Beats Rhymes & Life – A NiteHawk story…

Sometimes you wonder why things haven’t always been a certain way that seems to make the most sense. When walking into a place such as Williamsburg’s NiteHawk Cinema, you instantly hate every movie experience that you’ve had before then. It’s a “could have had a V8” kind of moment where you’re immediately spoiled. I recently went to the theatre this past weekend to see their debut screening of Michael Rappaport’s documentary on A Tribe Called Quest, Beats, Rhymes & Life.

Now, sure, there’s been plenty of theatres with amenities and service features. This is nothing new. And yeah, by now you’ve probably heard or read a dozen reviews of Beats, Rhymes & Life. But what makes this different is that this is the first theatre like this in New York City.  Brooklyn to be exact. And really, it’s not like any other. It’s laid back, with a bar and a hipster aesthetic, but a feel that’s classic New York. Also, this is not any regular review. This movie holds a sentimental place for me because I went to see it with my boys and fellow members of my own erstwhile rap group, The Balance. How ironic that we’re sitting on the footage for our own documentary, 3 years in the making now.

Nitehawk was suggested by the homie Khadj about 2 months ago. He told me the scope of things and I looked it up to see what it was all about, but I couldn’t be prepared enough for what it’s like to really be there. Just pulling up to the theatre feels like pulling up to a Brooklyn hotspot. It looks clubbish. Then the ground level bar adds to the it factor by providing a hangout kind of atmosphere where one can go after or before viewing a film or simply stay if doing neither. This is only bolstered by the second bar upstairs on the theatre level where you’re greeted by friendly staff that will serve you drinks and take your ticket order. The viewing rooms themselves are what the movie experience is made of: Plush red and black seats separated by movable arm rests and triangular tables between them, with so much space in front of each row that you’d have to be Yao Ming to kick the seat of the person in front of you. There is no chance of that annoying ‘excuse me’ dance that people have to do when they have to get up out of their seats for something and shuffle through the row.  You’re then greeted by an accommodating wait staff that will check your ticket, take your order and instruct on how to make further requests after the movie starts. This is what makes Nitehawk special; you’re equipped with a pen and pad on your table, complete with a ringed holder where you can place it to order more items cool and quietly without disturbing anyone’s experience – including your own. The menu is uniquely gourmet and quirky while maintaining a casual movie-friendliness to it. Things that stand out like the fried peanut butter and jelly bites and the other decadent desserts will keep word-of-mouth buzzing, and though there is not yet a way to get served alcoholic beverages while watching the movie, the in-house drink specials without alcohol are memorable. Besides, you can reach the upstairs bar almost quicker than the bathroom by taking one step out of the screening room. Unfortunately, there’s only one bathroom, so just hope for no lines (there’s also one at the downstairs bar). The brightest side to all of this and the cherry on top is the uber-cool manager Jess G, who will greet patrons with a warm smile and is visible throughout – even handling service duties herself.

As far as Rappaport’s foray into documentary filmmaking, his obvious fandom comes across. He doesn’t waste our time with an introduction of himself, assuming that if you don’t already know who he is, then it’s inconsequential to the film. The doc begins predominantly as a Q-Tip show, with a lot of the focus on his thoughts on how the roots of Hip-Hop shaped the movement that fueled the group. And while members like Jarobi and Ali Shaheed Muhammad are introduced and interviewed one by one, their roles are never really explored or defined. This is not helped by the fact that a great deal of time is spent praising Q-Tip for his sampling and production genius. There is no real denying that Q-Tip is the nucleus and leader of A Tribe Called Quest, and he spends as much time refuting that notion as he spends crediting himself for most of the groundbreaking elements of the group. This is what allows the viewer to see the Tribe dilemma from all angles. It’s probably the biggest point of contention for any reservations or apprehension stemming from the group itself about the movie. You either love Q-Tip or don’t like him as much after watching the film and apparently Phife leans more toward the latter. Although Phife is introduced and noted here and there in the first half of the film, it’s not until the last half where he gets the most attention when discussing his turmoil with Q-Tip and his battle with diabetes. Between Phife’s obvious underachiever pattern and desire to stake his own claim in life (as seen by his foray into sports journalism) and the iconic lure surrounding Q-Tip’s career during and post-Tribe, it’s easy to see why the group fell apart. This is the climactic point of the film that brings the life out of it. Jarobi and Ali just come across as commentators and bystanders who either sway towards team Phife or team Q-Tip (in this case, Jarobi being Phife’s best friend, and Ali appearing to rock more with Tip by default).  It’s wise to infer that a significant portion of the film got scaled down and edited out, as made evident by the slew of cameo clips in the ending credits from rappers and industry insiders whose interviews did not make it into the documentary. This is probably disappointing to true fans who would have loved to hear more from artists like De La Soul or Busta Rhymes, who actually have a longstanding working relationship and friendship with the group, and less of Pharrell drooling over them (which is cool by the way, because his commentary served as a highlight, but still…). A great job is done on emphasizing the importance of the group’s catalogue, but Rappaport seems to be a bigger fan of their earlier work. He uses a couple songs more than once throughout the film instead of throwing in some other classics, and when the film approaches their later releases, they just get glazed over. Rappaport ends things with footage from the group’s newer tour efforts and a suggestive blurb across the screen that informs that they are still obligated for one last album under their original contract with Jive records…Leaving hope for Tribe Stans still crossing their fingers.

