Keep Watchin': Nas "Sly Fox"

A blogger-friendly rap video...


Nas "Sly Fox"
dir. by Rik Cordero
This video fits well with Shad's "Brother (Watching)," which we posted earlier today. It continues the theme of corrupt media and poisoned messages reaching our youth, but Nas aims directly and specifically at Fox News - the poster child for modern news spinning. Clearly Fox aren't the only ones playing that game, but they are a worthy target for Nas and director Cordero to attack.

That being said, the video was clearly rushed together, and perhaps intentionally so. The poor sequencing and hokey breakdown (with the Office Space-like smashing scene) embody typical YouTube aesthetics, and are in stark contrast to Nas's more widely released video for lead-single "Hero," but also correspond with rapper's call for citizen journalists to overtake mass media's stranglehold on the "truth." Though it lacks the artistic merit of Shad's video, the message is perhaps more forcefully put forth here: "watch what you watching," or our kids are the ones who will suffer.

Into the Light: Shad "Brother (Watching)"

Look outside, it's a beautiful new day...


Shad "Brother (Watching)"
dir. by Ed Gass-Donnelly
Shad is surrounded by black. He is speaking of black people, and thus he is appropriately framed by the color around him. But he is also inundated with images of black people which are confining, limiting and defeated. Images which are emitted by the TV screens everywhere, by the media which continues to pigeon-hole him and his people, and which are consumed by impressionable youth.

The Canadian rapper wants to open doors, but rather than consciously breaking the few molds society creates for minorities, he asks his audience to simply be themselves. By ignoring the stereotypes, and simply pursuing your own dreams, he suggests you will be going against expectations. It's a message which is underlined by the images of people struggling to emerge; particularly the piano player who begins inside the TV but ends up outside, on his own, free.

Thus Shad continues to "watch," not only to see how the television misrepresents black people, but to also observe how the next generation of black youth grow up - to see where they take us next. The director and Shad are also asking the viewer to look at something other than the TV (which is symbolically burnt), movies and even YouTube - he wants us to see beyond the screen; to seek out the truth about ourselves, and each other. The video ends with the rapper walking out on the darkness, and into the real light of day.

Mirrors On the Wall: R. Kelly "Trapped in the Closet: Chapters 13-22"

R. Kelly "Trapped in the Closet: Chapters 13-22"
dir. by R. Kelly and Jim Swaffield
There's a point in Chapter 8 of R. Kelly's magnum opus, as James the police officer is on the verge of discovering Bridgette's bizarre secrets, where the room darkens and bars of light are thrown across the nervous wife's face. In that moment you begin to understand perhaps the meaning behind all these illicit affairs and love triangles. Whether you're a gay priest, a stripping midget, or even a multi-platinum world famous R&B superstar (who just so happens to be amidst a rather aberrant real-life court case himself), we've all got our own skeletons tucked away somewhere.

As we watch with rapt enthusiasm as Kelly unveils the latest installments of his hip hopera (daily on IFC.com), we'll save the rest of our comments 'til the complete tale is spun. Check back next week for a full run through.

Still Not Tired of Hypocrisy: 50 Cent feat. Justin Timberlake "Ayo Technology"

Classy male cinematic masturbation...


50 Cent feat. Justin Timberlake and Timbaland "Ayo Technology"
dir. by Joseph Kahn
Before we get into the obvious criticisms of extreme female objectification, it should be said: this is an exceedingly attractive modern hip hop video. Director Joseph Kahn manages to find novel and visually exciting ways of playing with the cliches of the genre - namely girls, cars and inordinate displays of wealth. As my friend Jason observed upon his initial viewing, it's like the Minority Report of 50 Cent sex-themed videos (which constitutes nearly all of his videos).

But now that we've got that out of the way: are there any men in mainstream hip hop who have any sort of regard for females as human beings at all? We've addressed this topic numerous times before, but from 50 literally aiming a sniper rifle at a lingerie model to JT spying on girls with binoculars - this is just kind of ridiculous. What's silliest about this scenario is that the song itself is literally about pornography - and men masturbating to said pornography. Thus it's the epitome of male sexist fantasy to depict what is normally a lonely and self-pleasurable act as an avenue of expressing sexual power over real women.

