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amanda knox (rod blackhurst and brian mcginn, 2016)

It played the Toronto International Film Festival, but was released on Netflix. Does that mean it’s eligible for an Oscar, an Emmy, or both? It’s not good enough for either, to be honest, but it sits well among the current fascination people seem to have for true crime tales. Amanda Knox was the American who spent four years in an Italian prison after being convicted of murdering her roommate, Meredith Kercher. Knox has been in and out of the headlines since 2007, so there’s a readymade audience for her story.

Blackhurst and McGinn take a fairly straightforward, chronological approach, using archival footage, interspersed with interviews of the primary characters, to tell the story. This gives the documentary a feeling of legitimacy ... as with so many well-made popular documentaries, it’s hard to figure what is being left out. The point of view in the film is, perhaps inevitably, that of Knox (she’s the title character for a reason). Her then-boyfriend and co-defendant, Italian Raffaele Sollecito, is equally victimized, but in the movie, he seems relevant mostly as he relates to Amanda. Both Knox and Sollecito come across very well in their interviews, although again, Knox is featured more often, because she’s American, because her emotional reactions are powered by a strong sense of injustice.

Two other characters get significant screen time. Prosecutor Giuliano Mignini calmly details his approach to the case, and he sounds quite reasonable throughout, unless you pay attention to some of his “logic”. At one point, noting the murder victim had been found naked but covered by a blanket, he proclaims the murder was committed by a woman, because only a woman would cover up the body. In fairness, there isn’t a lot about Mignini that differs from other cases where the prosecution travels down the wrong path. Once Knox is a suspect, Mignini interprets all subsequent evidence as proof of her guilt. Sollecito gets off a bit lightly under this scenario, as it is suggested Knox used her feminine wiles to get Sollecito and a third suspect (Rudy Guede, who it is strongly argued was the actual murderer) to rape Kercher while Knox did the murder.

In addition to the two defendants and Mignini, English journalist Nick Pisa appears several times in interviews. Pisa comes off the worst of everyone. Mignini is stubborn, he can’t see how he’s gone astray, but his commitment is to justice, even if in this case, he’s misguided. But Pisa is solely interested in the tabloid angles. He shows little interest in Kercher ... for that matter, he shows little interest in Sollecito. He loves Amanda Knox because she is the perfect tabloid subject. And, speaking in his defense regarding his questionable journalistic ethics, he gives one of the more disturbing speeches in the film:

What are we supposed to do? We are journalists and we are reporting what we are being told. It's not as if I can say “Hold on a minute, I just want to double check that myself in some other way, who knows how, and I'll let my rival get in there first before me, and then, hey, I've lost a scoop.” It doesn't work like that, not in the news game.

This film is the first with Knox's participation (she did write a memoir), and it is powerful that she tells her own story. You come away convinced that she suffered for being a pretty American who liked sex. But the methods used by Blackhurst and McGinn are designed to lead us to specific conclusions. It’s not that those conclusions are wrong, but as viewers we need to be vigilant against the misuse of the tools of the documentarian. 8/10.

"There’s no trace of me in the room where Meredith was murdered…But you’re trying to find the answer in my eyes when the answer is right over there. You’re looking at me, why? These are my eyes, they’re not objective evidence." -- Amanda Knox


music friday: covers

John Lennon, “Jealous Guy” and Elliott Smith, “Jealous Guy” and Roxy Music, “Jealous Guy

Dolly Parton, “Jolene” and The White Stripes, “Jolene” and Miley Cyrus, “Jolene

The Crickets, “I Fought the Law” and The Bobby Fuller Four, “I Fought the Law” and The Clash, “I Fought the Law

Arthur Crudup, “That’s All Right” and Elvis Presley, “That’s All Right” and Rod Stewart, “That’s All Right

Queen, “Bohemian Rhapsody” and Garth and Wayne, “Bohemian Rhapsody” and Pink, “Bohemian Rhapsody

film fatales #20: paju (chan-ok park, 2009)

After seeing so many Korean horror films (most of them quite good, of course), it was an interesting pleasure to take in a Korean movie whose horrors are implicit. Paju is many things, but at its heart, it is a character study, and while I assume I am missing some of the more local Korean reference points, it works fine in the simplified world of character.

