#John Hsu

[deluls]

Have you forgotten or are you scared of remembering?

DETENTION (2019) dir. John Hsu

[dijeh]

Detention, John Hsu (2019)

[screenzealots]

"Dead Talents Society"

An absurdly clever, refreshingly inventive blend of horror, comedy, and heartfelt drama that breathes new life into the ghost story genre.

Co-writer and director John Hsu’s “Dead Talents Society” is a refreshingly inventive blend of horror, comedy, and heartfelt drama that breathes new life into the ghost story genre. With its clever twist on traditional horror tropes and a vibrant exploration of East Asian folklore, the film emerges as a wildly inventive, imaginative, bloody, and fun celebration of both the supernatural and the…

[justinspoliticalcorner]

NYT: Harris Campaign’s Legal Team Takes Shape as Election Battles Heat Up

Nick Corasantini at NYT:

Amid threats of certification battles and mass voter challenges, Vice President Kamala Harris’s presidential campaign has assembled an expansive senior legal team that will oversee hundreds of lawyers and thousands of volunteers in a sprawling operation designed to be a bulwark against what Democrats expect to be an aggressive Republican effort to challenge voters, rules and, possibly, the results of the 2024 election.

The legal apparatus within the Harris campaign will oversee multiple aspects of the election program, including voter protection, recounts and general election litigation, and it is adding Marc Elias, one of the party’s top election lawyers, to focus on potential recounts. The legal group is headed by Bob Bauer, who served as personal counsel to President Biden for years, and Dana Remus, the general counsel to the 2020 Biden campaign, and also includes Maury Riggan, the general counsel for the Harris campaign. Josh Hsu, formerly from the vice president’s office, will join the team, and Vanita Gupta, a former director of the Leadership Conference on Civil and Human Rights and a top Biden Justice Department official, is an informal adviser. The campaign will also lean on the top lawyers at three prominent law firms — Seth Waxman, Donald Verrilli and John Devaney — to handle litigation, and deploy local counsel to eight battleground states and four other states of interest.

Mr. Elias, who has had tensions with Mr. Bauer and other Democratic lawyers in the past, will also bring lawyers from his growing firm, Elias Law Group. He has also previously worked for Ms. Harris, serving as general counsel for her primary campaign in 2020. Ms. Remus said in a statement that the legal team had been working “uninterrupted over the last four years, building strategic plans in key states, adding more talent and capacity, and preparing for all possible scenarios.” “This year, like in 2020, we have the nation’s finest lawyers at the table, ready to work together tirelessly to ensure our election will be free, fair and secure — and to ensure that all eligible voters will be able to cast their ballots, knowing their votes will be counted,” Ms. Remus said.

The origins of the effort date back to July 2020, when Walter Dellinger, a former acting solicitor general, called top officials on Mr. Biden’s legal team saying they needed to create “something we’ve never created before,” because the Trump campaign and its allies were beginning to bring cases and lay the groundwork for litigation. With the lessons of 2020 still fresh in Democrats’ minds, Harris advisers claim that the legal team is about 10 times the size of the 2020 operation. The expansive new Democratic legal team, and the opposing group at the Republican National Committee, is a reflection of the legal arms race that is the new reality of American elections since Mr. Trump’s election victory in 2016. The battle over whose votes count — not just how many votes are counted — has become central to modern presidential campaigns.

[...] Democrats have been highlighting recent wins in many of the court battles as part of their effort to get ahead of voting issues. In Nevada, a judge dismissed a lawsuit in July filed by Republicans challenging a state law that allows ballots arriving up to four days after Election Day to be counted. In Mississippi, a judge rejected a similar challenge from Republicans that ballots that are postmarked by Election Day but arrive five days later should not be counted. And in June, a federal judge rejected an argument from Republicans that voter rolls in Nevada had significant inconsistencies, finding that the R.N.C. and the voter who filed the lawsuit did not have legal standing. Core to the Democratic legal effort is the party’s voter protection program, which operates as both a traditional assistance program to voters as well as the eyes and ears of the legal team to help counter any false claims of fraud or malfeasance.