At the end of the day, nothing beats getting that Midnight screening V.I.P. service (Thanks Jess). But more importantly, nothing beats seeing this kind of film with my crew and thinking about the similarities in our own story. We cracked up at the coincidences and the comparable traits between Q-Tip, Sol-Leks and I. We spazzed out as the classic verses dropped and rapped along, and Sek kept asking when me and WhoIsNumber5? are going to get to work on our documentary. A Dope moment in history and a great effort by Rappaport to document what no one else would…and get it into theatres at that. Good to know that it came from a fan. I’m not even technically one of ATCQ, but their music is a huge part of my life’s soundtrack so it can’t be denied. I’m inspired to work on this doc, and to step up my movie theatre game. I suggest you do the same. And NiteHawk is an excellent place to start.

“Ayo Shaheed, take us the F*ck outta here!”

More “Negroes In The News” – Brooklyn Bullshit leads to a killing on tape, Soulja Boy has the ‘Juice’ now & Real Black girls take the Amazing Race stash

Right back at it, I’m going right into the second dose of Negroes In The News.

If you haven’t seen or heard the Obama equivalent to Jay-Z‘s “Takeover”, toward The Donald, hereitgo! 

Next…

Last week I woke up to the coverage of this super-unfortunate and super ignorant happening. Apparently, this fool in the video here rode on an elevator with this teenager and shot him dead, with it all caught on surveillance in a Brownsville project building in Brooklyn. The vividness of the video is what caught me. In all of my years, I don’t ever recall seeing gunfire shown on news footage. The other part which is shocking is just how dumb this muthafucka has to be. This took place in the same area where my cousins are from, and where I spent plenty of time as a child back when it was a regular war zone in the 1980’s. Guess it’s trying to live up to its rep. At the cost of more young Black lives…

On the subject of young and Black, and I do mean young, every Hip-Hop purists’ favorite punching bag, Soulja Boy has been causing a stir with his announcement that he is remaking the urban classic film Juice. When I first heard about this, I, like I’m sure many of you are, was utterly baffled and disgusted at the same time. Before you trip however, this is not some big HollyWood studio’s brilliant idea. Now I can break down how Soulja Boy was actually BORN in the very year that the original movie came out, or how at press time, he only had Waka Flocka locked in as a cast member, but it sounds so much more ridiculous when Deandre explains it in his own words and shows you just how flighty and dumb the impetus for this great re-imagining was. http://www.xxlmag.com/features/2011/04/soulja-boy-speaks-on-juice-remake-his-relationship-with-diamond/What makes it even better, is that this news has re-ignited the beef that he had with Ice-T a couple years back. My sister seems to think he’s a genius. I really like the kid for what he does. I do. Yet and still, “the youth is wasted…”

And to wrap things up, How cool is it that the winners of CBS‘ long-running reality hit, Amazing Race, are 2 Black sisters from Chicago? One of them with a ghetto name? Read about it

http://www.tvguide.com/News/Amazing-Race-Kisha-Jen-1032874.aspx?rss=breakingnews

(10) Classic Sounds

Like…

“So forget the past, No more shorty, Strictly Buckshot….”

A memorable line from a song that should have appeared on this album but didn’t. It was actually the remix to the track “I Got Cha Opin”. It’s one of my favorite rap songs of all time, and a remix that was in fact more popular than the original because it was released as a single. Yet, if you bought the album based off of the coolness of the singles you may have heard around the way or on the radio, then you’d be in for a slight let-down.

