Jay-Z – American Gangster

After an advanced screening of Ridley Scott’s new motion picture, Jay-Z revisited the booth to cut his own vision of American Gangster. Drawing his inspiration from Frank Lucas, the film’s heroin kingpin played by Denzel Washington, Jay-Z reflects on his drug-dealing days. As a gifted lyricist who could skip the writing step and rap right off his head, Jay-Z completed the album within a month.

His previous record, Kingdom Come, released less than a year ago and received mixed reviews. He claimed that the lyrics were too sophisticated for some listeners. Now back in his comfort zone, Jay-Z delivers each track through a cinematic scope taking the listeners back to a “mind state of a gangster from the 40s.” Although Jay-Z doesn’t write down his words, he still rhymes with intricacy. On “Pray,” he spits with vivid details: “As I head to my homeroom / I observe the ruins / dope needles on the ground / I hear the car go vroom / drug dealer in a BM with the top down.” Jay-Z’s improvisation is even more apparent on “No Hook.” He raps as though words just roll off his tongue: “Hustle cane, hustle clothes or hustle music / but hustle hard in any hustle that you pick.”

Speaking of hustle, Jay-Z is a hustler before rapper. While “Fallin’” catches glimpses of the dark days of hustling, “Roc Boys” shows the appreciation for his hustling success: “First of all I want to thank my connect / The most important person with all due respect. / Thanks to the duffle bag and the brown-paper bag / The Nike shoebox for holding all the cash.” A Jay-Z joint, of course, wouldn’t complete without addressing his rivals. In “Success” he rants: “Is this success all about? / A bunch of niggaz acting like bitches with big mouth?” Jay-Z has proven once again to be an irreplaceable hustler.

Influence Map

Marian Bantjes:

This is a map or diagram of all of my significant artistic influences to date (or all that I could think of), my styles of working and materials. It was created as an assignment to a design class I took this past summer (August 2006). I’m too pleased with it to let it sit in a drawer.

Vietnamese English

The kind of English writing that needs to be translated into Vietnamese to understand. An article in Viet Nam News titled “Old school crooners abroad eye comeback” is a perfect example. I get a kick out of the title as well as the opening sentence: “Viet Nam’s booming economy is realising many dreams for the country’s music industry, but as singers at home seek audiences abroad, those natives already settled overseas are looking to woo fans back in their homeland.” Gotta love the caption for Tuan Ngoc: “Born to be mild.”

5 Dong Ke – Canh Mat Troi (Wings of the Sun)

5 Dong Ke is apparently a very conceptual group. Its previous record, Tu Tinh Ca, was based around a style of a cappella. Its new released, Canh Mat Troi (Wings of the Sun), is structured in a storytelling experience: Track one tells a tale of a new day, in which all the creatures lilting to the rhythm of life; track two reflects on a childhood memory with the details of the kite flies high in the peaceful sky; and on the stories go.

Even the music arrangements have been conceptualized. Like its contemporary peers, 5DK always explores new sound (acoustic instrumentations and new-age groove). Unlike Tung Duong and Ngoc Khue, the group’s approach is more accessible. My personal favorite is the synthesis between western rhythm and eastern string in “Doc Huyen Cam,” one of the four tracks on the album written and composed by Bao Lan who is one of the members of the group. The plucking monochord sounds eerie and exotic against the space-out groove.

Although the musical production breathes fresh air into the album, what makes 5DK unique is how beautiful the girls sound together. Their tones are flawless on the spellbinding “Ban Mai” (“Morning”) accompanied only by Viet Anh’s arresting piano. And just imagine that somehow all four girls trying to convince you to stay with them—”Nguoi oi nguoi o dung ve”—would you have the heart to walk away? Hell no.