Helmed by Meredith Horton, the program is focused on eight battleground states (Arizona, Nevada, Michigan, Wisconsin, Pennsylvania, Georgia, North Carolina and New Hampshire) as well as four states of interest (Florida, Virginia, Minnesota and Maine). The program has more than 100 staff members across those 12 states, they said, buttressed by hundreds more volunteers and thousands of poll monitors recruited by the party. “This program is one that we are building to meet this moment,” Ms. Horton said in an interview, calling it the largest of its kind in Democratic presidential campaign history.

The New York Times reports that the Kamala Harris campaign’s legal team has begun to form in anticipation for post-Election Day battles akin to 2020.

[manicpixiedepressedwitch]

3rd annual academy museum gala round up pt1

[theycallme-thejackal]

Countdown to The Marvelous Mrs. Maisel Season 5

S04E04: Interesting People on Christopher Street

[lunarcovehq]

LEYLA SELVI (BURCU OZBERK) IS LOOKING FOR…

Connection: Criminal from Her Past/Ex-Fling

Suggested Name: UTP

Age Range: UTP

Species: UTP

Suggested FCs: UTP, but some suggestions are Paulina Chavez, Regé Jean Page, Zorzo Natharuetai, Berk Cankat, Bie Thassapak Hsu, Bruna Marquezine, Deniz Can Aktaş, Jacob Elordi, John Harlan Kim, Josie Totah etc.

Connection Description:

Your character is someone Leyla knew from her crime days. In terms of what crime they were involved in, we'd ask that its not the same crime as the other characters we have in the dash, so if it could be one of the following that would be great- gang member (no latinx fcs or black fcs for this to avoid any harmful stereotypes), drugs (no latinx fcs or black fcs for this as well to avoid any harmful stereotypes), pyramid schemes, gambling, hacking, getaway driver for another group of criminals, white collar crime etc.

They could have been another runaway like Leyla and bonded over this fact/formed a friendship of sorts before they inevitably parted ways for one reason or another or-

Leyla used to have a tendency to sleep around, so they could have had a fling or a fairly short lived relationship to which they grew tired of Leyla or left for a reason or another (Leyla could have even ended up robbing them on the way out - we could plot it out). They haven't seen each over since, but they would have stumbled into Lunar Cove and bumped into the Crime Family who have been living in this small town of Rhode Island having left the life of crime behind them.

Leyla is in a serious relationship now with a Lawyer named Ken and runs the local coffee shop appearing to be living a seemingly normal life, while your character would still be an active criminal and would like find the crime fam attempting to be law abiding citizens to be humorous at best and are counting down the days since you don't think it will last.

Please be sure to contact the player before applying:

Becca is available for DMs on @cantfightmoonlight!

[badmovieihave]

Bad movie I have Rush Hour 3-Film Collection It has Rush Hour 1998 , Rush Hour 2 (2001) , and Rush Hour 3 (2007)

[gbhbl]

Horror Movie Review: The Legend of the 7 Golden Vampires (1973)

Professor Van Helsing heads off to China on a lecture tour, only to join forces with a local family when he gets caught up in a battle between good and evil after a gang of sword-wielding vampires rise from the grave.

The Legend of the 7 Golden Vampires (Chinese: 七金屍) is a 1974 martial arts horror film directed by Roy Ward Baker. The final movie in the Dracula series. In Transylvania in 1804, a lone figure makes his way through the countryside. He enters the towering Castle Dracula, where he summons Count Dracula. The figure announces, in his own language, that his name is Kah, a Taoist monk. And the high…

[macrolit]

The 100 Best Books of the 21st Century.

As voted on by 503 novelists, nonfiction writers, poets, critics and other book lovers — with a little help from the staff of The New York Times Book Review.

NYT Article.

*************

Q: How many of the 100 have you read? Q: Which ones did you love/hate? Q: What's missing?

Here's the full list.