Which isn’t to say that Paju is simple. Park draws on complex film techniques, most notably in her use of flashbacks, which are rarely identified precisely. The placement of those flashbacks leads more to uncertainty than to confusion, and throughout, Park is building a story for her characters that may be told out of order but which make an emotional sense. The relationship between the primary characters, Joong-sik and Eun-mo, is the heart of Paju, but external events drive the story ... in the “present”, Joong-sik is part of a team of activists fighting developers with something resembling guerilla warfare, while in the “past”, he is a horny young man who experiences something tragic. The key to the relationship between Joong-sik and Eun-mo lies in her sister, Eun-soo, who is married to Joong-sik (thus, Joong-sik is Eun-mo’s brother-in-law). Eun-soo does not exist in the primary “past” (Joong-sik hasn’t met the sisters yet) or in the present (Eun-soo is dead). We see her in the period between the two main periods, but we don’t know until the end why she disappeared. All of this leads Eun-mo to mistrust her brother-in-law ... she wonders if he was responsible for her sister’s death ... but their close relation gradually leads to love, which is a problem since she is still young.

Or so I think. As is often the case, I lost track of the plot on several occasions. But it mattered less than usual, because I was taken with the stories of the characters. And Seo Woo (or Woo Soo ... I am not aided by the fact that various sources list Korean names in different order, so she is Seo Woo on Wikipedia but Woo Seo on the IMDB) does wonders with the young Eun-mo, capturing the screen every time she appears. Also, I never got the feeling Park was using a fractured time frame just so she could show off or obscure. While at times confusing, the various flashbacks deepen our understanding of the characters, and so feel central to the film in ways that are not simply annoying. 8/10.

(Explanation of the Film Fatales Series.)

music friday

Wilson Pickett, “Hey Jude”. Remembered now for Duane Allman’s guitar.

Johnnie Taylor, “Disco Lady”. They don’t write ‘em like this anymore.

Lyn Collins, “Think (About It). Remembered now for the zillion times it was sampled by hip hop artists, most notably by Rob Base and DJ E-Z Rock.

Rob Base and DJ E-Z Rock, “It Takes Two”. What the heck.

Dorothy Moore, “Misty Blue”. Speaking of versions (not samples), Bob Montgomery, who wrote the song, claims there are over 200 versions of this one.

Claudia Lennear, “Let It Be”. Remembered now as one of the top backup singers of the early 70s (the link is to her singing with Mad Dogs and Englishmen), and as the supposed inspiration for “Brown Sugar”. She recorded one album on her own, back in 1974, which got decent reviews but, as far as I can tell, no sales.

Dr. Buzzard’s Original Savannah Band, “Cherchez la Femme”. Honestly, I don’t know what they are remembered for now. Cory Daye should have had a bigger career, but you can say that about many of the women on this list.

Minnie Riperton, “Lovin’ You”. Unfair to say she was a one-hit wonder. She began with Rotary Connection, and as a solo artist she released six albums (one posthumous). But she died of cancer at 31, and her “one hit” indeed was her biggest (the only one to make the Top Ten). Remembered for singing in the “whistle register”, and for being the mom of Maya Rudolph (she sings “Maya Maya Maya” at the end of the song).

what i watched last week

Advise & Consent (Otto Preminger, 1962). Story involves a president trying to get his nominee for Secretary of State through the Senate. It’s fascinating to look at Congress as it might have been so many years ago. Every senator is a white male, with the exception of one man from Hawaii, and one woman, played by Betty White in her feature film debut. The Republicans and Democrats get along quite nicely in comparison to how it is today. The two worst things you can be are a Communist or a homosexual. The Commie is played by Henry Fonda, and we’re so used to seeing him as the moral center that it’s disconcerting. His character wasn’t a real Commie, of course, just someone who had a brief fling in his college years, but in 1962 that’s enough (plus, he believes in peace, of all things). The gay senator commits suicide rather than reveal his secret. Most of the cast underplays, leaving the hammy stuff to Charles Laughton as a good old Southern boy. Laughton makes the most of his final film. Most of the key players are based on real-life politicians, which might have been easier to spot when the film came out. It’s all a bit silly, and I’m not sure how accurate is its representation of the Senate, but it moves along, never boring through its 139 minutes. Preminger even finds room for Burgess Meredith and Will Geer, two victims of the blacklist. 7/10.

