin.
what's next? DJ's in clown make-up? I don't know about the people in the film, but David Lachappele (The director) is most certainly gay. and maybe he got to make the film because he was already "connected" to this particular community and it's members. I'm just sayin.
what's next? DJ's in clown make-up? I don't know about the people in the film, but David Lachappele (The director) is most certainly gay. and maybe he got to make the film because he was already "connected" to this particular community and it's members. I'm just sayin.
Hi! Welcome to Soul Strut!
man, there are some people seriously concerned about "gayness" on this board. Glad to hear it!
what's next? DJ's in clown make-up? I don't know about the people in the film, but David Lachappele (The director) is most certainly gay. and maybe he got to make the film because he was already "connected" to this particular community and it's members. I'm just sayin.
Hi! Welcome to Soul Strut!
man, there are some people seriously concerned about "gayness" on this board. Glad to hear it!
I gotta be honest and admit I finally saw WILD STYLE for the first time this week. But what a fag-ass flick - dudes in circle watching each other dance, wearing suspect white gloves, tight-ass designer jeans, even doing "I'm trapped in a glass box" mime and shit. I mean WTF is up with that.
bro it's called a cypher. ever had fun rippin one? and yea wildstyle's story was pretty corny...nonetheless still serves to document a piece of the times..
and as for krumpin...interesting, i dont understand any of the concepts of it though, i'm sure it's been around for days..
what's next? DJ's in clown make-up? I don't know about the people in the film, but David Lachappele (The director) is most certainly gay. and maybe he got to make the film because he was already "connected" to this particular community and it's members. I'm just sayin.
Word. I bet Lachappele is part of the "Gay Mafia" in Los Angeles!
cmon homie...don't throw something like that out there and not elaborate...speak on it...i'm curious.
Hold your horses! I'm only a 9-5 poster, not 24/7!
First of all, I thought "Rize" was bad technically, particularly as far as narrative structure and editing go. There was way too much footage left uncut, which didn't just make the film unnecessarily long, it actually disrupted any sense of trajectory.
What offended me about the movie was the persistent disregard for proper historical context. I find it troubling that this dance phenomenon has more do with exotic Africa for the filmmakers than, say, pop-locking or moshing. I heard the word "popping" exactly once in the movie and it's significance goes entirely unprobed by the filmmakers. As do the distinctions between clowning and krumping- the two opposing subjects of the film- for that matter. It is clearly more important to know that these are beautiful, objectified African tribes transplanted in L.A., and to be wowed by the newness of it all, than to get any specifics of the lineage right. Think how silly it would be to make a documentary about crunk music that never mentioned recent hip-hop predescessors- whether national or regional- and just went straight to some Nuba people pounding a crunk rhythm on their drums.
cmon homie...don't throw something like that out there and not elaborate...speak on it...i'm curious.
Hold your horses! I'm only a 9-5 poster, not 24/7!
First of all, I thought "Rize" was bad technically, particularly as far as narrative structure and editing go. There was way too much footage left uncut, which didn't just make the film unnecessarily long, it actually disrupted any sense of trajectory.
What offended me about the movie was the persistent disregard for proper historical context. I find it troubling that this dance phenomenon has more do with exotic Africa for the filmmakers than, say, pop-locking or moshing. I heard the word "popping" exactly once in the movie and it's significance goes entirely unprobed by the filmmakers. As do the distinctions between clowning and krumping- the two opposing subjects of the film- for that matter. It is clearly more important to know that these are beautiful, objectified African tribes
transplanted in L.A., and to be wowed by the newness of it all, than to get any specifics of the lineage right. Think how silly it would be to make a documentary about crunk music that never mentioned recent hip-hop predescessors- whether national or regional- and just went straight to some Nuba people pounding a crunk rhythm on their drums.
You raised some relevant points in your analysis of the film. However, I think the reason behind tracing the dance all the way back to African roots is what people overlook with popping and break dancing in the first place. I don't think the director would deny what you've proposed is missing from the film. But, he made a decision to take it back to the essence, without sacrificing the storyline.
I was much more interested in the contemporary signifiganace of krumping to these young people's lives and personal struggles than carrying on about bboying or anything like that. This was obviously designed to be a feature length film. I think an extra 40+ minutes of combing through the history of urban dances and the connections between them would run the risk of taking the casual viewer completely out of the context of the movie.