100. Tree of Smoke, Denis Johnson 99. How to Be Both, Ali Smith 98. Bel Canto, Ann Patchett 97. Men We Reaped, Jesmyn Ward 96. Wayward Lives, Beautiful Experiments, Saidiya Hartman 95. Bring Up the Bodies, Hilary Mantel 94. On Beauty, Zadie Smith 93. Station Eleven, Emily St. John Mandel 92. The Days of Abandonment, Elena Ferrante 91. The Human Stain, Philip Roth 90. The Sympathizer, Viet Thanh Nguyen 89. The Return, Hisham Matar 88. The Collected Stories of Lydia Davis 87. Detransition, Baby, Torrey Peters 86. Frederick Douglass, David W. Blight 85. Pastoralia, George Saunders 84. The Emperor of All Maladies, Siddhartha Mukherjee 83. When We Cease to Understand the World, Benjamin Labutat 82. Hurricane Season, Fernanda Melchor 81. Pulphead, John Jeremiah Sullivan 80. The Story of the Lost Child, Elena Ferrante 79. A Manual for Cleaning Women, Lucia Berlin 78. Septology, Jon Fosse 77. An American Marriage, Tayari Jones 76. Tomorrow, and Tomorrow, and Tomorrow, Gabrielle Zevin 75. Exit West, Mohsin Hamid 74. Olive Kitteridge, Elizabeth Strout 73. The Passage of Power, Robert Caro 72. Secondhand Time, Svetlana Alexievich 71. The Copenhagen Trilogy, Tove Ditlevsen 70. All Aunt Hagar's Children, Edward P. Jones 69. The New Jim Crow, Michelle Alexander 68. The Friend, Sigrid Nunez 67. Far From the Tree, Andrew Solomon 66. We the Animals, Justin Torres 65. The Plot Against America, Philip Roth 64. The Great Believers, Rebecca Makkai 63. Veronica, Mary Gaitskill 62. 10:04, Ben Lerner 61. Demon Copperhead, Barbara Kingsolver 60. Heavy, Kiese Laymon 59. Middlesex, Jeffrey Eugenides 58. Stay True, Hua Hsu 57. Nickel and Dimed, Barbara Ehrenreich 56. The Flamethrowers, Rachel Kushner 55. The Looming Tower, Lawrence Wright 54. Tenth of December, George Saunders 53. Runaway, Alice Munro 52. Train Dreams, Denis Johnson 51. Life After Life, Kate Atkinson 50. Trust, Hernan Diaz 49. The Vegetarian, Han Kang 48. Persepolis, Marjane Satrapi 47. A Mercy, Toni Morrison 46. The Goldfinch, Donna Tartt 45. The Argonauts, Maggie Nelson 44. The Fifth Season, N.K. Jemisin 43. Postwar, Tony Judt 42. A Brief History of Seven Killings, Marlon James 41. Small Things Like These, Claire Keegan 40. H Is for Hawk, Helen Macdonald 39. A Visit from the Goon Squad, Jennifer Egan 38. The Savage Detectives, Roberto Balano 37. The Years, Annie Ernaux 36. Between the World and Me, Ta-Nehisi Coates 35. Fun Home, Alison Bechdel 34. Citizen, Claudia Rankine 33. Salvage the Bones, Jesmyn Ward 32. The Lines of Beauty, Alan Hollinghurst 31. White Teeth, Zadie Smith 30. Sing, Unburied, Sing, Jesmyn Ward 29. The Last Samurai, Helen DeWitt 28. Cloud Atlas, David Mitchell 27. Americanah, Chimamanda Ngozi Adichie 26. Atonement, Ian McEwan 25. Random Family, Adrian Nicole LeBlanc 24. The Overstory, Richard Powers 23. Hateship, Friendship, Courtship, Loveship, Marriage, Alice Munro 22. Behind the Beautiful Forevers, Katherine Boo 21. Evicted, Matthew Desmond 20. Erasure, Percival Everett 19. Say Nothing, Patrick Radden Keefe 18. Lincoln in the Bardo, George Saunders 17. The Sellout, Paul Beatty 16. The Amazing Adventures of Kavalier & Clay, Michael Chabon 15. Pachinko, Min Jin Lee 14. Outline, Rachel Cusk 13. The Road, Cormac McCarthy 12. The Year of Magical Thinking, Joan Didion 11. The Brief Wondrous Life of Oscar Wao, Junot Diaz 10. Gilead, Marilynne Robinson 9. Never Let Me Go, Kazuo Ishiguro 8. Austerlitz, W.G. Sebald 7. The Underground Railroad, Colson Whitehead 6. 2666, Roberto Bolano 5. The Corrections, Jonathan Franzen 4. The Known World, Edward P. Jones 3. Wolf Hall, Hilary Mantel 2. The Warmth of Other Suns, Isabel Wilkerson 1. My Brilliant Friend, Elena Ferrante

