by Todd E. Jones aka The New Jeru Poet |
Review
by Todd E. Jones aka The New Jeru Poet
(Aug 2005)
Few
films deserve to be deemed as essential viewing for lovers a certain
culture. For hip-hop aficionados, some of these films include “Wild
Styles”, “Krush Groove”, and “Beat Street”. In the medium of moving
pictures, documentaries offer an accurate representation of the
subject. “Style Wars”, known only to true lovers of the golden era, is
the requisite documentary about the birth of hip-hop and graffiti
culture. The exciting 1982 film documents an innovative time. “Style
Wars” captures the energy, bonds, ideologies, risks, and talent of
urban artists. The 2 disc DVD set overflows with recently filmed
interviews, still photographs, a commentary track, and music. While a
majority of the film focuses on graffiti, the film acknowledges the art
form as a piece within the puzzle of hip-hop. With a myriad of races
mixed together, the late 70’s / early 80’s graf movement evolved with a
youthful, creative energy. “Style Wars” is the definitive graffiti film
that authentically encapsulates a budding cultural movement in a time
period of forgotten innocence.
“Style Wars” succeeds in capturing an
underground renaissance of urban artistic expression. Starting in the
darkness of an underground subway tunnel, the film bursts into a
bountiful ocean of spray-painted colors as the trains move like deep
sea iron serpents. The actual film is interesting on the initial
viewing, but repeated plays prove to be severely addictive.
Audiences will be enthralled by the dynamic
drama with the myriad of conflicts. First, the authorities wage war
against the underground artists. Mayor Koch, the police, and the
transit authority are not painted as evil enemies. Simply, they have a
job to do. The conflicting opinions fuel both sides. The passion of the
youth transforms into an unstoppable artistic revolution with spray
paint. While some believe graffiti hurts the quality of our life and
defaces public property, others believe graf gives the city an
indelible. New York City attempts to cease the movement but fails.
Guard dogs, laws, and barbwire fences cannot stop the determination of
the youth. Decades later, this movement has endured. Second, the
tensions between the writers perpetuate the mythology of danger
surrounding the culture. Apathetic to how others view him, Cap is a
bomber who sprays grey throw-ups over other people’s intricate pieces.
The other writers have such a hate towards him, they did not want his
name mentioned in the documentary. The existing violence between the
artists is only verbalized. Viewers realize that the blood did spill
off camera. Finally, the conflict between a mother and son is
poignantly universal. With a brutal honesty, every viewer can relate to
a war inside a home. In the film, Skeme and his mother fight a
perpetual argument that adds a poignantly emotional element to the
film. Just as Skeme cannot be convinced to stop, his mother can not be
convinced to accept his art. Without resolutions, these conflicts add
to the contemporary relevance of “Style Wars”.
Music makes the artwork come alive. Tony
Silver uses music to seamlessly glue together moving pictures and still
photographs. With old school hip-hop songs, “Style Wars” gracefully
moves the story with style. “The Message”, by Grandmaster Flash &
The Furious Five is a perfect theme for Case, the one-armed maestro who
wins the viewer’s hearts. “Beat Bop” (by Rammellzee Vs. K-Rob) is the
magnificent theme for the film. Rammellzee’s old school flow perfectly
encapsulates the movement’s energy. Rammellzee also raps about The Son
of Sam as Rock Steady Crew break dance against Dynamic Rockers. The
inclusion of older, non-hop-hop music adds the film’s panache while
displaying how the culture’s substance runs deeper than what people
think is stereotypical hip-hop. Seen’s theme song, “The Wanderer”
proves how hip-hop transcends rap music. In the opening scene, the
director uses the classical score from “Excalibur” for the painted
train’s dramatic entrance. The connection between classical music and
hip-hop music give the film a timeless quality.
The objective news report style informs the
viewer while adding a stylish authenticity. The sound of the
stereotypical white narrator is (unintentionally) humorous, but direct
as he teaches the viewers. If “Style Wars” was made today, an emcee
would probably be the narrator. Instead, the film plays like a 70’s
news report with a humorless narrator elucidating slang like a confused
observer of a distant tribe. The informative film excites the viewer on
all aspects of the culture. With a respectful authenticity, the film
documents the first tag to go "all-city" (Taki 183), the evolution of
bubble letters, throw ups vs. pieces, wild styles, and much more. The
artists philosophize about the difference between bombing trains versus
walls. Obviously, the true bomber loves the train yard. Dondi comments
about his love for the odor of the train yard. Silver also insightfully
comments about the exploitation of graf. Wealthy gallery owners attempt
to incorporate graffiti to the suburbanites, who are hungry to profit
off of underground urban culture. Reduced to retailers, the gallery
owners yearn to legally capture the illegal energy of a train yard on a
piece of canvas. Since the lawbreaking excitement and dangerous
environment become their creative fuel, the true graf artists always
return to the train yard. This mysterious danger surrounding the yard
ultimately enhances the film’s potency.