That being said, the video would be somewhat justifiable if we were shown the other side as well. Objectification isn't a terrible thing per se - both men and women enjoy being in control and being controlled at different times - but it's the lopsided nature of power in our society which makes it such a harmful activity. Try imagining the opposite of this video, with popular female artists simulating sexual activities on powerless scantily-clad men...and now try imagining that video ever being made.

In mainstream media male pleasure has never been considered "sexy," but it's sad that there are seemingly no directors in the music video community (or Hollywood for that matter) who have the guts to show it - even when the song is actually precisely about 50 Cent getting off far too often to porn. In reality he and Justin are the ones being controlled by women (or at least pictures and videos of women on the Internet), but in the end even the source of this "technology" is shown to be a man playing with his computer in his bedroom.

Don't Try This At Home: Dude 'N Nem "Watch My Feet"

Dude 'N Nem "Watch My Feet"
dir. by ?
We've already analyzed the decent Down South "Cupid Shuffle" and the more impressive "5000" from New York, but the freshest dance craze of the moment comes straight out the dear old Midwest. This modern version of the "Juke" is on full display in Chicago natives Dude 'N Nem's latest video, a journey across the Windy City showcasing kids and grown-ups alike practicing some very fancy footwork. Yet for all the thrilling and captivating dance moves, the most exciting fact here is the emergence of another quality Chi-town underground duo to add to a burgeoning scene spearheaded by the flyer than fly Cool Kids.

Re-Definition: eMC "What It Stand For?"

eMC "What It Stand For?"
dir. by Rob Alphonose
In many ways eMC seem to stand for the same things as everyone else in the game, at least thematically. But as they rifle off one clever phrase after another, you begin to hear a lyrical creativity that sets them apart. The video has its moments (the transitions are nice), but it primarily defers to the song to keep things afloat. The beat by Nicolay (of Foreign Exchange fame) is supremely addictive, and the references to "eMC" in almost every line are entertaining - though we were left waiting for the obvious Einstein shout out.

Put On Your Red Shoes: Cupid "Cupid Shuffle"

Cupid "Cupid Shuffle"
dir. by ?
As much as karaoke songs like "Macerena" or "Electric Boogie" pain the ears, when played in public they provide a unique opportunity to get lost in communal self-expression. In recent times hip-hop has been especially adept at releasing songs which are specifically intended to bring people together on the dance floor - whether it be to "Lean Back" or "Walk it Out." These are songs which instantly spark a certain type of movement in the crowd, and thus create an exhilarating sense of unity. Cupid celebrates this phenomenon, calling on folks of all ages to join in his new "shuffle."

But even though he gets people moving, this is not the next "Charleston." It's catchy and easy enough to learn, but it's also a tad bit derivative. I imagine it will do quite well nevertheless, but in terms of the 'next big thing,' my money's on the "5000."

[via Notes From a Different Kitchen]

Blood Lust: Chris Brown "Wall to Wall"

Chris Brown "Wall to Wall"
dir. by Erik White
Chris Brown's performance at the 2006 World Music Awards was no one-off - he has his sights set squarely on the King of Pop's presently vacated throne. Yet while "Wall to Wall" shows the young R&B sensation taking bigger risks with his videos, it is without the coherent plot or singular vision (as well as budget) which made "Thriller" such a classic. In fact it's somewhat troubling that in a song where Brown celebrates the plethora of romantic opportunities available to him on a given night, the women are all depicted as dangerous vampires.

Yet what Brown lacks in fresh narrative ideas, he counterbalances with amazing dance moves. The choreography here is on par with Jackson's finest, and the gravity-defying bit on the wall is a nice touch. The video could have spent more money on creativity like that, and far less on pointless cameos from the likes of Tyrese.

Lost in Translation: Kanye West "Stronger"

A big-time production that may just win Kanye his coveted MTV EMA...


Kanye West "Stronger"
dir. by Hype Williams
Kanye follows up the lavish "Can't Tell Me Nothing" with another Hype Williams video that looks even more expensive - and significantly better. Daft Punk permeate the visuals as much as the music, but Hype's futuristic machinery parallels Bjork's sublime "All if Full of Love" as well (if only in visual style). It's a feast for the eyes, and the pairing of flashy lights, Japanese motorcycle gangs and the rising synths of the track works wonders. What doesn't work are Kanye's dance moves or those ridiculous glasses (which he may or may not have borrowed from Kells).