[dalekofchaos]

Mortal Kombat fancast(new)

Simu Liu as Liu Kang

Glenn Powell as Johnny Cage

Charlize Theron as Sonya Blade

Ken Watanabe as Raiden

Henry Golding as Sub-Zero/Noob Saibot/Bi-Han

Andrew Koji as Scorpion

Manu Benett as Kano

Rory McCann as Goro

Cary-Hiroyuki Tagawa as SHang Tsung(Old, WHO ELSE???)

Tony Leung as Shang Tsung(Young)

Bill Skarsgard as Reptile

Iko Uwais as Kung Lao

Aldis Hodge as Jackson "Jax" Briggs

Elodie Yung as Kitana/Milenena

Zoe Saldana as Jade

Harry Shum Jr. as Sub-Zero/Kuai-Liang

Justin H. Min as Smoke

Brian Tee as Sektor

Chiwetel Ejiofor as Cyrax

Scott Adkins as Baraka

Conan Stevens as Kintaro

Dave Bautista as Shao Kahn

Eugene Brave Rock as Nightwolf

John Cena as Stryker

Jon Bernthal as Kabal

Michelle Yeoh as Sindel

Jade Cargill as Sheeva

Nathan Jones as Motaro

Doug Jones as Ermac

Because of Tumblr's stupid 30 picture limit, I cannot add more pictures, so here’s the rest.

Larry Lam as Rain

Jonathan Patrick Foo as Chameleon

Karen Fukuhara as Khameleon

Jet Li as Fujin

Sonoya Mizuno as Sareena

Brenda Song as Kia

Javicia Leslie as Jataaka

Anna Diop as Tanya

Jai Courtney as Jarek

Karl Urban as Reiko

Mads Mikkelsen as Shinnok

Hoon Lee as Quan Chi

Benedict Wong as Bo Rai Cho

Lewis Tan as Kenshi

Yvonne Chapman as Li Mei

Emma Myers as Frost

Peter Mensah as Drahmin

Derek Mears as Moloch

Charles Melton as Mavado

Ron Yuan as Hsu Hao

Alexandra Daddario as Nitara

Gordon Liu as Shujinko

Constance Wu as Ashrah

Donnie Yen as Hotaru

Daniel Wu as Dairou

Mahershala Ali as Darrius

Matt Smith as Havik

Dominic Sherwood as Kobra

Kristen Stewart as Kira

Keith David as Onaga

Ian McKellen as Argus

Eva Green as Delia

Tom Hardy as Taven

Mark Strong as Daegon

Ron Pearlman as Blaze

Jessica Henwick as Skarlet

Milly Alcock as Cassie Cage

Delainey Hayles as Jacqui Briggs

Mackenyu as Takeda Takahashi

Ludi Lin as Kung Jin

Winston Duke as Kotal Kahn

Tao Okamoto as D’Vorah

Jensen Ackles as Erron Black

Dafne Keen and Hafþór Júlíus Björnsson as Ferra/Torr

Tony Jaa as Tremor

Adewale Akinnuoye-Agbaje as Geras

Emily Blunt as Cetrion

Tilda Swinton as Kronika

[callmearcturus]

you talked about who you would cast to direct a hypothetical ktowl series, but who would you cast? :3

hell's fucking bells what a question

since KTOWL lives in my head also as a novel that i might write someday (idk if its worth it tbh, original work just doesn't seem to bring in anything so it's hard to commit to the work needed for it all)

This is probably recency bias but for Dave/Ezra I know immediately, I would love Xelia Mendes-Jones if they were willing. They're a lil taller than I imagined for Dave/Ezra, but I adore their eyes and their voice.

