Rappin'

The Cannon Group, 1985

Starring Mario Van Peebles, Eriq La Salle, Melvin Plowden, and Richie Abanes

Directed by Joel Silberg

Music and Lyrics by various

Let's return to the US to celebrate Juneteenth with this early look at rap culture. By 1985, rap had just begun to get off the streets and into mainstream homes. Movies were starting to take notice of this dynamic new urban culture, too. Even smaller studios wanted to cash in on that gritty new sound. The Cannon Group was also at their apex, considered to be one of the strongest "B" movie studios at that point. Having dove into the breakdancing craze with Breakin' and Breakin' 2, they moved in on the even more novel and popular rap craze. How does this attempt look today, when rap is one of the dominant musical genres in the world? Let's begin as Pittsburgh ex-convict Rappin' John Hood (Peebles) is released from prison and find out...

The Story: John returns to his decaying Pittsburgh neighborhood to live with his grandmother (Eyde Byrde) and little brother (Leo O'Brian). He reunites with his gang, only to discover that greedy developers want to knock it down and displace its diverse, impoverished residents. He doesn't exactly make himself popular with the local hoodlums, either, especially their leader Duane (Charles Grant). Duane isn't crazy about John's attentions to his girlfriend Dixie (Tasia Valenza), either. 

Dixie is the one who finally convinces John and his buddies to audition for rap recording contract. Even that might not be enough to save their homes. Developer Thorndyke (Harry Goz) is under pressure to evict John and his neighbors and tear down their dwellings for new development. John's not about to let them get thrown out. They rally the neighbors to fight back, but the rap really heats up with Duane and his boys attack, and the stage is set for a showdown at the courts, where John and his friends prove that music has the power to bring together communities and shared dreams.

The Song and Dance: This was honestly better than I was expecting, and probably better than it has any right to be. It's cheesy, yes, but it's a fun cheesy. Everyone really gets into their roles, with an intense Van Peebles and big, tough La Salle coming off best as the friends whose fondness for rap manages to unite their community. Melvin Plowden (in apparently his only movie) is adorable as their always-hungry friend Fats, and Valenza is sweet enough as Dixie to make you understand why John goes after her, even though she's already taken. There's some genuinely cute rap numbers and some surprisingly decent filming in real-life Pittsburgh.

The Numbers: We open with the title song performed by Lovebug Starski, reintroducing John (and introducing us) to the people of his neighborhood. John and his brother reunite with their rap "Two of a Kind." The first chorus number and the big number at John's welcome-home party is Claudja Barry's dynamic "Born to Love," which underscores the confrontation between Duane and John where the latter won't fight. John and his buddies are musically annoyed with Fats' "Snack Attack" at the produce warehouse where Richie (Albanes) works. 

"First Love Never Dies," performed Eugene Wilde and Joanna Gardner, is our first glimpse of where Dixie works. "Golly Gee" seems like a slightly sexualized number for the members of Tuff, Inc, whose collective ages can't even be in double digits. It's enough to amuse the local kids their age, as is John taking them on a "Neighborhood Walk." "Killer," the first rap audition at Dixie's job, gives us a satirical look at the darker side of rap culture that almost seems like a spoof of darker "gangsta' rap" in the 90's. The Force M.D's are a lot less scary with their matching sweaters and "Itchin' for a Scratch." John beats them both by rapping to two brawling drunks with "Lady Alcohol." 

Dixie's listening to teen singer Warren Mills record "Flame In the Fire" when she has to deflect Duane's call. John's first recording is "Livin' With the Buzz," underscoring his brother's arrest. "Call Me" details how John and his neighbors fight the construction workers and get their heat back during a frigid Pittsburgh winter. "The Fight Rap" at the courtroom reminds everyone of the importance of fighting to the very end. The entire neighborhood reprises "Rappin'" as they celebrate saving their homes in the finale.

Trivia: Master Gee of the Sugarhill Gang dubbed Peebles' numbers.