The plot riffs on the original DP version, placing Mr. West in a strange, potentially brain-washing experiment - except this time he seems to be controlled by the legendary dance duo themselves. Shots of Kanye's newly toned physique are meant to emphasize the literal strength he's gained while overcoming criticism and the pressures of stardom. There are bandages on his heart as he enters the robot-controlled machine, but the Chicago rapper wants to assure us he is still full of passion and emotion. His eventual escape from that torment reveals his resolve - mirroring the boastful verses that open the song.

Yet ultimately it's all just an exercise in style. West spent three months searching for those designer frames, just to make sure you'd never seen them before and thus knew they cost more than your house. In much the same way, the entire video is essentially an advertisement of the rapper's wealth, which at this point in his career we are already well aware of. The song is actually a bit more interesting, with Kanye undercutting his bravado while talking to a pretty girl in the club ("I'm trippin,' I'm caught up in the moment"). And while exploring that theme might have made for a more meaningful experience, it most certainly would have gotten in the way of R&B star Cassie shaking her stuff. Which strangely ends up being the focal point of the video.

In My White Tee: Kinfolk Kia Shine "Krispy"

Kinfolk Kia Shine "Krispy"
dir. by Vem
Months after first hearing Memphis rapper Kinfolk Kia Shine's "Krispy," the beat sounds as irresistibly clean as ever. And if you had any doubts about the meaning of the oft-repeated chorus, director Vem's spiffy new video makes it clear Kinfolk is all about the shine. It's interesting to hear a rapper boast chiefly about his style rather than the sheer amount of his possessions. Granted "jeans 900, shoes 850" is meant to signify his inordinate wealth, but Kinfolk seems more interested in discussing his aesthetic choices - in everything from footwear to home decor - than simply throwing money at the screen (ahem). As the drawly rapper glides through a hundred different outfits in the streets of his hometown, without the assistance of busty models or slow-motion car rides, he succeeds in establishing himself as a unique voice in the monotonous world of contemporary hip-hop - while still appealing to its core principles of self-promotion.

Love Some Waffle House: R. Kelly & Usher "Same Girl"

R. Kelly & Usher "Same Girl"
dir. by Little X
While the writing can't sustain itself through the second act, that first section is pure gold. The combination of dramatic build and comedic payoff (in every line), works wonders with the pitch perfect deliveries of Usher and Kelly. It's a small tragedy then that these two R&B superstars couldn't sustain the charm of the sing-song exchange all the way through. Little X helps them along with some typically flashy camera work emphasizing the duo's ridiculously lavish lifestyles, and Kells surprise ending is clever enough (if somewhat implausible). But in comparison to those epic finales that characterized his last foray into rap-opera, this one feels a bit tame.

Permanently Under Construction: Blue Scholars "Back Home"

Blue Scholars "Back Home"
dir. by Zia Mohajerjasbi
While much of Zia Mohajerjasbi's video is concerned with the suffering that follows the death of soldiers in a futile war, there is also substantial anger directed at a system which manipulates some young people into making that decision to fight in the first place. It isn't simply recruiters outside schoolyards, but the constant barrage of depressing images which kids growing up in the poorer neighborhoods of America must face on a daily basis. From decrepit environments to institutional racism, these minds are molded to doubt themselves and their ability to transcend their surroundings from day one.

Under these circumstances, the military does seem to provide an avenue for escape - and in many ways it could - but the subsequent illogic of our actions in Iraq makes it all seem like a pointless trap. The cumulative frustration of all this is personified in the simplicity of the title/chorus, and in a single poignant image. As an impressionable young girl walks past a black man being handcuffed against a wall, Malcolm X looks on from a fading graffiti portrait where the word "Sisters" is scribbled to his left. Social justice silenced and forgotten in the alleyways of the city.

Stuck Between Stations: Kanye West "Can't Tell Me Nothing"

Mr. West makes his return in typically grandiose fashion...

