Local duo Equally Opposite brings an element of fun to Paul Dixon’s video for “Teach You,” a track by Las Vegas rapper J. Ran (center). The Nine Pillars Hip Hop Music Video Showcase screens at the Jefferson School African American Heritage Center on Friday. Courtesy of NOXID
Doughman got into filming music videos because he had to.
The area music producer was handing out beats to rappers left and right, but they wanted more than just music. They wanted a visual component to match the aural experience created in the recording booth. They wanted music videos.
This was back in 2012 or so, says Doughman, and at the time, there wasn’t really anyone local making music videos for rappers. Doughman had been vlogging some of the studio sessions, and so he took it on.
Since then, other independent filmmakers have joined the rap video hustle, and eight of them (including Doughman) will show their work at this year’s Virginia Film Festival.
Music videos have been vital to hip-hop since MTV aired Run DMC’s “Rap Box” in 1984. Since then, rap videos have had a lasting effect on the music video industry, and on American visual culture as a whole.
But the music video “is more important [now] than it has ever been for hip-hop,” says Cullen “Fellowman” Wade, rapper and co-director of the Charlottesville-based Nine Pillars Hip Hop Cultural Fest. The internet is full of more music videos than MTV could ever air. Wade’s even heard some local rappers say that if they can’t make a music video to share on social media, there’s no use in recording the song in the first place.
Some mainstream, high-budget rap videos have come to be regarded as a form of short film, but that consideration hasn’t extended to their independent, low-budget counterparts, says Wade, who, in addition to his musical pursuits, co-hosts“Arts & Crass: The Highbrow Lowbrow Film Podcast.”
But the opportunity to screen independent rap videos at the Virginia Film Festival—which, in recent years, has hosted Spike Lee (2017) and Allen Hughes (2018), two of the biggest names at the intersection of film and hip-hop—can help bring that sort of credit to the genre, says Wade.
In curating the showcase, Wade asked independent filmmakers in the local hip-hop scene to submit their best work, knowing he’d get different pieces that together demonstrate a breadth of creativity and vision.
Paul Dixon (aka NOXID), a music producer who’s new to filmmaking, submitted the video for “Teach You,” a track by Las Vegas rapper J. Ran featuring Charlottesville duo EquallyOpposite.
Throughout the song, J. Ran tries to woo a girl, and the video follows the rapper on his ultimately successful journey. But that alone wouldn’t be much of a film-worthy story, decided Dixon. He wanted a little comic relief.
EquallyOpposite’s Zachary “ZacMac” McMullen and Lamar “Gordo” Gordon go after a girl and get completely, utterly, rejected. Dixon laughs when he talks about it—“they’re so cartoonish, so alive, and animated. It’s kind of perfect.”
Doughman’s submission, his video for Chef G’s freestyle track, “No Hook,” is a completely different type of video—this one sticks out to him for a number of reasons, namely the “gritty feel” that matches the essence of the song.
Chef G is the only person in the “No Hook” video, and he raps in three different locations: sitting on a bike on a street corner, on a broken-down mattress in an overgrown yard, and on the eaves of a yellow house. His presence is constant and his flow inescapable. You can’t help but listen.
And that, says Doughman, is exactly what a video can do for a song, for an artist. “Let’s just say, it’ll give you another look…it’ll make you listen different once you have a vision to it.”
The Nine Pillars Hip Hop Music Video Showcase screens at the Jefferson School African American Heritage Center on Friday, October 25.
Lamar “Gordo” Gordon and Zachary “ZacMac” McMullen bonded talents through a combination of humor, smart, snappy lyrics, and a willingness to be goofy at timesImage: Ron Paris
Get hip to it: EquallyOpposite’s Lamar “Gordo” Gordon and Zachary “ZacMac” McMullen make “rap music for people who don’t like rap music.” The hip-hop duo recognized something in each other that comes through in their music—funny, smart, snappy lyrics, and a willingness to be goofy. “You never know what you’re gonna get,” Gordon told C-VILLE in a May 2017 feature story. “Maybe it’s a hook based off of Fred Flintstone’s ‘Yabba Dabba Doo’ or a line about being ‘a good cookie.’” Johnny Ciggs, Reppa Ton, dogfuck, Waasi, DJ Double U, Nic D, and Atreyu also perform.
