Here’s Boots describing the first film he’s ever written and directed, ‘Sorry to bother you’.
This is the Guardian’s Charles Bramesco on July 3: ‘In his genre-defying directorial debut, Sorry to Bother You, the rapper and producer is bringing radicalism to the big screen, whether the industry is ready for him or not’ (some snippets):
“Just as his work defies easy classification, so too does Riley himself refuse to be placed in a tidy media narrative. He’s a dedicated radical with the street cred to prove it, a wicked humorist oscillating between surreal satire and gallows slapstick, a rapper alone in a genre he created, an authority on class theory who loves to party, and now, a film-maker wending his way through an industry he doesn’t quite consider hostile territory, but doesn’t trust, either. Messy as the task might be, we’re all going to have to figure out what to make of Riley, because he doesn’t intend on going anywhere any time soon.”
At age 47, two and a half decades out from the release of his first album as ringleader of the Oakland hip-hop collective the Coup, Riley has steered his career closer to the mainstream than ever without compromising his deeply held political convictions. No easy feat, as shown in Sorry to Bother You, his debut as director. The film is an incendiary look at the trials and tribulations black men face in an economy exploiting and demeaning them before casting them aside. Riley transmuted his own frustrations from dealings with record label suits into a fairytale nightmare of late capitalism: Cassius Green (Lakeith Stanfield), a telemarketer, finds that his commissions soar when he puts on his “white voice” and tumbles into a corporate behemoth with darker intentions even beyond their stated mission of sanitized slavery. With ribald humor and outrageous provocations – there’s a nearly nude recitation from the Berry Gordy-produced film The Last Dragon, and a number of jokes revolve around a specific aspect of a specific animal’s anatomy – Riley has cloaked a subversive anti-establishment screed in allegory.”
“Riley has spared no effort to ensure that his call to arms doesn’t get drowned out by the peals of laughter. Steeped as the film is in an antic sensibility, the themes of oppression and organized resistance aren’t shuffled off to the subtext. Cassius bears witness to the insidious process by which institutions nudge the unthinkable into the realm of acceptability bit by bit, and joins a rebel faction putting Riley’s fiery ideologies into practice.”
Boots is fiercely defensive about Oakland, and speaks of the plantation gentrification happening there as almost kitsch, and says he ain’t so concerned about the people moving in…as he is about the folks having to move out.
His film was shown at Sundance a few months ago (also: woot!) and must have created enough of a buzz to gain him financial backing. Noting Boots’ distaste for the sort of people who successfully go Hollywood, he found a cool collaborator in Megan Ellison and her Annapurna Pictures distribution company.
“Annapurna is, genuinely, some of the coolest people in Hollywood … but the whole indie capitalists versus big capitalists thing, that preference comes from a lack of class analysis,” he states. “There are practical things that happen when someone’s independent, they can make the choices they want to make. You don’t need a meeting of 200 people that ends with everyone finding something they least disagree with. But, still – it’s like this: I’d rather have the local IPA, because it tastes better, but it’s not ethically superior.”
“Riley’s insistence on being Riley, whoever that might be, paid off; instead of angling towards palatability or chasing trends, he’s reshaping the business in his own image.”
Boots: “There are movements happening that aren’t just online: Black Lives Matter, and before that we had Occupy. Even in the cold, marketing-minded sense of ‘What are people into right now?’ it’s all making us feel a little more free … If we want more radical movies, we’ve got to first have more radical movement out in the world. That’s where it starts.”
His wit never ends…
the coup, 2012, right in your face again:
‘Tell Homeland Security: We are the Bomb!’
As they say…On.the.Other.Hand, this is from the billionaires Beyoncé and JayZ’s new album…’Everything is Love’. Or as Hiram Lee reviewing it as wsws.org says, it should have been titled ‘Money is Everything’
“Nothing on the album is more obscene than the song “Apeshit,” and its accompanying music video. It was filmed in the Louvre in Paris, the world’s largest art museum, which the Carters rented for an undisclosed (presumably vast) sum. They pose for the video cameras in the otherwise empty museum, with the Mona Lisa and the Venus de Milo all to themselves. Ordinary museum goers are forced to contend with large crowds and lengthy wait times to catch a glimpse of these historic works. The Carters can turn the museum into their own personal parlor for a day—and they want you to know it.”
“Crouched in front of the Winged Victory of Samothrace, the famed Hellenistic sculpture from the second century BC, Beyoncé demands even more money. She raps, “Give me my check/Put some respect on my check/Or pay me in equity/Watch me reverse out of debt.” (One breathless media commentator informs us: “Beyoncé outshines the iconic statue by donning a wedding dress by Stephanie Rolland worth a cool $138,748. She tops off the outfit with a structured, ruffled cape from Alexis Mabille Haute Couture.”)
“He got a bad bitch, bad bitch,” Beyoncé raps about Jay-Z and herself, “We livin’ lavish, lavish/I got expensive fabrics/I got expensive habits.” The music is infused with ego. Even the bass notes seem to pulsate with a complacent swagger. In fact, there is something pathetic and laughable about the entire effort.”
Lee quotes more of the Love $ong lyrics:
“On “Boss,” Beyoncé raps, “My great-great-grandchildren already rich/That’s a lot of brown children on your Forbes list.” Jay-Z raps, “Hundred million crib, three million watch, all facts.” In Jay-Z’s world, “invoices separate the men from the boys.” With a complete lack of self-awareness, he raps in the same song: “Pride always goeth before the fall.”
On “713,” Jay-Z begins, “Cash, hit deposit, 24-carat faucets, Louis V and Goyard trunks all in the closet.” He raps in his usual self-satisfied manner. His voice has always contained a kind of chuckle of contempt for those beneath him financially. “Black Effect” contains one of many references to luxury watches. Jay-Z raps: “Got the Richard Mille all colors, might hit you with the Rose Gold all summer.”
Reviewers at the Pitchfork, the Atlantic, the New Yorker practically genuflected before them, and what it means for Amerika and er…black folk: “The Carters remain billionaires who are not interested in leaving their blackness behind, and that, in some ways, is renegade—even if capitalism isn’t salvation.”
LOL, OMG, and Holy Shit! Ya couldn’t make rubbish like that up.
Yeppers, like ‘renegade Black Panther Beyoncé:
“Billionaires are “renegade,” progressive—as long as they possess the right identity. Extravagance, as long as it is black, is to be admired. Modern royalty is acceptable, so long as there are more people of color, more women, more gender identities who can also be crowned. Here we find exposed the real class orientation behind racial and gender politics, which seeks to cultivate an elite layer out of these various “identities” at the expense of working people of all identities.
With Everything is Love, these upper middle class commentators have found an appropriate soundtrack for their campaign.”