What I Don't Like: Did I mention how cheesy and cliched this is? I'll pass the cheap sets - this is an urban wasteland, it's not exactly supposed to look lavish - but the "save the neighborhood" story isn't anything you haven't seen in dozens of movies going back to the silent era. I don't know much about rap, but I know enough to note that none of the songs in the movie are especially memorable, and most of the numbers edge into absurd West Side Story imitations. 

The Big Finale: This is far from a masterpiece, but it's enough fun to be worth seeing for fans of Peebles, early rap, or 80's urban-set musicals.

Home Media: Easily found pretty much anywhere. Can often be found streaming for free with commercials, including on Tubi.

DVD

Blu-Ray

Tubi

Musicals On TV - Cindy (1978)

ABC, 1978

Starring Charlayne Woodard, Scoey Mitchilll, Mae Mercer, and Cleavant Derricks

Directed by William A. Graham

Music and Lyrics by Stan Daniels

Let's celebrate Juneteenth this week with two very different takes on the African-American experience during the mid-late 20th century. Tales of American history were all the rage on TV in the late 70's after the success of mini-series like Roots and Rich Man, Poor Man. Minstrel Man is one result of this increased interest in both African-American history and American history in general. This is another. The World War II setting may also be part of the nostalgia craze of the 70's that had people looking to the recent past to escape the horrors of the present. How does that feed into this unique version of the beloved fairy tale? Let's begin with a narrator flat-out admitting over a more traditional fairy-tale book that this is a modern adaptation as a random jazz quartet starts the opening credits music and find out...

The Story: Cindy (Woodard) has come from the south to live with her daddy (Mitchilll) in 1943 Harlem. She's out of place in the faster pace of the city, and especially with her money-hungry stepmother Sara (Mercer) and snooty stepsisters Olive (Nell Carter) and Venus (Alaina Reed Hall). Her only friend is Michael Simpson (Derricks), the guy who lives on the fire escape over her and is too lazy to join the draft.

Cindy desperately wants to attend the Sugar Hill Ball, but her father can't earn the money for a dress, and her stepmother and stepsisters don't want her there anyway. Michael takes pity on her and loans her a dress he borrowed from the wife of his employer. At the ball, she's swept off her feet by handsome Captain Joe Prince (Clifton Davies), but loses one of her sneakers when she flees because Michael has to get the dress back. Captain Prince is determined to find the girl of his dreams...but even when he does, Cindy realizes when Michael makes the ultimate sacrifice who is really the man for her.

The Song and Dance: Sweet story is anchored by eager Woodard and relaxed Mitchilll as her daddy who fibs about his real status at work to impress her and her stepmother. Hall and Carter are a riot as the tough, man-crazy stepsisters, and Davies has a few funny moments as the princely heroic captain who only need to dance with Cindy to fall in love with her. There's some amusing touches, like the jazz quartet who keep popping up to provide background music and comment on the action, or the montage of the private detective (W. Benson Terry) trying on that sneaker to Fats Waller's "Your Feet's Too Big." The period-perfect costumes and gorgeous ball gowns (including Cindy's head-turning white lace outfit) were nominated for Emmys in 1978. 

Favorite Number: We open with Cindy joining little girls jumping rope on the street with an enthusiastic version of the jump rope chant "One for the Money." It doesn't go so well for her stepsisters when they try. Despite her father telling her that city folks worship far quieter than country folks, Cindy still tears into "Jesus, Lover of My Soul." Her stepsisters claim the "Sugar Hill Ball" is so wonderful, they can't describe it. We get several instrumental swing numbers at the ball as everyone swirls to the music...and then Cindy arrives, and the music becomes everything from slow ballads to tango. 

"Your Feet's Too Big" is the montage as the private detective tries that sneaker on every eligible maiden in Harlem. Cindy's daddy tells his fussy wife that he's been lying about his job, but he's proud to be a "Men's Room Attendant." It amusingly turns into a big chorus number, with guys popping out of stalls to sing along. Joe tells Cindy that you know "When It Happens." Her family encourages her to accept his proposal, but there's someone else Cindy loves more. The movie ends with Cindy admitting that "Love Is the Magic" as she thinks of how happy she is.