Friday8/16. $7-10, 7pm. The Southern Café and Music Hall, 103 S. First St. 977-5590.
Congratulations to Max Miss Everything, who was crowned Miss Gay Charlottesville Pride
at Sunday’s pageant at the Jefferson. She’ll be performing this Saturday at the Cville Pride Festival, alongside dozens of other entertainers. Photo by Jackson Smith
All events, part of the Cville Pride Festival, take place at the Sprint Pavilion, 700 E. Main St. cvillepride.org
Singer-Songwriter Showcase 1-2pm
It takes a certain amount of moxie for a musician to get on stage, armed with only an acoustic guitar and a voice—no tricks, no smoke, no mirrors—and perform his or her own songs before a crowd of strangers. It’s an act powerful and empowering in its vulnerability, and Ben Freedman, Debra Guy and Wendy Repass are all up for it.
Dance Party 4-5pm
Breakdancing, which originated in the South Bronx in the 1970s, has long been considered one of the pillars of hip-hop culture. From the chain wave to popping, locking and baby freezing, a talented break dancer—a b-boy or a b-girl, if you will—can make your head spin faster than he can kick a windmill. The University of Virginia’s breakdance troupe, The Hooligans, will bust a move, or 20, while DJ Philophonic chooses the tunes…don’t hesitate to join in with a robot or an uprock if the inspiration strikes.
Hip-Hop and R&B Hour 5-6pm
Sons of Ichibei, one of the most politically charged, socially conscious hip-hop groups in town, opens this hour featuring singers Nay Nichelle and Not3z alongside the thought-provoking lyrics of Jaewar & Vibe Riot, the clever flow of EquallyOpposite and the soulful hip-hop of Lo$tnFound. Plus, several local rappers will perform their single “No More,” a tribute to the events of August 11 and 12.
Drag Shows 11am-7pm
Talk about dragging it out. With three multi-performer shows (at 11am, 2pm and 6pm) and numbers between music sets, more than 20 drag performers—Dreama Belle, Fifi Fellacio, Kora Zone, Bunny Nicole, Bert Darling, Cherry Poppins, Symone N. O’Bishop and others—will take to the Cville Pride stage throughout the day.
Woody Guthrie’s protest song “This Land Is Your Land” is “arguably more popular than our national anthem” according to American Songwriter magazine. Photo courtesy of the Library of Congress
Everyone knows at least one protest song. There’s Woody Guthrie’s “This Land Is Your Land,” which American Songwriter magazine says is “arguably more popular than our national anthem”; Marvin Gaye’s “What’s Going On”; Billie Holiday’s “Strange Fruit”; Sam Cooke’s “A Change Is Gonna Come”; Joni Mitchell’s “Big Yellow Taxi”; Bob Dylan’s “Blowin’ In The Wind”; Creedence Clearwater Revival’s “Fortunate Son”; Public Enemy’s “Fight the Power”; Fiona Apple’s “Tiny Hands.” The list goes on and on.
These songs endure because their comments on fascism, racism, neglect for the environment, sexism, privilege and more burrow deep into the ears, hearts and minds of listeners, stirring emotion and reaction by speaking truth to weighty issues that affect all of us in some way.
But protest songs aren’t just written by folk icons, riot grrls and hip-hop legends—plenty of Charlottesville musicians of many genres are actively writing and performing songs in the protest tradition. Here’s a sampler from local artists.
Keith Morris, “What Happened To Your Party?”
Known to at least one of his fellow musicians as “our rockin’ protest grouch in chief,” Keith Morris has a slew of protest songs, such as “Psychopaths & Sycophants,” “Prejudiced & Blind” and “Brownsville Market” from his Dirty Gospel album, plus “Blind Man,” “Peaceful When You Sleep” and “Border Town” from Love Wounds & Mars. He wrote his latest release, “What Happened To Your Party,” about a month ago. Morris says “it’s about Trump, the Republican party, fundamentalist Christianity, my brother’s suicide, and just what the hell is going on right now.”