I think for Kanaya/Vaer'Dia, I would love to put Indira Varma in cool alien prosthetics and makeup. I've loved her for SO LONG and her voice is pitch perfect.

Rose/Leah ("Sophia") is so hard, I want someone I know who can be a heartless ice queen but also mired in self-delusion and also an alcoholic, I think Alicia Vikander could do it. She's too old but this is dream casting, let's just say age doesn't matter okay.

in the reverse, for Jane/Cassandra "Cash" Doe, I would want an older Stephanie Hsu because I feel like the dry cold humor she has is a very good fit

Roxy is difficult bc in the spinoff she's being really reimagined into a character named Naota. I would like Rina Sawayama bc she was incredible in John Wick Chapter 4.

okay you might be wonder "who the fuck could play Abraxas" and literally the only fucking person I can think of who has the raw fucking charisma necessary, who I can imagine as consummate actor neon-infused omniglot lunatic Jake/Sasha Lambros is Sacha Dhawan. Like HONESTLY if you can imagine anyone else with the right build and the gravity well of charisma, I would LOVE to know.

there are two people I cannot fucking place for the life of me, and it's Karkat/Zhro and Dirk/Pirah.

Karkat/Zhro is so fucking hard because I need someone who you could put a bunch of fun alien prosthetics on, who is fucking built like they got cantalopes for biceps, but have an indefatigable kindness in them. I have gone through so many mental options and come up fucking dry.

for Dirk/Pirah, it's the physicality. I can fudge imperfect faces and voices, but the way he moves is 90% of the character. I need someone built like a rapier who moves like a murderous gymnast. And I just don't fucking KNOW.

anyway this took literally hours, anon, hope you're happy lmao.

[eesirachs]

what are your thoughts on theology and climate change issues? any book recommendations on that?

ecotheology centers god's creative genesaic movement, and it matters. in my work, this means making visible animacy, sacrificial/levitical bodies, and the bodyscape's extension into and across materiality, in the ancient near east. so i recommend, in particular, neumann's handbook of senses in ane, freud's totem and taboo, adegbite's life under the baobab tree, shellenberg's sounding sensory profiles in the ane, kim's bodies, embodiment and theology of the hb , and hsu's expression of emotions in ancient egypt and mesopotamia.

but it's more likely you want christian ecotheology, or contemporary ecotheology. sally mcfague, ursula goodenough, ibrahim abdul-matin, s. lily mendoza and george zachariah, mary evelyn tucker and john grim, melanie harris

[01432853]

The Symbol of Anguish.

Detention (2019) dir. John Hsu

[joeygoeshollywood]

My 25 Favorite Films of 2023

It's that time of year again! Here are my top 25 films of 2023.

25. Joy Ride

Following in the footsteps of Bridesmaids and Girls Trip, Joy Ride offers some of the biggest laughs of 2023 proving once again women can be just as raunchy as men. The cast includes up-and-comers Ashley Park, Oscar nominee Stephanie Hsu, and a scene-stealing breakthrough performance from Sherry Cola. Joy Ride marks a strong debut from writer-director Adele Lim.

24. Theater Camp

Anyone who had aspirations of becoming an actor can relate to Theater Camp, a mockumentary about the staff of a theater camp struggling to keep it afloat. Molly Gordon, Ben Platt, and Noah Galvin lead both behind and in front of the camera in this superb comedy that will leave you singing from the rooftops.

23. A Thousand and One

A Thousand and One is a heartbreaking indie film about a mother's desperate effort to form a bond with her estranged son by kidnapping him from the foster care system following her stint in prison. Teyana Taylor packs an emotional punch with her crushing performance with the help of A.V. Rockwell in her feature debut as a writer-director.