The heart of “Style Wars” lies within the
myriad of fascinatingly real people. The artists are bonded by their
secret language, which includes a camouflaged writing style. “Bombing”,
“toy”, and “throw ups” are a few of the words writers still use today.
As they speak in their own lingo, the culture forms around them. The
writers know each other and inspire each other’s creativity. As the
one-armed artist, Case walks into the projects rapping about Slick
Rick, the audience gains respect and admiration for the artist as a
person. Case’s involving life story makes graffiti universal. He tells
stories about getting out of jail, just starting his work, losing his
arm, and becoming an innovator. The film depicts Case as one of the
most talented and revered artists in the film. Case’s “computer rock”
lettering was one of his innovative contributions to graffiti. With
only one arm, Case’s scenes give hope to the underprivileged since he
proves anything can be accomplished. The bond between Dez and Trap is
also touching. Dez (now known as DJ Kay Slay) is a father figure to the
younger, Trap. The 3 artists (Case, Dez, and Trap) perfectly represent
how graffiti is passed from generation to generation. A young, white
kid from a prep school, Zephyr breaks the stereotype that graf writers
are minorities. Seen and Iz The Wiz are also Caucasian writers, who
earned respect with their cool personalities and their magnificent
talent. Dondi was a revered soul who is sorely missed. Rammellzee is a
living work of art as he walks the thin line between insanity and
genius. His deep philosophy on “arming” letters to destroy symbols is
creatively bizarre, but boldly imaginative. While gang members were
getting killed for wearing the wrong colors, bombers (of all races)
moved throughout the city with stylish respect. Bonded by the culture,
the artists are all portrayed as talented individuals who transcend the
stereotypical definition of art.
Bonus features on “Style Wars” DVD will please
the obsessive hip-hop historian. The 2-disc “Style Wars” DVD overflows
with interesting interviews, out-takes, and artwork. Pieces can be
appreciated in an organized menu. “Destroy All Lines” is a 30 minute
loop displaying 200 painted trains. The music by EL-P, RJD2, and Aesop
Rock is welcome, but the absence of “Beat Bop” is the DVD’s only flaw.
The director’s commentary is extremely informative and massively
entertaining. Tony Silver and Henry Chalfant talk about finding the
artists, earning their respect, and fighting for their cause. The
additional anecdotes are hidden treasures within the bonus features.
Disc 2 also includes recently filmed interviews with a majority of the
film’s participants. Insanely creative, Rammellzee is recognizable
under self-made mask. Intuitive interviews by Guru, Fat Joe, DJ Red
Alert, and Fab 5 Freddy validate graffiti’s importance to hip-hop
culture. The captivating interviews with the directors and the editors
give the film a new dimension. The poignant tributes to Dondi and Shy
147 create a nostalgic reverence. Some writers have become respected
members of society. Some have traveled the world on their talent. Some
lost their mind and wear toy guns as a part of a costume. Some lost
themselves to drugs. Some have become successful, some fell on hard
times, some passed on, and some cannot be found. Not one has any
regrets. From the commentary to the interviews, the various
participants share technical and personal stories. The interviews,
out-takes, artwork, and other bonus material will enthrall the viewer
for weeks (or even months). Decades later, their love of hip-hop and
graffiti remains fervent. After multiple viewings, all of them
eventually become the viewer’s friends.
“Style Wars” is a certified classic that kept
viewers intrigued for more than 20 years. The documentary is
beautifully honest, exceptionally gritty, intensely fair, and
wonderfully lively. While many hip-hop films will be forgotten, “Style
Wars” remains the essential document for graffiti and hip-hop. True
lovers of hip-hop must respect these artists who paved the way. This
film educates us of a time and place when hip-hop inspired creativity,
created peace within a dangerous atmosphere, connected races, and
established the birth of a youthful urban culture. The movement’s
futility is a fascinating aspect. An artist’s work could last forever
on a canvas, but they choose to paint trains that may be washed or
painted over within days. With little or no profit, the graffiti
movement remains a vital aspect of hip-hop. If you don’t believe me,
ask Krs-One. There is something inside these revolutionary artists that
transcends all cultural and societal limits. What makes these artists
risk their lives (third rail, beef) or their freedom (police) to paint
on a train that will be washed or painted over? Regardless of how
futile their effort may be, their need to express themselves is the
main element which empowers the culture. “Style Wars” is the classic
definitive film that poignantly captures the birth of hip-hop. Ignore
the toys! This Sunday evening, put on your gloves and your hoody, bring
a couple of cans of Krylon, and go bombing for the fame!
Review by Todd E. Jones
toddejones@yahoo.com
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My interviews and reviews can also be seen
on the print and web publication PIXEL SURGEON or MUSICREMEDY
Goto: http://www.pixelsurgeon.com
or
http://www.musicremedy.com
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