Erin Lunsford, “Neighbor’s Eye”
Lunsford recorded this song about resistance in February of this year. “Brother we must resist / Sister we must persist / This is no easy road / We’re going down. / Shoulders sore from fists held high / Boots on the ground but our spirits fly / How will I know if I’m on the right side? / I’ll tell by the love, tell by the love in my mother’s eye,” she sings.
The Beetnix, “Dirty World”
“Most extreme acts of protest come from a sense of desperation and lack of hope derived from the belief that a person or group of people lack value or respect within a society or community,” says Damani “Glitch One” Harrison, who performs in local hip-hop group The Beetnix with Louis “Waterloo” Hampton. Harrison says that although Beetnix songs might not be protest songs by definition, “they definitely embody the struggle.”
“Dirty World” describes “the sense of hopelessness we feel at times, existing in a society where we know there are so many forces that work against the best interest of the common people,” says Harrison. “The quotes from George Carlin [the late comedian famous for his “seven dirty words” routine] further illustrate that feeling while fighting a losing battle against an elitist power structure.”
Matt Curreri & The Exfriends, “Vote for Me”
“I’m the real thing, I’m the real deal. I have things you would kill for / You can have ’em if you vote for me / I’ll re-rig the system to the way it used to be,” begins “Vote for Me,” a song that Curreri wrote during the 2016 U.S. presidential election.
Lauren Hoffman, “Pictures From America”
“They tell me war is justified, to forward all mankind / And peace only comes through sacrifice / Do you think they’re right?” Lauren Hoffman sings on “Pictures from America,” a track from 2010’s Interplanetary Traveler. The song paints a picture “of the juxtaposition between deep sadness for the world—war, injustice, bigotry, hubris—and the importance of human connection, because without that we could despair completely.” See also “A Friend for the Apocalypse.”
KNDRGRDN, “Police”
“The stylish kids put in their false teeth / They cut off their hair and occupy Wall Street / I wish I were pure enough to believe / I wish then again that all the fakers would leave,” Jonathan Teeter sings on “Police.” It’s “a criticism about the disconnected way that Occupy Wall Street was handled by protesters,” Teeter says of his Brit pop-y tune with ’tude. “Every group involved seemed to have a different plan and there was no unanimous decision for an endgame.”
“Then there’s the problem with the police / They cut their hair and keep the peace / They keep it with guns / And they keep it with mace / They keep telling me I’m in the wrong parking space,” Teeter sings on the next verse—the police are just as unorganized as the protestors. Basically, Teeter says, “this whole thing is one big fucking mess.”
Jamie Dyer, “King Of The World”
This song “protests the overall political structure that’s existed for all of history and the seeming human need to crown someone as a ‘leader,’” Jamie Dyer says. “The end result of how humans allow this idea to propagate is shown in our history: tens, hundreds of millions of dead humans at the hands of kinds, leaders and the state.” With lyrics such as “the meek will inherit what the strong will lose. / What the meek don’t want, I don’t use. / I heard about a party, I heard about a feast. / The most make a meal of the least,” Dyer’s message is clear.
EquallyOpposite, “Temper”
Hip-hop duo EquallyOpposite spits some of the most clever lyrics in town, and the message in “Temper” is crystal: #DONTCENSORME. It’s not the duo’s only protest song. Check “The Blind Mans outro,” too.
“Robert E. Lee’s in a public park / Out in the middle of a public park / The shadow of his sword falls on the grass till it gets dark / General Lee’s in our public park,” Brady Earnhart sings about the statue that’s caused a hell of a lot of controversy in Charlottesville. So “stick it in an alt.-right petting zoo,” he says. “The South’s not dead but the men who fought for slavery are / Emancipation Park is a Southern star.”
“I hear slaves would follow the Northern Star to freedom. At this point, I’m hoping other Southern towns will follow Charlottesville’s suit and cleanse themselves of the Confederate monuments that are getting more embarrassing with every passing year,” says Earnhart.