I hate to start off a Classic review like that, but in a way, it’s telling of what this album delivers…2 different feels…

I take this one personally, because the Boot Camp Clik is my favorite rap crew, which is home to my favorite rap duo; Smif-N-Wessun, as well as 2 of the best spitters of all time; Ruck and Rock, as well as my favorite Hip-Hop record label, and one of the coolest dudes in the game; Buckshot. Also, because these dudes grew up with my cousins in Brooklyn. And while I may not be the most up on their recent work, or I may not still be the most hardcore fan, I keep abreast of  the moves they make and they have left an indelible impak on me.

I’ll never forget my first time hearing of Black Moon. It was 1991 going on 1992. Me and my sister Veen were just chillin’ watching Video Music Box and Ralph McDaniels announced the debut of a new group from Brooklyn. The video debuting was for the introductory single “Who Got Da Props”. The whole video was just a mob of Brooklyn kids running through an alley up to a fence. So many, that besides Buckshot himself, I couldn’t tell who the Hell else was in this group. I was intrigued by the name of the group and admired that the lead dude was short like me, but commanding in presence. I wanted to hear more. It would be a year later when I heard that something more from the group that I STILL wasn’t convinced was a group because Buckshot remained the only visible member as new singles began pouring out onto the airwaves, marking the release of the album we come to know now as Enta Da Stage. I got it that Evil Dee was the dj, but it just seemed like it was a one-man-act. When the “I Got Cha Opin” remix dropped, at the end of the song, you hear Buckshot shouting out someone named “big 5” among a list of other jailed friends and saying “we coming to get you out kid”. I just vaguely remembered the 5Ft. Assassin from hearing him shouted out in the chorus from “Who Got Da Props” a year and change earlier and put it together that he must’ve been the other group “member”. I barely recognized the dude rapping as Buckshot either. The rowdy kid with the Fisherman hat from the first video I saw moving spastically and spitting like he was in a street fight, was replaced by a calm, melodic rap personality, with the same hunger, but with more poetry in his lyrics and more chill in his voice. He was right, this certainly wasn’t “Buckshot Shorty” anymore. It was like Night and Day. And that’s what being a Black Moon fan and listening to this album is like for me…

The general hip-hop public didn’t know that this version of  “I Got Cha Opin” was the remix. Like myself, most assumed this was an album cut. Enta Da Stage, much like Biggie‘s seminal effort, Ready To Die was more of a compiled batch of songs recorded between the earlier period of the group’s recording process, and the later period. The difference here being that there was no overbearing Visionary Svengali like Sean Combs to ensure the brilliant sequencing and critical selectivity of the project as an album like Big had to make his a classic and give it a cinematic feel. This was just raw Brooklyn kid Timberland boot music. Which is fine if you’re a 1 – dimensional, New York-centric hardcore head who craves momentary satisfaction (like alot of my hip-hop listening peers tend to be). But this sucks if you’re into being able to make albums that can be played from front to back and stand the test of time.

In rap news, it’s been no secret that The Bootcamp family, Most notably Black Moon and Smif-N-Wessun, who released their debuts on Nervous Records, had many grievances with the label. Something must have happened that pushed the original drop date of the album back.  No label spends money on promo just for the sake of it. I’m guessing the group may have also been stalled by the incarceration of member 5 ft. This apparently lead to Buck helming the project and carrying the weight of it. It’s also clear that he and Dj Evil Dee, who was also 1 half of Bootcamp production team, Da Beatminerz (along with his brother Mr. Walt), went back into the lab to make new material with a more refined sound that made its way onto the album.

Those additions and that little stretch of time was needed. The sprinkles of airy samples and hypnotic instrumentation coupled with Buck’s newfound unique chanty flow helped to break up the monotony of the barrage of Boom-Bap and yelling that floods this LP.

Some of that Boom-Bap and yelling is no doubt Dope, like the high-powered intro that borrows from the popular Busta Rhymes line (“Powerful Impak”). It’s all you can ask for to set a 90’s rap album off. After listening to the second song however, “Niguz Talk Shit” and looking at the names and deliberate spelling of the other song titles, it becomes obvious what school of thought Black Moon was coming from. Straight from the early to mid-90’s East Coast ethic of being unrealistically violent and grim, sounding ready to fight, and having 10 niggas shouting one repeated phrase for a hook, the songs that seem to be from the earlier set of recordings are all about the same thing; representin’. At times, it even sounds like you’re just hearing the same song with a different hook. The beats are mainly murky bass and drum kicks with very little instrumentation on top of it. Similar patterns make them less discernible from each other and this lead to the stamp of the crew having a “BootCamp Sound”.