Kanye West "Can't Tell Me Nothing"
dir. by Hype Williams
This is a beautifully stylized and skillfully shot performance meant to grandly introduce the world to the biggest album of the year, Kanye West's Graduation. Like the music and lyrics on this first single, Hype Williams video for "Can't Tell Me Nothing" recycles old ideas behind the guise of modern technique. It almost certainly carries astronomical production costs, but as the Louis Vuitton Don tells us - "it's so hard not to act reckless."

The opening sequence, with Kanye pacing around the camera like a prizefighter, sets the star up as a resilient and unrelenting force - alone in the desert of his own determination. He's a man still caught between God and the allure of Earthly pleasure, which Williams represents with scantily-clad women barely obscured by flowing veils - a simultaneously religious and sexual image.

In many ways this is a glorified ode to beautiful girls and fancy cars with Kanye simply treading water in his tired themes of personal and universal hypocrisy. Yet he is searching for something more to say, and even when he skips like a broken record one can't help but be enthralled by the possibility that one day he will actually graduate to fresh ideas. Though I imagine this song or video will do little to increase enrollment in the Kanye-believers camp, it hasn't dropped anyone out either.

Never Let It Go: T.I. "Big Things Poppin"

T.I. "Big Things Poppin"
dir. by Eric White
After becoming the biggest rapper on the planet in 2006, T.I. faces '07 with a fresh set of dilemmas. It's no longer simply about representing his block or enjoying his rising fame - he now faces the fear of losing all that he has acquired. As Eric White's video shows us, there are thousands of fans out there who adore the southern MC and impatiently wait for a monster follow-up to King. With his influence at an all-time high, T.I. faces an internal conflict on how to present himself now that he is certified-platinum royalty.

Yet rather than settling on any one persona, he wisely chooses to show us the conflict itself. The first single from T.I. vs. T.I.P. is a self-addressed pep-talk in the vein of Gwen Stefani's "What You Waiting For" or Eminem's "Lose Yourself." It rebukes the naysayers and recalls past glories, while in its very existence represents the slightest bit of doubt.

The video cleverly begins with the two sides of T.I. facing off in what is the most engaging and humorous scene of the work. The two characters are separated by one's carefree fun-loving attitude and the other's business-like desire to succeed. They are later shown embracing super stardom in different ways, but neither seems greater than the other. In either case T.I. wants to convey that his biggest priority remains the fans - that he is still a Bankhead kid who loves to rap. Yet his success in this video lies in revealing how difficult playing that role can be when you're own expectations are so high.

Under Siege: Jim Jones "Lockdown, USA"

An unlikely voice of reason amidst the furor over hip hop culture...


Jim Jones "Lockdown, USA"
dir. by Micheal Skolnik and Rebecca Chaiklin
Dipset is not known for their social conscious - by any stretch of the imagination. America, via 60 Minutes, was recently introduced to Cam'ron's campaign to let serial killers roam free, and fellow labelmate Juelz Santana named part of his last album after Ronald Reagan only to warmly recall the rise of crack in the US (he also refers to himself as "human crack in the flesh"). Yet if you wanted, one could make an argument that in both cases the artists were struggling to say something pertinent about their experience growing up in America. The only problem is, there is so much nonsense one must wade through to even arrive at those points that it makes it hard to really care (step 1 is avoiding Killa Season at all costs).

Jim Jones is perhaps the least likely co-founder of The Diplomats to correct all this. Not that Mr. "We Fly High" makes everything right here, but this video for "Lockdown, USA" is a revelatory look at himself, America's war on drugs and the other artists in his crew. If the man who got millions of kids to start senselessly screaming "Ballin!" now has a social agenda, imagine the potential in the rest of the Hip Hop world.


In many ways this video is precisely about the power of music to drive societal reform. Many of the clips we see are taken from a 2006 documentary of the same name by Skolnik and Chaiklin, which focuses on the Rockefeller Drug Laws signed in 1973 that made heavy drug enforcement widespread by the 80's. The film reveals the drastic increase in US incarcerations (and money spent on jails), particularly among the African-American population, since that time. The story of Wanda Best, who was left to care for 5 kids after her husband was sentenced to 15 years on a minor drug charge (which he likely didn't commit), is the fulcrum from which these issues are explored. At the same time we follow Russell Simmons and his brigade of hip hop friends trying to help her cause.