22. Thanksgiving

Eli Roth's filmography in horror is a mixed record, but his latest flick Thanksgiving may be his best work yet. Not only is it a solid slasher with great over-the-top killings, its brilliantly hilarious. In a time where horror franchises can be tiresome, Thanksgiving is one that could call for a second or third helping.

21. Somewhere in Queens

TV icon Ray Romano makes his feature directorial debut in the family comedy Somewhere in Queens. He stars as the father of a promising high school basketball player who goes through perhaps desperate means to assure he lands a college scholarship. Joined by the wonderful Laurie Metcalf, Somewhere in Queens has plenty of laughs as well as plenty of heart.

20. Dream Scenario

The remarkable comeback of Nicolas Cage continues with his brilliant performance in Dream Scenario, a dark fantasy horror comedy in which he plays a college professor who inexplicably starts appearing in everyone's dreams, sparking a national phenomenon that will ultimately take a personal toll. Cage balances the absurdity of the situation his character is in with emotional heft that comes with it. This marks Norwegian filmmaker Kristoffer Borgli's first English-language film and based on how well-executed Dream Scenario is, hopefully it won't be his last.

19. The Covenant

Guy Ritchie's latest The Covenant is a heart-pounding war film based on the true story of Sgt. John Kinley's rescue effort of his Afghan interpreter Ahmed. Jake Gyllenhaal and Dar Salim make a perfect duo in this dramatic, suspenseful film that may be Ritchie's strongest work to date.

18. Are You There God? It’s Me, Margaret.

Judy Blume's 1970 adolescent classic Are You There God? It’s Me, Margaret. finally made its way to the big screen this year in the heartwarming coming-of-age tale of a girl's awkward journey from childhood to adulthood as well as the complexities that come from being an interfaith household. Abby Ryder Fortson shines as the titular Margaret in an outstanding performance not often seen from child actors. Also, we need more Rachel McAdams.

17. BlackBerry

Arguably the biggest surprise of 2023, BlackBerry offers some of the best laughs in the comedic retelling of the rise and fall of the iconic BlackBerry device. BlackBerry is a showcase of talent of its star Jay Baruchel, Matt Johnson (who also directed and co-wrote the film), and Glenn Howerton of It's Always Sunny fame, easily giving one of the best on-screen performances of the entire year.

16. You Hurt My Feelings

Writer-director Nicole Holofcener reunites with her Enough Said star Julia Louis-Dreyfus with You Hurt My Feelings, which centers a turbulent chapter in a couple's marriage after a novelist overhears her husband mocking her latest book. The dramedy examines the thought-provoking nuances of how fully honest one actually should be with their spouse (the answer may surprise you!). The greatest strength from Holofcener's latest is how its humor comes naturally from the reality of relationships.

15. Mission: Impossible - Dead Reckoning Part One

Mission: Impossible does the unthinkable in Hollywood: keeping a franchise in top-notch shape. Dead Reckoning Part One, the whopping *seventh* installment of the Ethan Hunt saga, delivers on a compelling plot and incredible action sequences, all of which is cemented by the star power of Tom Cruise, who has carried this spy franchise for nearly 20 years. There have been hints that Dead Reckoning may be the beginning of the end for Mission: Impossible, and if that's the case, it's going out with a bang.

14. Talk to Me

The best horror movie of 2023, Talk to Me is a chilling film about a group of teenager's ill-fated decision of doing a viral challenge of interacting with the dead, only to mistakenly leave the portal open between the living and the spirit world. What makes Talk to Me work is the family drama at the core of the film and the powerful performance from its troubled heroine Sophie Wilde.

13. Sisu

Inglorious Basterds meets Mad Max: Fury Road meets John Wick, Sisu is a WWII-era revenge action flick about a gold prospector's quest to retrieve the gold that was stolen from him from a group of Nazis. Full of brutal, bloody fight sequences with a twisted sense of humor, Sisu is one helluva ride.