Arrival (Denis Villenueve, 2016). I’ve liked the previous movies I’ve seen from Villenueve (Sicario, Prisoners, and especially Incendies). I wrote of Incendies, “It’s the individual scenes, and the growing sense of discovery, that makes Incendies special. The acting by female leads Lubna Azabal and Mélissa Désormeaux-Poulin adds immensely to the film’s power. The ending doesn’t make a lot of sense on a logical scale, but it delivers an honest emotional punch just the same.” I felt the same about Arrival, which benefits from Amy Adams’ controlled, inquisitive performance as a linguist asked to communicate with aliens. Arrival is another film in the category of “Praised for What It Isn’t”. It’s a story about aliens coming to Earth, but there is hardly any action. The special effects are mostly limited to the alien ships, which are lovely and look like flying saucers turned on their side. Most of the lead actors avoid overdoing it. All of this helps, but there isn’t enough here to warrant excessive praise. Still, Adams may be looking at another Oscar nomination (she already has five). At one point, she tries to communicate with the aliens by holding up a sign that reads “HUMAN” and pointing to herself. And you think, yes, this person is a human, and it’s good to see something so basic in what could easily turn into a cheesy sci-fi flick. I’ve avoided discussing the plot, which is of the “Must See It More Than Once” school of inscrutability. I’m sure there are already websites devoted to explaining Arrival, but I’m not much more interested than I was about the 2001 theories. But thanks to Adams, it was easy enough to just roll with Arrival, even if for me, it was much ado about not much. 7/10.

late spring (yasujirô ozu, 1949)

This was the first movie I watched on a new streaming service, FilmStruck. The service is a combined effort from TCM and Criterion, which means it focuses on older movies. I joined as soon as the service went live, and cancelled my Hulu account ... there are some good things on Hulu, but the only reason I had a subscription is because that’s where the Criterion films were. Now that they have moved to FilmStruck, I moved my money to the new site.

I feel like I need to catch up on my Ozu. This is only the third of his movies I have seen. I gave my highest 10/10 rating to Tokyo Story. And I gave 8/10 to his final film, An Autumn Afternoon. Now here’s Late Spring, which is also excellent.

Ozu takes his time in these movies. I can be impatient with that kind of style ... perhaps the Slow TV genre of shows like Rectify have gotten me to take it as it comes. It’s impossible to give spoilers for Late Spring, even if I told you every key point in the plot, because the movie is about the characters and their relationships to each other and to their environment. (For the record: a woman in her 20s lives her father in post-war Japan. They are content with their lives, but there is pressure for her to marry. Ultimately, she does participate in an arranged marriage, although it appears neither father nor daughter actually wants this to happen.) As has been true with the other Ozu films I’ve seen, I’m constantly feeling like I’m missing some important cultural aspect of Japanese life. (It helps in this case that the Wikipedia page for Late Spring is as long as I’ve seen.) To some extent, this is instructional ... I don’t know much about post-war Japan, for instance. When the movie was being made, it was subject to the Allied Power’s Occupation of Japan, and the American censors impacted the final product. Much of this revolved around the censors’ desire to remove any positive reflections related to the Japanese culture of the past, but there were also changes to make the Allies look better (in the script, Tokyo is referred to filled with ruins, but in the final product, “ruins” becomes “dust”). There is some disagreement about Ozu’s intended politics here, and this is one of the many places where my lack of knowledge prevents a deeper understanding.

Nothing Ozu does is obvious. His camera style is usually static, and you notice, because it is unusual, but you quickly adjust to the calm nature of what you see. The characters exhibit a resignation about life, at times even happiness at their lives, but there is nothing ostentatious. The legendary Setsuko Hara conveys so much with the expressions on her face. Her smiles are captivating, but subtle movement suggest something behind the happiness. It is disconcerting, in fact, when what she says seems at odds with her smile ... at those times, she no longer seems happy but rather seems polite, as if the smiles are expected of her. For most of the movie, she rejects the idea of marriage because she thinks her father needs her, so he lies about preparing for his own marriage so she will be able to move out on her own. So she marries, though she doesn’t want to, because her father pretends to be getting married, which he doesn’t, and he is left alone, which he didn’t want. Because the relationship between father and daughter in Late Spring is extremely close (not incestuous, but emotionally), we, like they, want them to be together.