In some alternate universe this video would cause an avalanche of similarly minded efforts to change society through hip hop. Regardless, it's important to understand as much as we can from Jones' work. Once you realize the backstory and the incredible fear that must permeate impoverished communities in America, "stop snitchin'" doesn't seem like such a far fetched concept after all. The loss of trust that has built up between the government and certain groups of people since the dawn of the drug war is a verifiable epidemic of its own. Promoting this rift as a positive phenomenon obviously isn't the answer, but educating the masses to its existence is a start.

Visit the Official Website of the documentary...

Just Be You: Brother Reade "Now They Want Half"

Underground artists promote authenticity in hip hop...


Brother Reade "Now They Want Half"
dir. by Banner Gwin
Upon first watching "Now They Want Half," one could easily make the mistake of assuming the stoic bespectacled man staring at the screen throughout is an actor rather than one-half of this hip hop duo. It isn't simply because of his performance, but Bobby Evans doesn't seem to fit our typical assumptions about the culture. Of course this sort of stereotypical opinion of hip hop is precisely what Brother Reade's Jamz is addressing in his rhymes. Director Banner Gwin intentionally amplifies the strangeness of Evans in order to drive home the point, "you don't have to be rich, you don't have to be cool."

Yet these artists are two parts of the same group (cleverly shown through a shot where Jamz raps at the screen on the left while Evans appears through a mirror on the right), and they are not oblivious to the charms of typical hip hop dreams. Jamz defends LA despite its downsides, while he scrounges his refrigerator for food. As the rapper points out early on, he wants to make money but isn't ashamed of poverty either. The camera zooms in on him as he sits in an undershirt and gym shorts, eating a bowl of cereal in a modest kitchen.


The video works by setting up a series of contrasting or absurd images, the most obvious of which involves the members of Brother Reade themselves. There is also the blue light which glows outside the windows, compared to the red light that imbues the interior. A nailcutter graces a cutting board, and Fugazi is mentioned in the same breath as Jay-Z. These ideas are meant to confound any attempt at pinning either the video or the music into a box.

There's also intentionality in the way the images conjure up feelings of nostalgia. Like the dorky organ that accompanies the bassline, the retro walls hold family photos from the 70's. When the camera passes through the house in the end, it's now completely empty of people. Yet it's still alive with memory, and the artists will not soon forget the vibrant history that exists within those walls. Just as Brother Reade bring us a new voice filtered through familiar sounds, the video for "Now They Want Half" is as mysterious as it is inviting.

It's no Da Vinci, but it may very well show up on a few end of the year lists.

Never Let Me Down: Consequence "Don't Forget 'Em"

Consequence "Don't Forget 'Em"
dir. by ?
This Kanye produced track bears not only the mark of his signature sampled sound, but Consequence's persona recalls that of Mr. West as well. Even though 'Quence has been around since the early 90's, frequently appearing with A Tribe Called Quest on albums that heavily influenced the 'Louis Vuitton Don,' it's clear that some of his style here is a product of West's recent astronomical success. Which is no surprise considering his debut studio album, Don't Quit Your Day Job!, is being released on Kanye's GOOD Music label.

The video, like the song, mixes moments of light humor with deep sincerity as it spins around the rappers memories of home. We've had a slew of videos in recent weeks that emphasize the importance of remembering where you come from, and the rotating camera does a good job of visualizing Consequence's thoughts on the matter. But it is a one-trick pony, and unfortunately can't sustain the full video. Nevertheless, we truly hope the Queens native finally gets his big break with this album - he's had the talent for a while.

No Fairy Tale: Lil' Scrappy "Livin' in the Projects"

Posthumous musical appearances by 2Pac are nothing new, but Lil' Scrappy tries to once more channel the inspirational spirit of the dead rapper with his latest video...


Lil' Scrappy feat. 2Pac "Livin' in the Projects"
dir. by ?
The 2Pac sample is about more than having a fly hook, for Lil' Scrappy the iconic rapper represented hope in a world of poverty and fear. Though he claims his mind was focused solely on making money as a youth (by any means necessary), portraits on the wall reveal other sources of motivation. Lil' Scrappy looks to paint himself in that same vein, going back to the ghettos as proof of the possibility of success in an environment normally bereft of positive change.