Thank God for sampling. Once Da Beatminerz tapped into the jazzier side of things, they were able to produce gems like “Shit Iz Real”  and the experimentally stripped down and eerie “Slave”. It’s like they found their glory from the “Who Got Da Props” days. The more standout beats encouraged Buck’s more standout flows.

Besides the aforementioned “Niguz Talk Shit”, there’s more clunker moments like “Son Get Wrec”,  “Ack Like U Want It” (even tho the beat is pretty ill) and “Make Munne” that sound redundant and as if there was little thought required. 5ft.’s aggressive and forgettable presence on the mic adds to the trite feel. By the time you get to the closing track, “U Da Man” featuring a super young Havoc from Mobb Deep and BootCamp’s resident Whiteboy businessman, Dru Ha, dropping a verse and the N-word, You feel like you’ve been stomped with a Timberland boot for real! Although, It should be noted that Buck murders everyone on here.

But like I said, sometimes the Boom-Bap was just undeniably Dope. On tracks like the song that introduced Tek and Steele as a duo to the world, “Black Smif-N-Wessun”, their presence helps. And on the original “I Got Cha Opin”, you’ll want to press rewind because the knock of it mixes with those soulful elements in an ill and nostalgic way. The title track just adds to that and gives a real 90’s Brooklyn aesthetic.

Basically, the general consensus of this album is that it is definitely a classic. There is no debating that on any grounds. Yet and still, this album is a classic for every other reason than it’s album work. It’s a memorable cover, from a memorable group that launched a memorable crew and label from this point, from a memorable time period in hip-hop and NYC history, from an unforgettable place, with memorable singles….That barely appeared on this album! There’s several songs that are Black Moon legendary jams that are absolutely absent from any printing of this album; Joints like chilly “6 Feet Deep” and the remixes to “Buck ‘Em Down” and “I Got U Opin”. The latter 2 were both presented to the public as singles from this album, sampled from 2 very popular 70’s soul songs, and resonate with all Hip-Hop listeners upon being played. They are usually the main 2 songs that get played whenever Black Moon is brought up or spun by a DJ and are cemented in hip-hop history. They are certified signifiers of Golden Era New York rap; Something that is glorified and idolized in today’s atmosphere.

That’s what this album is Classic for…It held down the Brooklyn spot on the map while Kane was being ousted and Biggie was still honing his craft. They single-handedly represented the entire boro and carried it, encapsulating the spirit and the sound of every hood in King’s County. I remember that feel from my cousins…40 Oz’s, fatigues, book bags, beepers, bats, boots, blunts, guns and Rastafarian culture. It’s Brownesville. It’s East New York. It’s Crown Heights. They were the voice.

As a classic album, it falls so short because they did almost nothing with that voice. All that power, and obviously, they didn’t realize they had it. 5ft constantly rapping about knocking niggas out, or shooting them, Buckshot as well – tho he tried to slip in some maturity on the later recordings. It’s mystifying to hear a guy reference the moon and the still of the night and ask you to “look into the eyes” as he uses a one-of-a-kind cadence to smoothly marry the beat and trance you and then on the next track, he and his partner gun-butt you to death with rah-rah. There’s not even a break here to talk to the ladies! Even Onyx stopped the mad face invasion every now and then to delve into the pleasures of the ‘P’. There’s absolutely no social commentary here or shift of gears. Every song is pretty much about the same thing, and in effect, while the album captures the sound of Brooklyn in that era, it doesn’t take you to Brooklyn. You don’t leave track 14 feeling like you went anywhere but down a trip to memory lane. The time that elapsed between the different recordings is so evident, I could swear you hear them shouting out the years ’91 and ’92 on one or more song . If you like just reliving the Golden Era, then by all means, go ahead…But this is another case of an album being a Classic just because of the memories attached to it.

Having that said, my favorite tracks from the actual album are the original “Buck Em Down”, “Shit Iz Real”, “Slave”

and the song with one of the Dopest beats, titles and scratches ever in rap; “How Many M.C.’s” 

Overall, this album gets 4 Candles out of a possible

4812 or 16.