Fellowman (ft. Sizz Gabana), “Loot This”
“Almost all of my songs are in the protest tradition,” says MC and lyricist Cullen “Fellowman” Wade, but he feels that “Loot This,” from his 2016 album Raw Data Vol. 1: Soul of the Shitty, is especially relevant to Charlottesville this summer. Wade says the song is “a response to the respectability politics of liberals who say ‘I don’t understand how destroying their own communities helps advance their agenda.’ Institutions of power have consistently shown that they value property rights above human rights; our showing flagrant disregard for their property is the only proportionate human response.”
“Give me uncommon stars in a barren ether / A sure direction of universal entropy / Feel their cold gazing with blackened eyes, but without fire,” members of Astronomers sing in unison on this stargazey rock track from their 2011 album Size Matters. The song “isn’t protest so much as unity, which I am much more for,” says Astronomers’ Nate Bolling. “I realize it’s a bit abstract, but it was meant to be so that it could be interpreted individually by listeners. The gist is that there’s a lot of people out there and everyone’s moving in their own direction; lots of confusion and bad stuff too, but somehow we figure out how to live together.”
Tracy Howe Wispelwey has made an album rife with protest songs—the titles speak for themselves, really: “Call to Nonviolence,” “Do Not Be Afraid” and “People Come Together,” on which she sings, “People come together, come together right now/ Fear won’t find us when we know we’re a family.”
Gild the Mourn, “Hanging Tree”
Local goth duo Gild the Mourn were compelled to cover this track from the Hunger Games: Mockingjay Pt. 1 soundtrack to “convey its message to our audience: We have been mistreated, we have suffered injustice and accepted it as life. Now we rise together and unify, we fight,” says singer Angel Metro. In the film, Katniss Everdeen sings it while citizens of Panem rise up to protest torture they’ve experienced at the hands of the Capitol. It goes: “Are you, are you / Coming to the tree / They strung up a man / They say who murdered three / Strange things did happen here / No stranger would it be / If we met at midnight / In the hanging tree.”
“D.I.Y. D.I.Y. D.I.Y. D.I.Y. die trying/ D.I.Y. D.I.Y. D.I.Y. D.I.Y. die trying/ We found the lost and gave ’em microphones to yell/ Until their voices echoed ‘change’ down in the well,” goes the refrain on Breakers’ song on the importance of unity and empathy, and how it’s that’s not easily achieved. “long story short…if you want something done, you have to do it yourself,” says Breakers songwriter Lucas Brown.
“In our current political climate, it feels like there has never been more division between groups of people,” says Brown. The divide can be attributed to many things, such as news outlets pushing certain agendas and constant consumption of varying perspectives on social media. “People are much easier to control when their worlds are shaped to their own beliefs by constant consumption and affirmation of said beliefs. When they fear or despise their fellow human beings because they disagree, all hope of unity is lost. And for those in power, unity is the enemy. …Connecting with others has never been easier, yet face-to-face human interactions have suffered a blow. A large number of voices could be united on this front, but the internet usually turns them into an echo-chamber of babble. …If you can empathize with and find a common goal to unite the people around you, everybody’s efforts are necessary to make any change,” says Brown.
“Ghost of the King,” Gina Sobel
This bluesy/jazzy track “deals with mountaintop removal, changing economies and the people left behind,” says Sobel. “It can be hard to see through culture and history, even when the issue is something like blowing up mountains.”
We’ll update the page as more artists submit their songs, so check back periodically for more. Got a song to share? Send it to cvillearts@c-ville.com.
Louis Hampton and Damani Harrison of The Beetnix perform at the Nine Pillars Cultural Hip-hop Fest. Photo by Ron Paris
It’s a gray Sunday evening, 50-something degrees and drizzling when The Beetnix step onto the outdoor stage at IX Art Park. It’s been raining all day, but a crowd of more than 100 has gathered on the graffiti-painted concrete ground in front of the stage. Many of them hold their phones and tablets in the air, precipitation be damned, ready to capture Charlottesville’s most legendary hip-hop duo on video.
“Come closer,” Damani “Glitch One” Harrison says to the crowd as he picks up a mic. With his arms stretched out wide, Louis “Waterloo” Hampton beckons for everyone to move in closer.
For Harrison, 39, hip-hop has been part of his life since he was a kid. A military brat who grew up in Germany and Philadelphia, he remembers exactly where he was when the music caught him.