There was way too much footage left uncut, which didn't just make the film unnecessarily long, it actually disrupted any sense of trajectory.
i can somewhat agree with this[/b]
I find it troubling that this dance phenomenon has more do with exotic Africa for the filmmakers than, say, pop-locking or moshing.
pop-locking and moshing are the obvious recent influences...but i thought it was kinda cool that the African influence was highlighted [/b]
I heard the word "popping" exactly once in the movie and it's significance goes entirely unprobed by the filmmakers. As do the distinctions between clowning and krumping- the two opposing subjects of the film- for that matter.
i strongly agree with this...there should have been more focus on the differences between the two forms of dance....actually,less dance and more documentary would have been better [/b]
. how silly it would be to make a documentary about crunk music that never mentioned recent hip-hop predescessors- whether national or regional- and just went straight to some Nuba people pounding a crunk rhythm on their drums.
i understand your point....but this analogy seems like a stretch[/b]
You raised some relevant points in your analysis of the film. However, I think the reason behind tracing the dance all the way back to African roots is what people overlook with popping and break dancing in the first place. I don't think the director would deny what you've proposed is missing from the film. But, he made a decision to take it back to the essence, without sacrificing the storyline.
The tracing to African roots has been done plenty already, though. I don't deny that the connection has merit when handled well, but it's tricky stuff and it's the way that they handled it in this film that particularly bothered me. It seemed like a step backwards.
I was much more interested in the contemporary signifiganace of krumping to these young people's lives and personal struggles than carrying on about bboying or anything like that.
I was more interested in the contemporary signicance of krumping to these young people's lives and personal struggles too! My thing is: I don't know how you could get further removed from this than by going back several thousand years to the deserts of Africa! The way the Africa theme is introduced into the film immediately eclipses all specificity of the young peoples' experience. The universalizing undercuts their individual investment in the dance because now they are just Africans doing what comes naturally to them. It's a very confusing message. If it's going to be brought up at all, it needs to be explored thoroughly, not in the manner of a Gap commerical.
This was obviously designed to be a feature length film. I think an extra 40+ minutes of combing through the history of urban dances and the connections between them would run the risk of taking the casual viewer completely out of the context of the movie.
Actually, I would propose that they remove, not add, 40 minutes of footage from their film- both for technical and aesthetic reasons. Almost everything that happens after the "finale" (the battle)- and way too much happens after the finale- either drives away at a point that's already been made in the same way it's already been made, or opens a new can of worms that is closed up as soon as it is opened because the credits are about to roll. Take the white and asian krumpers, for example. Huh??? Where were they the whole movie? They're not going to help the consistency of the film with five minutes left to go.
there was a peace on Tommy / Krumping on The New Music (perenially clueless canadian music program that rests on the laurels of interviewing the clash back in '81) sometime last year.
at the time i thought it was easily the stooooooopidest thing i'd ever seen. It's just break dancing with clown makeup ...
anyhow i find it really interestign that a clueless music video lame-o fashion photo dude like Lachapelle would make anything of any remote interest to strutters (other than an outakes reel from xtina's dirrrty vid). Im sure the movie looks cool and is neato but dude is just making a glorified music video and trying to blow it up into a "cultural phenomenom" .. i think the words cashing in loom large over this.
I live in Hayward, CA and 2 weeks ago I was coming out of a liquor store on Kelly Hill and saw a clown. This really caught me off guard cuz I thought these guys were only on TV or in South Central. Is this the new trend???!!!??? This guy definently wasn't being paid to look like this either. He was scary as hell too, I wanted to laugh but he looked
I never thought I'd see clowns runnin around my neighborhood. What's this world coming to?
Not mad tho... makes me laugh everytime I think about it.
Comments
what's interesting is that La Chapelle showed them that footage...supposedly none of the Krumper kids were aware anything like that had been done before.
By the way, I saw Urban Bush Women at the Joyce Theater last night and I was surprised to see that beyond the usual dances inspired by the African diaspora (including some capoiera moves), apparently stripping is emerging as an influence in modern dance (lots of twerking taking place).
I've been amazed at that. They even had a thing on Oprah the other day when they had a freakin' pole and showing women how to be sexy for your man. I don't know I think it's a little messed up. It's like.....your husband is going to strip clubs anyhow so just do it at home so he doesn't leave you and blow the families money.
I think the Pussy Cat Dolls have got things going a little as well.
Tommy did have several suspect moments in the film?
Hi! Welcome to Soul Strut!
man, there are some people seriously concerned about "gayness" on this board.
Glad to hear it!
Hi! Welcome to Soul Strut!
bro it's called a cypher. ever had fun rippin one? and yea wildstyle's story was pretty corny...nonetheless still serves to document a piece of the times..
and as for krumpin...interesting, i dont understand any of the concepts of it though, i'm sure it's been around for days..
peace
Word. I bet Lachappele is part of the "Gay Mafia" in Los Angeles!