Yet in order to make his story of rag-to-riches effective, he must first establish the authenticity of his experience. The director's attention to detail is what creates a believable picture of modern American life in the projects. From eviction notices on the door to rotting animals on the street, liquor bottles lining shelves and drug stashes in the ceiling, Lil' Scrappy doesn't glamorize the 'hood with beautiful women or shiny cars - he shows it for what it is. Just as his lyrics relay the bleak circumstances which led him to crime, the video shows us the environmental depravity which did the same.


Lil' Scrappy doesn't just emphasize the difficult or painful aspects of this life though, he reminds us that these folks still find reasons to smile. There are shots of girls laughing on the corner, friends exchanging pleasant greetings and young men relaxing in the afternoon. Selling drugs or stealing money is something you do to survive in this world - but it doesn't make you inhuman or incapable of joy. Rather the good times you had become all the more powerful in your memory, when contrasted with so many dark moments of fear.

The rapper writes so that his daughter will never face those "gates to hate" which lurked outside his childhood home, but he also rhymes to express the value of his experience - the strength he gleamed from that desperation. Proud of his defiant accomplishment, but mindful of the streets which created the tough image upon which he now sells millions of records, Lil' Scrappy speaks to inspire those still braving the coldest of Decembers. A shot of a television set is followed by a mirror hanging on the wall - he knows the influence his music can have. Lil' Scrappy's no 2Pac, but he has made a compelling and truthful video.

Rain Over Me: Rihanna feat. Jay-Z "Umbrella"

Rihanna feat. Jay-Z "Umbrella"
dir. by Chris Applebaum
At about 2 minutes and 30 seconds into this glossy new video, a nearly-nude Rihanna poses provocatively inside a huge triangle. But long before that blatant moment of female sexuality director Chris Applebaum establishes "Umbrella" as a multi-faceted metaphor. From the way Rihanna's short skirt mimics the look of an open umbrella to the suggestive way she places a closed one between her legs, the artist presents her femininity as a sensual and protective attraction. But as she combats the rain with her body, she sings about her emotions being symbols of strength and safety as well. Her desire and her heart are two parts of the same feeling, just as she dances in black & white and color.

Yet as mentioned, this all becomes clear rather quickly. The inclusion of Jay-Z in the beginning ads nothing to the theme, and though they cascade all around him and Rihanna - there are no sparks flying here. There is a lulling effect in Rihanna's voice that is both sexy and mildly boring, and the video wallows between these two poles. But strangely enough, the song itself succeeds precisely because of this ambiguity.

I Can't Sleep Nights: Ludacris "Slap"

A hip-hop homage to Travis Bickle that actually works? Well if you couldn't tell, we're excited...

Ludacris "Slap"
dir. by Philip Andelman
The genius of Bernard Hermann's score for Taxi Driver is the way it establishes important themes but never obscures or overpowers the images. The sounds work with and against Martin Scorsese's vision, helping create the suffocating atmosphere of the picture. There's the sultry saxophone which lures you into the seedy New York streets, while simultaneously underlining the loneliness of Travis Bickle. Then the rising drums which push forward and bang against the cacophonous trumpets as the violence crescendos. Just as the camera lingers on empty hallways and drops of rain, the score echoes the complicated inner psychosis of Bickle. Many have described Scorsese's masterpiece as a horror film, and it's Hermann's music which ads the final touch of paranoia that lingers in the hellish smoke rising from the sewers.

Ludacris picked up on the same idea in composing "Slap," using slinky west coast synths to complement the rising tension of his brooding baseline. The cheesy electric guitar is a perfect addition, evoking the excitement and fear of the night like the trumpets in Hermann's score. Yet much of this only becomes clear upon watching the visuals, in fact the song doesn't necessarily stand out amongst the other tracks on Release Therapy. This is that rare occasion where the pictures actually make the song much better; adding enormous depth to Ludacris's lyrics and emotion.

