Daily Archives: April 23, 2008

Semi-Pro Bear Kills Trainer

In unfortunate news, it seems the grizzly bear who played “Precious” in Will Ferrell’s recent Semi-Pro — and seemed to obediently follow all cues during filming —
killed the cousin of his long-time trainer with a bite to the neck. Three experienced handlers were working with the grizzly bear, named Rocky, Tuesday afternoon at the
Predators in Action wild animal training center when the bear attacked
Stephan Miller, 39, said San Bernardino County sheriff’s spokeswoman
Cindy Beavers. Pepper spray was used to subdue and contain the bear; paramedics were unable to revive Miller, and there were no other injuries.

Hip Hop Time Capsule 1994


In 1994, hip hop experienced an incredible commercial and artistic rebirth, a period that many historians refer to in already wistful terms as “hip hop’s last great year.” There was big-time heart and camaraderie within the industry — this prior to the deaths of Tupac Shakur and the Notorious B.I.G. — and records actually took longer than a week or 10 days to create, and weren’t reliant on a zillion cameos from other artists of whom you’d never heard. The west coast-fueled “g-funk” sound dominated the charts, powered by Snoop Dogg, who then still had an extra “Doggy” in his name; Nas stepped on the scene with the now-classic Illmatic; and the wildly creative Wu-Tang Clan was unstoppable.

Hosted by Koe Rodriguez, Hip Hop Time Capsule 1994 takes a look back at the artists, music videos and cultural movement of that time, as captured in archival footage from (cable access channel show?) RETV. Naturally, that means a huge mixed bag. While it’s true that there are videos herein from House of Pain, Craig Mack, Wu-Tang Clan and A Tribe Called Quest, to name a few, more often than not these snippets aren’t the group’s best-known or biggest hits, and neither do they run in uninterrupted fashion. Sure, you get to see some lost, rarely spun material, like The OC’s “Time’s Up” and the Pharcyde’s “The Rubbers Song,” but is anyone really yearning for House of Pain’s “Legend/Word is Bond”?

The problem here is a matter of focus. Rodriguez is an amiable enough guide through this material, but too many bits — like his interview with producer Maleet, who found inspiration in Beatnuts-style sampling — drag on for too long. If there’s a little attention to chronology, there’s certainly none paid to overall cohesion, sadly. Still, despite its grab-bag construction, there are worthy bon mots for intellectually-minded hip hop fans — that is to say those who dig deeper than just the beat, and find fascination in the music’s relevance and relation to modern-day minority culture. In particular, there is some thoughtful interview material with film director John Singleton, from the press day for Illegal Tender, as well as insightful analysis from Princeton political science professor Melissa Harris Lacewell. Strangely, there’s also unsourced material from the trailer for American Gangster, starring Denzel Washington and Russell Crowe.

Hip Hop Time Capsule 1994 is housed in a regular Amray case, and presented on a region-free disc that features a Dolby digital 5.1 surround sound track, and alternates between widescreen and full screen transfers of source material of greatly differing quality. The good news is that there are ample bonus features here, even if the layout of their presentation leaves a bit to be desired. Smif-N-Wesson’s “Let’s Get It On” is one of 10 bonus musical selections. There are also interview snippets (including with Run DMC’s late, great Jam Master J), clips from the Source Awards, a mini-documentary by LaMar Stephens and four PSAs promoting safe sex, including one that misidentifies Ice-T as Ice Cube. Whoops. To purchase the disc via Amazon, click here. C (Movie) C+ (Disc)

Pay the Day-Players, Studios!

I just got back from a screening of Baby Mama (more on that in a bit), and one scene stuck out and reminded me of something that really irritates the fool out of me in movies — when there’s a scene with a background day-player who, because a line of dialogue would give them a big bump in salary, is forced to remain silent, when in real life the person in whatever situation they’re in would have said something, made an exclamation, a frickin’ noise of some sort.

In Baby Mama it’s a brief part of a montage in which an employee of a juice shop owned by Greg Kinnear, with his boss standing right in front of him, makes a smoothie without putting the top on the blender. Ha! It goes everywhere, naturally… and he stands there, mouth agape, while we hold for a too-long bit, so that the movie can cut on the beat of the song in the background. Stuff like this takes you out of a moment, and drives me insane. Studios can spend tens of thousands of dollars on craft services, making sure there’s Red Bull, coffee and iced coffee, but somehow not give a shit about habitual, quite fixable, stupid problems like this. In a bad film, yes, it’s way down on the list of offenses, but in a decent movie it can be like a lingering graze of the nutsack.

SilverDocs Fetes Spike Lee

SilverDocs announced today that it will honor Spike Lee at the Charles Guggenheim Symposium, a centerpiece of the now eight-day documentary film festival which takes place in June, in Silver Springs, Maryland, just outside of Washington, D.C.

Lee, an Emmy Award-winning and Academy Award-nominated director, producer, writer and actor with more than 35 films to his credit, was selected for his unyielding commitment to telling stories that challenge America’s consciousness of social injustice, while also celebrating the resilience and power of the human spirit. “Spike Lee is truly a master storyteller; in both his contemporary and historical films, he uncovers the deep truths and unhealed wounds of the American experience while celebrating our resilience and passion,” said AFI President and CEO Bob Gazzale. As part of the symposium, SilverDocs will screen a series of excerpts from Lee’s body of documentary work, including 2006’s When the Levees Broke: A Requiem in Four Acts, largely considered the documentary of record of the aftermath of Hurricane Katrina, and 1997’s Oscar-nominated 4 Little Girls. Following the screenings, Lee will be joined on stage by special guests to engage in a discussion of his career. More details will be released closer to the festival; to visit the festival web site, click here.