These characters are what matter to Ozu, which is shown by the absence of scenes of the marriage (in fact, we never see the groom-to-be). Ozu uses what I might call “casual jump cuts” that remove “action” so he can get to the conversations that ensue. Even here, the cuts aren’t obvious, such as Godard might use. And while at times Godard’s jump cuts often feel like part and parcel of the accelerated lives of the characters, Ozu uses them calmly, simply to extract the characters from mundane actions. Godard uses jump cuts because he’s in a hurry ... Ozu uses them because he doesn’t care about the events he omits.

The detailed first half of the film establishes a connection to the characters that helps us understand them better during the events of the latter half. It’s hard to say where it starts, but the combination of Ozu and Hara (this was the first of their six films together) is the match for any match of director and star in all of the movies. #65 on the They Shoot Pictures, Don’t They list of the top 1000 films of all time. 9/10.

(I have not mentioned Hara's co-star, Chishû Ryû, which is very unfair. He is a crucial component in the film's success. I just can't quit thinking about Hara.)



music friday: 50 years ago today at the fillmore

bola sete 1966

On November 11, 1966, Bill Graham put on the first of three shows headlined by the Brazilian musician Bola Sete. The opening acts were Country Joe and the Fish, and Buffalo Springfield.

Buffalo Springfield had been formed earlier in the year, and featured Neil Young and Stephen Stills. These were their first shows at the Fillmore, and took place around the time their first album was released. Here’s a song from that first album, recorded a couple of months before the concerts: “Flying on the Ground Is Wrong”, written by Young and sung by Richie Furay. 

Country Joe and the Fish were a Berkeley band who had yet to sign with a record label. They had self-released two EPs which were popular on the “underground” radio stations. Here is “Section 43” from one of those EPs ... it was re-recorded for their debut album, which came out the next year:

Headliner Bola Sete ... well, first, give it up for Bill Graham, who in those early months of the Fillmore would book shows like this, with a country-rock band from LA, a psychedelic band from Berkeley, and a jazz guitarist from Brazil. Sete was 43 years old at the time of this concert. He had at least a dozen albums going back to 1957, along with a few when he played with Vince Guaraldi. Here he is with “Baion Blues”, released in 1966:


(Poster art by Wes Wilson)

election day

I know very few people who are voting for Trump. I know a lot of people who are voting for Clinton.

As I wrote a couple of weeks ago, I did not vote for anyone for president. But the above two sentences explain what I’m feeling as I look towards the conclusion of this election.

If Trump were to win, the form of the celebration would likely be repulsive, representing the worst America has to offer, as does Donald Trump himself.

If Clinton wins, the celebration will focus primarily on one point: that we have finally elected a woman to be our leader. A point that is well worth celebrating, a point that has been too long in coming.

I want my friends to enjoy their celebration. That is the reason I’ve stayed mostly silent throughout this election. If my vote merely entailed making my friends happy, I would do so.

You could say I am a coward. I don’t want to bring down the wrath of Clinton supporters, so for the most part, I hold my tongue. But it’s not just fear ... I truly do want my friends to have that celebration, no matter my own personal opinions about what I think a Clinton presidency will mean on a concrete, rather than a symbolic, level.

Part of me questions the inherent misogyny of men, a category in which I include myself. I have tried for my entire adult life to press for equality between men and women, but I speak as a man who has experienced the unequal benefits of being male. At the very least, we should question our assumptions, and the roots of our assumptions, when they come from a position of privilege. Thus, I believe I deserve all the accusations of misogyny that are thrown at any man who can’t accept that Hillary Clinton will be a good president.

Except, as I wrote earlier, outside of not being Donald Trump, the only reason I could think of to vote for Clinton is that she is a woman. I very much want us to have a woman president at last.

I just wish it wasn’t this woman.

A friend posted the following on Facebook this morning:

I'm not sure yet if I'm going to vote at all. Even if I do, I could never vote for HRC, though I'd never try to persuade others not to. But if you do, don't tell yourself or others sweet stories about her inner goodness. She's a loyal and effective servant of capital and empire. If she wins, which seems likely though far from certain, she immediately becomes the enemy, even though people and forces even worse than she will attack her.

Or, as one hashtag has it, “#nohoneymoon”.

So when she wins, as I have always believed she will, and the inevitable, joyous celebrations erupt, I will be happy for all of my friends, especially women, who have longed for this day. And I’ll be quiet.