The director uses many of the same effects and shots as Scorsese, from slow motion drive-bys to red-hued close-ups. Direct scenes are copied - like the pull-ups in the doorway - and the narrative follows a nearly identical arc. On paper this might read like a bad idea - what's the point of so closely copying such a renowned film? Is it a cheap ploy to profit off Scorsese's art and image? Yet despite these questions, and somewhat miraculously, this video still works. Unlike the many Scarface and Godfather references you find in every other rap video, Ludacris and his director aren't using Taxi Driver merely for its street-cred or arresting visuals. The reference actually exists as a powerful ally to the lyrics, increasing anticipation for what we think we know will happen.


The song is especially vital in this regard, as the repetition within the chorus and angry inflection of Ludacris's delivery serve to build the suspense to a fever pitch. He raps about losing a friend, being disconnected from his girlfriend and the general stagnation of his life. Then he turns his sights on the state of the world, and we can just feel the intensity of the moment as he kicks Bush and his TV onto the floor. It's a different context but since we "know" what's coming we translate the heat of Bickle's self-destruction into Ludacris's character. Yet in the next scene, based on one of the iconic moments in all of cinema, we don't get the pay off we are expecting.

One could argue this is the point where the video falls apart - without the threat of Bickle's guns, the climax might feel blasé. Ludacris stands in front of the mirror pretending to slap someone, and you almost want to laugh. That's it? That is what you've decided to do about your pent up frustrations and excruciating loneliness? Not that slapping someone isn't a violent or physically powerful act, but Ludacris himself makes mention of a .45 earlier in the song. We almost want him to go out in a blaze of glory.

But once again this isn't Scarface, and Ludacris isn't playing Travis Bickle either. It'd be easy to critique the rapper's improvisations in front of the mirror when compared with De Niro's singular performance, but if you look at it on its own - which the video invites us to do with the lack of the gun - Ludacris does a fine job of channeling a different sort of spirit. In retrospect his character is far from the utterly lone soul that Bickle is. He at least had a close friend, he has a girlfriend and what really throws him over the edge is the American government's corrupt policy and lack of respect for his community. This taxi driver is expressing more frustration than loneliness, while Bickle's frustration was a direct product of his isolation.


Ludacris isn't just frustrated with the world around him, he recognizes that part of the problem may be his own laziness. In that way he is much more like an average citizen than the mentally unstable Bickle, who never really looks in that mirror. Granted most of us aren't walking into whorehouses and slapping around pimps, but we can relate to "I hate my 9 to 5." In Taxi Driver the pressures of society which push Bickle over the edge are more subtle and relate more to his own inferiority complex - what screenwriter Paul Schrader called self-imposed loneliness. But here the character actually encounters death, robbery and the constant fear of war.

It isn't nearly as complex or gripping a portrait as Scorsese's magnum opus, but in its own way it relays the troubles of modern society while mirroring the themes of isolation and paranoia. It's also a monumental video for hip-hop right now. Bill O'Reilly once used this exact song as the basis of a seething critique of the Grammys and Ludacris (who won for Rap Album of the Year), repeatedly referencing the "slapping" as proof of the rapper's promotion of violence. It was clear then and it's clear now that O'Reilly never listened to this track or gave the artist a chance. I'm certain, considering Ludacris's history with O'Reilly, that those words where in the back of his head during the shoot. For this reason alone the video must be counted as an unqualified success; a dramatic affront to anyone who fails to see the potential of hip-hop expression.

Many critics agree that Travis Bickle being hailed as a hero at the end of Taxi Driver, after his murder spree, is a comment on the glorification of violence in American culture. So the fact that Ludacris clearly changes this major plot point in his own story is of some significance. It not only goes against the expectations set-up by the film reference, but also challenges the glorification of gun crime in hip hop culture. This isn't a story about a drug-deal gone wrong, or a man walking in on his cheating woman (not that those stories have no relevance, but they're told all the time in this genre), it's a complex look at personal insecurity, racial issues and frustration with contemporary affairs. The rapper doesn't make himself a hero, but rather presents a story and asks us to evaluate it ourselves. Thus the ultimate irony (and glory) of Ludacris's dark Scorsese-inspired vision in "Slap," is that it may very well be anti-violent.