What I Don't Like: Other than the "Feet's Too Big" montage, the new songs are period-accurate jazz and showtunes, but otherwise not terribly memorable. Derricks' Michael is well-meaning but a bit dull. There's not much to him other than he won't join the war. I do like the twist about whom Cindy ends up with, but I wish we'd seen a little more of them together before that. And yes, this is a low-budget TV musical from the late 70's. The costumes are lovely, but the sets are mainly cramped rooms, ball rooms, and fire escapes. 

The Big Finale: Like Minstrel Man, this is a charming and enjoyable bit of black TV history that really deserves to be better-known. 

Home Media: Also like Minstrel Man, at press time it can only be found in a washed-out copy on YouTube.

YouTube

Musicals On TV - Minstrel Man (1977)

CBS, 1977

Starring Glynn Turman, Ted Ross, Tonea Stewart, and Stanley Bennett Clay

Directed by William H. Graham

Music and Lyrics by various

Since Juneteenth has its roots in the post-Civil War south, I thought I'd do a movie set during that time period...and a very controversial one, at that. It's difficult to discuss the musical history of the 19th and early 20th century without bringing up the minstrel show. Once a popular form of variety show, the minstrel show fell out of favor on stage as vaudeville took over by the early 20th century. It was dead as a professional form of entertainment by the 1930's, but continued to pop up in amateur shows as late as the early 60's. 

By the time this movie debuted in 1977, the Civil Rights Movement and many other changes had largely made minstrel shows into an offensive curio from a less enlightened time. How does this story of two brothers who try to change the minstrel traditions look nowadays, at a time when race relations are more in the news than ever? Let's begin as a narrator explains the minstrel tradition and find out...

The Story: Ever since Harry Jr. (Turman) and Rennie Brown (Clay) witnessed their father (Gene Bell) die of a heart attack during a minstrel performance, they've been determined to change the rules. Harry wants to succeed as a black man in the mostly-white minstrel world. Rennie wants to become a composer and get in on this new sound they're calling ragtime. Harry joins a black minstrel show, but they don't have an easy time of it. White audiences - and especially white theater owners - won't accept anything but the familiar stereotypes and demeaning jokes and songs. Harry, Rennie, Harry's wife Carla (Stewart), and their fellow performers change the minstrel show for one small-town Illinois stage to turn the jokes on blacks and whites...but when that ends in tragedy, Harry has to decide whether he wants to follow his heart, or do what audiences expect of black performers. 

The Song and Dance: While I don't believe it's banned like the YouTube channel I watched this on claims, it apparently hasn't turned up since its original broadcast, either...and that's a major shame. This is a powerful exploration of how words and music can uplift or demean, and how people can change the status quo, even when it's hard or painful. Turman and Clay give stellar performances as the two brothers who want their performances and songs to be heard with no need to hide behind dark make-up, and Stewart's almost as good as sweet Carla. It was even filmed on-location in Carroll County, Mississippi, adding to the deep-south charm. The costumes and sets, including at the minstrel show, are well-made and accurate for the era.  

Favorite Number: We open with "A High Old Time In Dixie" giving us a good view of an average minstrel number, with the men in blackface and dancing and playing banjos and tambourines as they wiggle their bodies in time to the song. The next song, "Coon, Coon, Coon," shows us why these were so difficult for black audiences, with fabulous clog dancing and what would now be considered horribly racist lyrics. Harry Sr is doing a fast clog number that looks pretty good...until he keels over from a heart attack. 

Years later, the brothers dance together on the streets to Rennie's catchy harmonica music. It's enough to catch the eye of Charlie Bates (Ted Ross), who thinks Rennie is perfect to partner him in songs like "My Old Kentucky Home" for his minstrel show. He hears Carla singing a spiritual with a choir in a church and is immediately smitten, even getting Charlie to sing along. 

Rennie's more interested in writing early ragtime songs that don't talk down to their audiences and lovely blues numbers like "Take My Hand" for Carla. The latter accompanies them passing by anti-black graffiti as they make their way to the stage in Illinois. Audiences don't take well to Charlie singing "Ragtime Special In Town" without make-up, despite it him having a great time high-stepping along to it. 

