I also liked this flick a lot – though I suppose it helps to come in both as a big fan of Chappelle and all the acts he assembles for the party (particularly, in my case, The Roots, Jill Scott, and Talib Kweli). I emphatically sympathize with the reviewer, as I've gotten more assignments on topics that I don't know the first thing about and could not care less for. It sucks to have to work something up on a topic for which you have no passion and no desire to learn about. And, certainly, one can't be expected to know all things - I'm hopelessly ignorant in such a multitude of areas that it would be ridiculous to attempt to list them.
Is this a great film? No, not really. Is it something slightly less, a great "concert film"? It definitely doesn't compare to "Monterey Pop", and unlike "Gimme Shelter", there is no unexpected turn-of-events that transforms it into an era-defining ("end-of-era" defining?) cultural moment that will serve as a touchstone for future generations. It's not as ambitious a production as "Woodstock", but it's also not so embarrassingly naive. Structurally, it resembles - nay mimics precisely - Mel Stuart's 1973 film "Wattstax," the docu-concert often dubbed “the black Woodstock", a film that included Richard Pryor as the social comedian-commentator. But, here too, "Block Party" lacks that film's wide-ranging political sensibility, and will likely not be the same sort of social milestone. So what, if any, significance does it have?
In many ways, it's a much smaller universe that Chappelle's concerned with here, and one might be obliged to say it's Chappelle's own internal struggles - and those of the particular acts he chose to perform - that's
really the focus of this event. Back when "Block Party" had its theatrical release, a few critics weighed in on "why Dave?" and "why these specific performers?", and connected it to what we later found out was a roiling internal drama being played out in Chappelle's head, which might be reduced to "am I the satirical observer of race in America that I hope I am?" or "am I white America's latest shufflin' house boy, embodying the worst traits of blacks for the entertainment of whites?"
Quote:
Dave Chappelle's Problem, by Willing Davidson
Briefly, Chappelle's troubles: By 2005, he had surpassed Chris Rock as white America's favorite black comic. While Rock was garnering mixed reviews for his routines as host of the Oscars—Hollywood proving more fond of Halle Berry's flavor of blackness—Chappelle signed a lucrative deal with Comedy Central for two more seasons of Chappelle's Show. But shortly after, Chappelle disappeared, surfacing months later in South Africa. He offered no explanation, and speculation centered on the usual afflictions of suddenly famous black men. He, like Bobby Brown and Richard Pryor before him, had taken seriously to various processed forms of the coca leaf. He couldn't stand the pressure of staying funny. He had literally gone crazy and ran abroad for medical care.
The truth is simpler, and more interesting. Chappelle had, essentially, become uncomfortable with playing a black fool for white audiences. Upon his return from Africa, he told Oprah Winfrey a revealing anecdote: While Chappelle acted out a sketch that featured him as a pixie in blackface, he heard a white crew member laughing a little too hard. This was, apparently, the galvanizing moment that caused Chappelle to reassess the intent of his comedy, and the kind of laughs he was giving his audience. As he told Time, "I want to make sure I'm dancing and not shuffling."
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And if you didn't know, let me be as clear on the point as I can: Dave Chappelle and certain of these performers - very notably The Roots, Jill Scott, Talib Kweli, and to a lesser extent Mos Def, Kanye, and all the rest with the possible exception of Dead Prez - play primarly to white audiences. The former group to a very small white audience. As ?uestlove, drummer for The Roots and essentially the musical director for the whole show (except for The Fugees set) put it: "Dave, like us, is in a situation where his audience doesn't look like him."
And when Chappelle proclaims “This is the concert I always wanted to see”, I couldn’t agree more. I'm part of that white audience that loves these acts. The Roots, Talib Kweli and Jill Scott, in particular, but the entire lineup are on my favorites list, with the (former) exception of Dead Prez - "Block Party" was my first exposure to them.
Quote:
In Dave Chappelle's Block Party, the Roots, Common, Erykah Badu, Jill Scott, Dead Prez, Mos Def, Talib Kweli, Kanye West, and the reunited Fugees all converge on a street corner in what the movie insists is Bed-Stuy (though many in the neighborhood would call it by a less significant name—Clinton Hill) and give powerful, stunning performances.
The movie presents Chappelle and his guests as preoccupied with notions of blackness, and of how to present blackness in a white world. It becomes apparent that this concert is not only a gift to the audience, but, in that the audience is predominantly black, a gift and a relief to the performers.
All the musicians listed above are more popular with whites than with blacks. Hip-hop is, as the media constantly trumpets, more listened to by whites, because blacks are a minority. But the audience for these artists, mostly belonging to a school of rap music that has been unfortunately labeled "conscious" hip-hop, is even more white-dominated than hip-hop in general. It was seen as a thinking man's alternative to the crass Biggies and Tupacs of the mainstream. Nowadays, even many whites have left this mentality behind. White writers on trend-influencing music Web sites such as Pitchforkmedia.com—or Slate—regularly praise the genius behind much mainstream hip-hop, with its fixation on cocaine dealing. Conscious hip-hop, then, is often left with less-trendy white youth, the cultural laggards.
Sad prospects for black artists who are legitimately trying to engage the black personal and political experience. It's no wonder Chappelle is confused: He shares his favorite music with the people who love him. He's unable to escape white people. This, then, is what makes the block party such an exciting, heady experience for Chappelle and his guests: a chance to speak to the audience they want, not the audience they have.
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And let’s not forget that Dave still seems to be, despite his millions and well-publicized "break-down", an unassuming Midwestern guy from Ohio. He’s no Diddy, thankfully. No clothing lines, just a guy from down the road, your friend’s little brother who’s all elbows and knees, and downright hilarious. And while his comedy is often edgy and discomfitting (to any audience), one gets the sense that Dave loves everybody. I found it truly affecting watching him wander about his home-town, engaging everyone. And just as wonderful to see all those folks show up for the party.
I also loved the backstage stuff, particularly ?uestlove and Mos Def. The visit to the "Broken Angels" house was a hoot, possibly the most Gondryian moment. And even though I'm less a fan of The Fugees than most of the other acts, Hill's vocals and Jean's electric piano for "Killing Me Softly" was very affecting (even though the post-duet portion lacked the kick of the previous acts, mostly - IMO - because it lacked the houseband, essentially The Roots). And though I like Erikah Badu well enough, finding her raw, clenched quasi-Billie Holliday sound to be quite affecting, she's no Jill Scott. And this was the first time I'd ever heard Scott perform her part with The Roots on "You Got Me". And, not surprisingly, performing it more brilliantly than Badu. I have to say the only "down" moment - though somewhat rife with drama - came when ?estlove coaxes Badu onstage during the tune. Badu's voice doesn't lend itself well to harmonizing, and Scott's vocal prowess is simply too much. After a great earlier set by Badu, that was surprisingly light on posture and large on human interaction - including ripping off the fro wig and diving straight into the audience - it was tough to see her, well,
embarrassed might be the right word for it.
One more thing... in a recent interview, Gondry has intimated that there
might be another release on DVD with
all the performance footage. A fan can hope!