Bro, trust that soulmarcosa would get ripped in my cypher. And I would have fun doing it.
I think.
Care to elaborate?
AAAAAAAAAAAAAAAAAAA
YYYYYYYYYYYYYYYYYYY
YYYYYYYYYYYYYYYYYY
OOOOOOOOOOOOOOOOO
cmon homie...don't throw something like that out there and not elaborate...speak on it...i'm curious.
Sayin', bring it!
Hold your horses! I'm only a 9-5 poster, not 24/7!
First of all, I thought "Rize" was bad technically, particularly as far as narrative structure and editing go. There was way too much footage left uncut, which didn't just make the film unnecessarily long, it actually disrupted any sense of trajectory.
What offended me about the movie was the persistent disregard for proper historical context. I find it troubling that this dance phenomenon has more do with exotic Africa for the filmmakers than, say, pop-locking or moshing. I heard the word "popping" exactly once in the movie and it's significance goes entirely unprobed by the filmmakers. As do the distinctions between clowning and krumping- the two opposing subjects of the film- for that matter. It is clearly more important to know that these are beautiful, objectified African tribes
transplanted in L.A., and to be wowed by the newness of it all, than to get any specifics of the lineage right. Think how silly it would be to make a documentary about crunk music that never mentioned recent hip-hop predescessors- whether national or regional- and just went straight to some Nuba people pounding a crunk rhythm on their drums.
You raised some relevant points in your analysis of the film. However, I think the reason behind tracing the dance all the way back to African roots is what people overlook with popping and break dancing in the first place. I don't think the director would deny what you've proposed is missing from the film. But, he made a decision to take it back to the essence, without sacrificing the storyline.
I was much more interested in the contemporary signifiganace of krumping to these young people's lives and personal struggles than carrying on about bboying or anything like that. This was obviously designed to be a feature length film. I think an extra 40+ minutes of combing through the history of urban dances and the connections between them would run the risk of taking the casual viewer completely out of the context of the movie.
i can somewhat agree with this[/b]
I find it troubling that this dance phenomenon has more do with exotic Africa for the filmmakers than, say, pop-locking or moshing.
pop-locking and moshing are the obvious recent influences...but i thought it was kinda cool that the African influence was highlighted [/b]
I heard the word "popping" exactly once in the movie and it's significance goes entirely unprobed by the filmmakers. As do the distinctions between clowning and krumping- the two opposing subjects of the film- for that matter.
i strongly agree with this...there should have been more focus on the differences between the two forms of dance....actually,less dance and more documentary would have been better [/b]
. how silly it would be to make a documentary about crunk music that never mentioned recent hip-hop predescessors- whether national or regional- and just went straight to some Nuba people pounding a crunk rhythm on their drums.
i understand your point....but this analogy seems like a stretch[/b]
The tracing to African roots has been done plenty already, though. I don't deny that the connection has merit when handled well, but it's tricky stuff and it's the way that they handled it in this film that particularly bothered me. It seemed like a step backwards.
I was more interested in the contemporary signicance of krumping to these young people's lives and personal struggles too! My thing is: I don't know how you could get further removed from this than by going back several thousand years to the deserts of Africa! The way the Africa theme is introduced into the film immediately eclipses all specificity of the young peoples' experience. The universalizing undercuts their individual investment in the dance because now they are just Africans doing what comes naturally to them. It's a very confusing message. If it's going to be brought up at all, it needs to be explored thoroughly, not in the manner of a Gap commerical.
Actually, I would propose that they remove, not add, 40 minutes of footage from their film- both for technical and aesthetic reasons. Almost everything that happens after the "finale" (the battle)- and way too much happens after the finale- either drives away at a point that's already been made in the same way it's already been made, or opens a new can of worms that is closed up as soon as it is opened because the credits are about to roll. Take the white and asian krumpers, for example. Huh??? Where were they the whole movie? They're not going to help the consistency of the film with five minutes left to go.
???
You know that I only meant that in the friendliest way possible, right?
my bad...i was little sensitive/cranky this morning...the !'s threw me off...i shall delete....
at the time i thought it was easily the stooooooopidest thing i'd ever seen. It's just break dancing with clown makeup ...
anyhow i find it really interestign that a clueless music video lame-o fashion photo dude like Lachapelle would make anything of any remote interest to strutters (other than an outakes reel from xtina's dirrrty vid). Im sure the movie looks cool and is neato but dude is just making a glorified music video and trying to blow it up into a "cultural phenomenom" .. i think the words cashing in loom large over this.
I never thought I'd see clowns runnin around my neighborhood. What's this world coming to?
Not mad tho... makes me laugh everytime I think about it.