4(Classic Just because where it stands in Hip-Hop, whether it be the time of it’s release, it’s influence, or the popularity of it’s singles overall)

8(Classic because it was solid for it’s time, but may be a little dated or less than amazing by today’s standards)

12(Classic as a complete release and probably celebrated widely on the surface, but possibly lacking one key element – be it one song that doesn’t fit, a wack guest appearance, lyrics, lack of depth or beats)

16(Classic all around)

If I could give this album 2 Candles I would because it’s always going to be a Classic, but when you match it up to let’s say another Classic from the same time period such as Illmatic, it just doesn’t seem fair now does it?

2 Brooklyn kids become D.A.s Thanks to Hip-Hop!

I caught wind of this earlier today on NY1 and it made me smile. I thought, ‘man, how cool is this?!’.

2 Fifth Graders, young Naiman St. Phard and Jeremiah Hyde were named this morning as the Winners of the Brooklyn Legal Lives program’s Anti-Bullying video contest. The Brooklyn District Attorney, Charles Hynes made the announcement and awarded the two youngsters the honor of being D.A.s for a day, stating,

“Unfortunately, bullying occurs on a daily basis in schools and schoolyards throughout the borough. Sometimes these cases escalate to assaults. It is important to recognize that children who are bullied experience real suffering that can interfere with their social and emotional development, as well as their school performance. In some severe cases, it may even lead to suicide. My staff is taking a proactive approach to bullying in schools and in the community so that we can put an end to this senseless behavior,” said District Attorney Hynes. “Congratulations to Nairan St. Phard and Jeremiah Hyde on their creativity and dedication to stopping bullying.”

Legal Lives is a program that was developed in an effort to prevent juvenile delinquency, utilizing group discussions and role playing. Much like the anti drug programs like D.A.R.E. that kids like me in New York public Schools grew up on, officials are brought into classrooms to educate students about the law and how it affects their lives. This one is specifically aimed at 5th Graders and reaches around 60,000 students. The bullying lesson plan was recently initiated in response to the rise of bullying related crimes and deaths.

One of the first such components of this rollout plan was the video contest which challenged students to make creative responses to the bullying threat. The two boys Naiman and Jeremiah chose to rap in their video, with one even providing the Beatboxing. You can see it here

You should have seen these 2 guys as they accepted their reward at the press conference; full of personality and charisma. They were loving the spotlight. Straight new York, Straight Brooklyn boys. I immediately was taken back to my days between 3rd and 6th grade, Doing the same exact thing – writing themed raps and performing them with my class friends who would beatbox and usually winning whatever the contest was. But this is something to be proud of. This is a moment. This is quite a big deal – a little beyond a certificate or a $10 bill. This is an invaluable experience for these young men and I hope they understand the gravity of it.

Shout outs to these 2 for taking a vested interest in their education and keeping the spirit of Hip-Hop alive all at the same time.

Brooklyn keeps on Taking It!

If you’ve ever been bored enough to sit around watching network Television and bumped into Damon Wayans’ built-for-the-sitcom-world-only attempt at a parenthood comedy, My Wife And Kids, then you were sure to see at least one bright light…And no, I don’t mean the cute little racially ambiguous genius kid who played the neighbor. No, the other racially ambiguous character who is cute in a whole different way!

No disrespect to Tisha Campbell, but “Vanessa” was my favorite woman on the show, and she’s the only thing that has allowed me to watch it the 10 times in my life that I have. If I’m not mistaken, she replaced my uber crush, Megan Goode as the pregnant girlfriend of the son. Teen pregnancy never looked so not-fucked-up! Doing a much better job than ms. Goode, and providing the only decent acting besides Tisha, she showed that she has potential to be a face and a name to get familiar with in the future.

For now, her television run hasn’t translated into much beyond a God-Awful Chris Stokes and Marques Houston flick and a few off-brand indies, but where you can really catch her shining is in her previous work as a print Model. It’s as if she was born to grace the pages of magazines; Her solid symmetry, coupled with star-gazing eyes that gleam are all captivating features that allure and provide a cool mystique.  She looks kinda Alicia Keys-ish, which is common of most pretty Halfrikans, (a term coined by one of my ex’s who is bi-racial) and I guess I would know a thing or two about that by now given my experience.

On top of all of that, I’ve noticed that she’s pretty low-key as far as dress and style. With Model looks, she has a fashionable approach, but you won’t see any see-thru dresses and corset numbers popping out in press footage. Nor is it likely that you’ll hear any juicy stories or scandals creeping out the woodwork from this former high school Valedictorian and Ivy league Candidate. Not bad for a product of an entertainment union – oh…Did I mention that she’s the Daughter of Disco and Pop Queen, Donna Summer?? Silly me….