But once the celebrations are over, #nohoneymoon.

television, catching up

It’s probably a combination of the lessening of my obsession to post as this blog approaches its 15th birthday, and the different ways television is consumed now, but I don’t post on TV as often as I used to. My pattern was generally to write about a show at the beginning of a season and at the end, but now, we’re all in different places with various shows. There are still shows with regular weekly schedules, but even there, I sense that some people prefer to wait for a season to end so they can binge-watch. And there are the streaming series that are usually released as an entire season, so a show might be released on a Friday and by Monday, people have already watched the entire season. So I don’t know when to start writing. I have no problem writing about old movies, but TV seems more immediate somehow.

Anyway, here are some of the things I’ve been watching, in alphabetical order:

Agents of SHIELD (not the exact title, but tough ... Season 4, ABC). I’m neither here nor there with the Marvel Cinematic Universe, and I preferred the now-cancelled Agent Carter to this one. But I like the cast, especially Clark Gregg, and if it often feels like a poor step-sibling to the big Marvel movies, perhaps that’s a point in its favor.

Ash vs Evil Dead (Season 2, Starz). Perhaps the easiest TV series in history to evaluate. If you like the Evil Dead movies, you will like this show. If not, you won’t. And I suppose if you’ve never even heard of the Evil Dead movies, you won’t like this either. This is possibly the goriest show we’ve ever seen on TV, which is right in line with the movies (if for some reason you aren’t up to date, this show is part of the Evil Dead universe, taking place after the events of Army of Darkness). The entire show is over the top, including the gore, which can’t be taken on a serious level ... the inspiration for all of this is the Three Stooges. No one tries to make a case for the Evil Dead universe as meaningful ... it’s just a silly gorefest that has the honesty to know what it is about. Plus, Bruce Campbell and Lucy Lawless. One of my favorite shows, but if ever the cliché “Your Mileage May Vary” was appropriate, it’s here.

Atlanta (One season, FX). Might be the best new show in recent times, although it’s erratic. Donald Glover created and stars in it, and he offers a small world that feels real (whether or not it actually is), with characters (and actors) to fill their roles perfectly. This show might get so good in future seasons that we’ll look back on Season One as a mere warm-up, but it stands on its own.

Better Things, Fleabag, Insecure, Lady Dynamite (you can find them if you’re interested). I’m sticking these all together because they are all half-hour comedy/dramas with women at the center. Beyond that, they aren’t really alike, but they do run together in my mind. Fleabag is the only one I’ve finished ... Phoebe Waller-Bridge should be a star ... but I wouldn’t say it’s better than the others, at least not yet. I recommend all of them.

Black Mirror (Season 3, Netflix). Not sure this makes sense, but I like this show enough that I don’t feel the need to binge. Each episode is a stand-alone, which is probably the main reason ... I can sit down for an hour, and feel I’ve gotten enough for one day. So I am not caught up with this season, but I’ve liked what I’ve seen.

Designated Survivor (Season 1, ABC). Kiefer Sutherland’s new show, as a man who becomes president after everyone else in the federal government is killed. Obviously, we’re reminded of 24, even though in fairness the show doesn’t play that game too much. More detrimental to its potential is that it reminds me of Battlestar Galactica, which also begins with a minor governmental official falling into the presidency. BSG was one of the best shows ever; Designated Survivor isn’t really trying to be that good. So I may not make it much longer with this one, when I could just watch BSG again.

The Fall (Season 3, Netflix). This is a British series starring Gillian Anderson as a British police detective and Jamie Dornan as the “Belfast Strangler”. If you are interested in binging, there are a total of 17 episodes. The two leads do great jobs, and the show does well at showing the strangler’s humanity as well as his crimes. The relationship between the two gets more complicated over time. Overall, it’s nothing too special, perhaps a bit like SVU if Mariska Hargitay was the lead figure from the start. Especially good for fans of Gillian Anderson.

Jane the Virgin (Season 3, CW). Remains one of the most inventive, enjoyable shows on the air. Gina Rodriguez, Jaime Camil, and Anthony Mendez are all great, the entire cast is good, and the meta approach to the telenovela is well-done. Plus, they have managed to deal with the “Virgin” aspect of the show with intelligence and believability.

