Filmclips that changed my life from all genres of music. Take note new jacks….just cause ya got a camera don’t mean ya got a cool video. Learn ya craft and treat it with respect….cause these heads below certainly did.

“HELP” – Your Old Droog ft. Wiki & Edan

2017 is shaping up to be a cracker year for Hip Hop me reckons. This is just too fuckin’ good not to post up. Run Royal….where you at?

SCHOOLLY D – I Don’t Like Rock ‘N Roll (1985)

In 1985 Schoolly D hit the world with the hardest drum machine sounds we had ever heard. Smashing TR 909 bass & snares and relentless cuts from his DJ Code Money, Schoolly dropped some of the rawest street Hip Hop ever.

Many say that Schoolly was the creator of the “Gangsta Rap” genre in Hip Hop, or at least one of the pioneers of that style & attitude. I certainly agree with this, but that is an argument/discussion for another day.

Here we have one of the greatest low budget clips I have ever seen in my life ( besides “Thor” clips) and my werd, if it ain’t one of the dopest as well. Dodgy lighting effects, crappy smoke machines & shitty props, bad acting and an age old animation show cut in between to simulate a car chase from the cops. The premise is simple – the boys don’t like Rock ‘n Roll and the scenes that feature them at a rock gig standing in B-Boy stances shaking their heads at what they are seeing is pure gold. In the process, they kidnap a few white boy rock fans and take them to their brainwashing chamber to convert them to Hip Hop by placing what looks like paper lamp shades over their heads. DJ Code Money’s Technics 1200’s are hooked up to the head devices, and he begins to cut, sending ill as fuck ’85 scratches down the line to the captured fellas brainholes. And then…BAM…converted Rap Fans! ” I Love Rap & I’m Proud”.

I first saw this clip on a VHS that I bought in 1988 on Stylus Video called “Hip Hop And Rapping In The House”.


Apart from some classic Run DMC, Eric B & Rakim & Bomb The Bass, this VHS generally sucked balls, but it was this Schoolly D vid that just blew me away. So raw, so budget and so entertaining. Check out the killer boomboxes with the Parkside 5-2 posse. Truly dope shit!

There is little or next to no info about the origins of this clip on the interwebs, as I would love to know the format it was shot on ( some form of videotape ) and who directed it. If I was to ever interview the great man himself, I would be sure to ask many questions about the genius of the video.

“…this ain’t Prince, this Schoolly D man we rap…Code Money man, tell ’em what’s up man!”


PRETTY TONE CAPONE – Case Dismissed (1992)

How many of y’all know what Super 8 film is? For those that don’t, it’s 8mm Film Stock. Super 8 was the home movie camera format from 1965 thru to the invention of the videotape based home systems of the late 70’s. Super 8mm generally cost around $30 for a 3minute reel (well it was when I was buying it in the 80’s/90’s), that would have to be sent to a camera distribution dealer such as Eastman Kodak for developing. Ahh, the beauty of film. I can go on about it for days, but know that digital in any capacity, will never achieve film’s raw beauty and look. Period. Expensive yes, worth it? Absolutely, viable and affordable by today’s standards? Not so much. Technology wins again. Moving on….

The point of the above blurb now leads us back to this clip. It was shot on Super 8mm film in 1992. Really, someone still using this film format in the 90’s? Pretty much unheard of. The footage is raw as fuck. Dirty grain ridden exposures and next to nothing lighting set ups, this clip reminds me of my first short films I was shooting around the age of 12. Handheld and ruff as guts.

This clip is so raw not just because of the film stock, but also because of the history and crew involved. Mobstyle were no joke! Harlem heavy hitters in the dope game & the streets who came with a vicious style plus a very public on record hatred for NWA. PT Pacino called em fakes, studio gangstas, and reportedly, PT was rumoured to be responsible for starting a riot at an NWA gig back in the day in NY.

The track is furious and the injection of vocal samples from the film “…And Justice For All” re-enacted by the actors in the clip is classic. But hands down, the street heaters pulled out in the clip are heavy as fuck. The stand-out scene has to be the Barber Shop scene where PT is getting a “T” shaved in his chest by the barber.

Judge – “You’re out of order!’

PT – “You’re out of order! If I do time I’ll kidnap ya daughter!”


Directed by Roy Taylor

CLASSIC FILMCLIPS : EL-P – Deep Space 9mm (2002)

The lead single “Deep Space 9mm”, off EL-P’s 1st solo LP after Company Flow, “Fantastic Damage” is a real frkn ball tearer….and the clip is outstanding!!!

This project is a perfect example of the clip marrying beautifully with the song and its message. Shot on a shoestring budget, the concept is strong, original and powerfully executed. The grimey almost non-existant grade which is completely desaturated creates a colourless, bleak environment for El to travel around in, encountering the worlds paranoia and lack of trust from those around him. Fear and social instability follow P throughout his journey and it’s the handheld camera work that  perfectly creates this sense of uncertainty in an unstable world. With the clip also being shot at night, P’s world feels even darker and creepier. The clip also benefits from a great edit.

Gritty stuff.




CLASSIC FILMCLIPS : MASSIVE ATTACK – Unfinished Sympathy (1991)


Man, where does one start in talking about the brilliance of this clip. Directed by Bailie Walsh in 1991, the clip is one continuous steadicam move. Starting on a close up of a G’s hand and then elevating on some sort of cherry picker, the camera widens and rises in the air to show us where we are – the setting for the clip – the hood.  The camera then takes us higher before panning right and de-elevating to the street past a young kid shooting a toy gun at us to find our protagonist, singer Shara Nelson, walking away from camera through a populated back street.

The camera begins to gain speed and catch up to Shara turning onto a busier main street and eventually positioning itself in front of her. During this moment, we pass so many states of being – people standing about, kids running, graffed up walls, rubbish littered throughout side walks & gutters. Instantly we feel a mood for this world and are placed directly on street level with the people and the protagonist. The camera is now leading Shara down the street, as she sings facing camera, but not to camera, passing many more walks of life, scenarios, fun, love, tragedy and ultimately a lettuce/cabbage fight. What we see on her journey creates a wonderful world of characters without voice but with silent action and emotion. We are now in her world and state of mind. We are kept here for minutes of the clip, totally immersed in what Shara is singing and what is happening around her. Closed Form technique at its finest. There is no escape.

Nothing feels too forced or terribly set up in this clip. Obviously some situations are planted in certain places but the mood created is very natural, and a kind of “let’s just see what happens” realistic approach. This is where the power lies in the execution of the clip. Just another day in the hood. This is our place and this is what happens here – take it or leave it. Community.

Shara Nelson’s haunting vocals, Massive Attack’s incredible 808’s and strings along with Walsh’s direction and vision, all contribute to one of the most original and replicated clips of all time.

A late night Rage classic for the 90’s and beyond.