We haven’t seen anything yet from this young stunning beauty, and based on her credentials, she has alot more to show. If ever she decides that acting is moving too slow, I’m sure she won’t pull a Montana Fishburne and try to fast-track things. It’s more likely that she would probabaly apply her wit towards tackling something else impressive and shining there as well. She’s serious about her career, and unlike alot of her peers who are under the radar and don’t have thousands of fans stalking her yet,  she has her own website, http://www.brooklynsudano.com/, where those who wanna stay abreast (pun intended) can keep up with her latest appearances or get familiar with some of  her past work.

I’ll definitely be keeping an eye out for this chic with the coolest name I’ve seen in Hollywood in a while.

And With that,

Brooklyn Sudano, (who based on this picture can pick me up at a bar anywhere, anytime)

You!

Are My New Crush!

Back Like I Never Left! Kwanzaa Edition

Ok,

you’ve probably been wondering where I’ve been since December 31st and where the Hell the posts have been (or…you just stopped coming to the site).

Well my friends,

I put your regularly scheduled program on hold for the sake of enlightening you on some Kwanzaa stuff that you might not have known about. True indeed, it wasn’t the most extensive Kwanzaa blogging out there, but it got the job done. I also admit that I was being kinda lazy because I’ve been diligently NOT being lazy, working on my First ever original music project, coming this year at the end of Spring.

But just so you have an idea of what my experience was like, here’s some footage of the most pivotal day of the Kwanzaa celebration and how I brought it in.

I took the oppurtunity to introduce my Nephew Ramale (a.k.a. Winnie) to this Holiday by way of his Auntie and the homegirl of all homegirl’s: Indigo.

I didn’t celebrate Kwanzaa the way I wanted to, so this was the only day that there was really a concerted effort to observe and carry things out. I wound up living the principles and days vicariously through the blog, and through you in the process (yeah, probably a bit more laziness on my part).

This all went down at the dope Duplex apartment that she inhabits with our Resident renaissance chic, the Notorious TDJ and the unofficial 16’s Candles PR person Ms. Daryl (yeah, that’s a woman – I call her Penny cause she looks like Young Janet Jackson), in the magical Planet of Brooklyn. We affectionately refer to this crib as The Living Single pad, because of the Dynamic of the uhmm…single ladies and their differing personalities all co-existing in Brooklyn. Make sense now? Yeah, yeah, I know they’re missing a 4th – sue us! Geez!! But I guess this make me Kyle in this equation??

Ironically enough, I’m more like the male version of Maxine (Pause), the damn near 4th roomate who’s place you never see, but is frequently involved in the goings-on to provide sarcastic and colorful commentary. Not to mention, I’m always down to leave their place with something I didn’t come in with – ya dig?

Who am I to ruin tradition??!

So yes, I took my 5 Year old nephew all the way to another Borough after 8:30 P.M. on a cold December 26th night in 2009, only to return him home to his mother at 3:30 A.M. in the morning. Why?? because that’s how bad I wanted to put the boy on to some sense of culture DAMMIT!! And he wasn’t going to sleep anyway.

Ask Indigo who still had energy to ask about playing video games that night and you’ll see I lost 8 times over in that battle. But ask who enjoyed an hour long nap on the couch before hitting the road and I win!!

So here goes;

With TDJ being MIA on said Night, Indigo played Den Mother, Hostess, and Leader to our makeshift family to make this Umoja special for my nephew. He helped her clean greens (not Collards) as she cooked and prepared our food. I was put on dish duty – which I HATE,  and we all shared reading duties as we ran through definitions, origins and motivations behind our items and principles for the night.

Indigo’s little Sister, The gangster, Megan (a.k.a. Sis) was also in the building (literally).

You really don’t have to watch this whole video, because it’s long and I couldn’t edit it and after a while it just drags on and seems like something that you feel like you weren’t supposed to be watching from a blog.

But pay attention to the funny parts like Winnie counting everyone as Brown except for Daryl. And how the Hell did Daryl get Auntie Status on her first night of meeting him??

(“Auntie Daryl”?? – not quite)

or the never-ending one-liners from Winnie like, “I give up”, Or my favorite, compliment-fishing- pat-on-the-back “I’m Smart!”.

And nevermind my scraggly appearance, It’s not about me..we did this for Kwanzaa.

Besides, it was a work Day!

Enjoy, and then we’re back to business. We’ll do it better next year.

http://www.vimeo.com/8585391