What I Don't Like: As nice as it is to think of the men wiping off their blackface in the end and the audience applauding, they very likely would not have gotten away with it in real-life in the early 20th century. The blackface makeup isn't entirely right, either. Black minstrels did wear burnt cork makeup, but rarely with the white eyes and lips, as seen here. Also...yeah, if the blackface or some of the more racially-charged language really offends you, you probably won't want to come here. There's also some violence towards the end and two deaths, one clearly the result of a lynching.

The Big Finale: One of the most eloquent statements on music and race ever broadcast on television, this underrated film deserves to be far better-known. 

Home Media: It existed at museums but was largely unseen by the general public until someone posted it on YouTube in 2014.

YouTube

Musical Documentaries - Soul to Soul

Cinerama Releasing Corporation, 1971

Starring Ike & Tina Turner, Wilson Pickett, Carlos Santana, and Guy Warren

Directed by Denis Sanders

Music and Lyrics by various

Juneteenth is the newest Federal holiday, but African-Americans in Texas and other southern states have celebrated it since 1865. It honors African-Americans being released from slavery in Texas, the last state of the Confederacy to do so. This year, we honor their independence by celebrating freedom of a different sort. Ghana declared its independence from England in 1957. Poet Maya Angelou approached the government in the early 60's about a concert with African-Americans and local talent, only to see that government overthrown. It took another pair of Americans, father and son Ed and Tom Mosk, to convince the Ghana Arts Council that the time was right for Ghana to rock. How does the concert look today? Let's begin right in the thick of things, with Tina Turner shimmying to the title song, and find out...

The Story: Some of the top names in rock, jazz, and soul arrive in Ghana to appear in Black Star Square (now Independence Square) and celebrate the 14th anniversary of their independence. In between numbers, we see them interact with the people of Ghana, and even get to see some dynamic West African folk dances and ceremonies.

The Song and Dance: Wow. As awesome as the performances were, I think the people of Ghana may have them beat. Some of their routines were downright incredible. It's wonderful to see how the people of West Africa bring the musicians in on their ceremonies, and how much they respect them and treat them like royalty. For the African-American musicians, this was a chance to learn about their own heritages and discover more about the world many of their relatives and ancestors came from. 

Favorite Number: We open with Tina Turner showing off her early raw style with the title song. She and Ike go into their hit "River Deep, Mountain High" towards the end of the film, and they also get the bluesy "I Smell Trouble." Wilson Pickett delights the huge crowds with his dynamic performances of his major hits "In the Midnight Hour" and "Land of 1,000 Dances." Carlos Santana wows the crowd with his frenzied guitar playing and manic energy to his two biggest hits of the time, "Black Magic Woman" and "Jungle Strut." Amid the celebrating, jazz singers Les McCann and Eddie Harris remind the crowds of "The Price You Gotta Pay to Be Free," while the Staple Singers wonder "When Will We Get Paid." Roberta Flack puts out the only ballad of the night, crooning about "Trying Times." Amoah Azango is a local witch doctor who can do incredible things by just shaking a calabash, a ball-shaped percussion instrument. 

Trivia: Robera Flack's performance was cut from the current DVD copies at her request.

What I Don't Like: Some of the language, in the music and between the performers, and a few of the dances from the people of Ghana may border today on stereotypical or inappropriate. Some of the discussions between numbers does use language that may offend today.

The Big Finale: If you're a fan of soul, jazz, or rock from this era, want to learn more about African, rock, or black cultural history, or if you loved Summer of Soul from last year, you'll want to dig around for this celebration of all kinds of independence, cultural, personal, and countrywide. 

Home Media: The DVD is majorly expensive, hard to find, and edited. There's currently a copy on YouTube with Japanese subtitles that retains Flack's number, though it's admittedly not in the greatest shape. If you really love the music, you may want to sign with The Coda Collection, which streams musical films and documentaries with a subscription.

DVD

The Coda Collection

YouTube