Rectify (4th and final season, Sundance). The best show currently on TV (The Americans is between seasons). Its glacial pace turns away most viewers ... it’s a gift that creator Ray McKinnon has been given the chance to tell the story in full, given the poor ratings. Recently, I decided the show reminded me of soap operas, where it takes months to resolve anything. Except I don’t expect things to be resolved on Rectify. I can only hope that sometime in the future, people catch up with it on streaming, and kick themselves for missing out in the first place. Aden Young, the unknown-to-me star, is as good as anyone, week after week. And this is what Abigail Spencer did before Timeless. If you actually want to take my advice, this is the show to start with.

Shameless (Season 7, Showtime). Showtime always lets their shows run for too long. That would seem to be a problem here, but somehow, Shameless is still very good. The changes in the characters over the years are believable (at least within the cockeyed world of the show), Emmy Rossum deserved more than one of those awards named after her, and I’m glad it’s still on. Oddly, the least-interesting character is the one played by William H. Macy, the de facto star. Macy is excellent, his character is not.

The Strain (Three seasons, with one more to go, FX). Another zombie show, this one doesn’t try for overarching significance, which for me means it’s better than The Walking Dead. I care about the characters, and there’s some good acting here, but this isn’t a classic.

Supergirl (Season 2, CW). Mostly harmless, with a fresh performance by Melissa Benoist in the title role. I think it’s mostly froth, although some find more depth. The kind of show where, if I get behind, I’ll probably forget to watch it any more, but so far, I’ve kept up.

Timeless (Season 1, NBC). The first few episodes show a decent time-travel drama with a decent cast and decent recreations of the past. Co-showrunner Shawn Ryan’s work is always worth a look, and if you like time-travel stories, this will be right up your alley. Plus, it’s nice to see Abigail Spencer getting work after Rectify. Nothing special, but I’m still watching.

Transparent (Season 3, Amazon). I mention this because most people have at least heard of it. I like it, yet I don’t binge-gobble ... Season 3 was released in September, and I’m still 6 episodes behind. Which must say something, no matter how much I like the show.

The Walking Dead (Season 7, AMC). As of this writing, I’m only one episode behind, but I’m not sure I’ll continue watching. Six seasons is enough, I guess. I always thought this was a good zombie show that was tarted up with character stories, but it’s true, a few of those characters grew on me over time. But starting last season, the creators starting fucking with the audience, and I don’t feel like being fucked with anymore. Plus, at some point, it’s just ridiculous that this show gets away with so much killing (because the victims are already dead). I’m all for TV violence, but don’t be coy (see Ash vs Evil Dead, above).

Westworld (Season 1, HBO). Gorgeous to look at, with a stellar cast, a bit like Timeless with a budget. The producers are trying for something big, but they are also big fans of keeping viewers in the dark about the ultimate scenario for the show. This is trickier than it used to be, since the Internet allows for hive-mind break downs of every detail. I have a feeling this is a less-than-meets-the-eye show, but it definitely pleases the eye.

I’m leaving out some shows that will be returning, hopefully soon. The Americans (FX) is the best show on TV ... I highly recommend catching up with it during its off-season. The 100 (CW) became quite problematic in its third season, yet I may be looking forward to next season more than any other show on this list, and it’s another I recommend you catch up on (be aware it takes a few episodes before it reaches its potential). There are the usuals: Broad City, The Leftovers, Orphan Black, Outlander, Sense8. A special shout out to Outlander, because it is a special show. As usual, I haven’t said much about plots or concepts here ... if you’re interested in any of these but can’t quite figure out what they are about, well, that’s why we have the Internet. And apologies for all the shows I’ve forgotten here ... the pitfalls of Peak TV.

music friday: 80s rap

Someone on Facebook was kind enough to put together a set of 80s rap and hip-hop classics. Here is a selection:

1980: Funky 4 + 1, “That’s the Joint

1981: Spoonie Gee, “Spoonie Is Back

1982: Afrika Bambaataa & the Soulsonic Force, “Planet Rock

1983: Crash Crew, “On the Radio

1984: Run-D.M.C., “Rock Box

1985: Double Dee and Steinski, “Lesson 3

1986: Beastie Boys, “Hold It Now, Hit It (Acapulco)

1987: Public Enemy, “Bring the Noise

1988: Biz Markie, “Pickin’ Boogers

1989: Digital Underground, “Doowutchyalike