12. Creed III

Creed III is a throwback to the era where Hollywood blockbusters were able to provide complete satisfaction. The latest installment of the Rocky spin-off franchise marked the strong directorial debut of its star Michael B. Jordan and also may have sadly marked the final film of the incredibly talented Jonathan Majors, whose recent assault conviction may be a knockout punch to an otherwise booming career.

11. May December

Often having vibes of a soap opera, Todd Haynes' May December is a compelling and at times disturbing film of an actress (played by Natalie Portman) who shadows the woman she's depicting in a film (played by Julianne Moore) famous for her 90s love affair with a then 13-year-old, who later became her husband. Despite the powerhouse performances from the two Oscar winners, the film really belongs to rising star Charles Melton, whose character finally comes to grips with the trauma he unknowingly endured as a child. And Melton's performance is among 2023's best.

10. Anatomy of a Fall

We don't often get great courtroom dramatic thrillers these days which is why Anatomy of a Fall really stands out. German actress Sandra Hüller gives a breakthrough performance as a wife and mother who becomes the prime suspect in what authorities believe is the murder of her husband, who had fallen to his death from the attic window. With plenty of twists and turns, Anatomy of a Fall will keep viewers guessing throughout.

9. Maestro

Not only does Bradley Cooper give the performance of his career, he has also shown his ability to direct is no fluke. Maestro, a biopic that spotlights the personal drama of legendary composer Leonard Bernstein, is a beautifully-shot, well-acted film that solidifies Cooper as one of Hollywood's newest talented filmmakers.

8. Spider-Man: Across the Spider-Verse

One would assume that a Spider-Man cartoon would solely be geared towards children but Spider-Man: Across the Spider-Verse is such a sophisticated film between its complex plot and the remarkable animation that are a continuation from its 2018 Into the Spider-Verse predecessor. Between a strong voice cast, an amazing score and a brilliant cliffhanger, Across the Spider-Verse was the shining gem of the many superhero duds 2023 had to offer.

7. Killers of the Flower Moon

At 81-years-old, legendary director Martin Scorsese hasn't lost his step with Killers of the Flower Moon, his best film in at least a decade. The crime drama is based on a true story on the 1920s murders of members of Osage Nation and its ties to the marriage Ernest Burkhart and Mollie Kyle, played by the reliably gifted Leonardo DiCaprio and powerful newcomer Lily Gladstone.

6. Saltburn

Following her strong debut with 2020's Promising Young Woman, filmmaker Emerald Fennell makes a valiant return with her twisted comedic psychological drama Saltburn, which surrounds an Oxford student who is quickly embraced by the wealthy family of a classmate and the jarring fallout as a result. Barry Keoghan (The Banshees of Irisherin, Dunkirk) proves he's more than capable of being the leading man and is joined by rich ensemble including Rosamund Pike, Jacob Elordi, Richard E. Grant and Carey Mulligan. With stunning visuals and some of the most shocking things you'll see onscreen in 2023, Saltburn is a stirring work of art.

5. The Holdovers

It's been a long time since a new Christmas movie can live up to beloved holiday classics and Alexander Payne makes the closest effort with The Holdovers, a 1970-set dramedy about a miserable teacher at a boys academy who is stuck essentially babysitting the "holdover" students who didn't go home for the holidays. Joining the always-brilliant Paul Giamatti is newcomer Dominic Sessa as his troublesome student and Da'Vine Joy Randolph, who gives a powerful Oscar-worthy performance as the cook mourning over the loss of her son. The Holdovers is the perfect film to warm your heart over the holidays this year and every year going forward.

4. Past Lives

Perhaps one of the more unsung heroes of 2023 cinema, Past Lives is a touching story about love and what if. Greta Lee stars in a breakout role as a married woman who rekindles a relationship with a childhood friend from South Korea but rather than going down the typical "will they, won't they" or "love triangle" paths this film easily could've taken, Past Lives delves into the emotional complexities with such tenderness that only writer/director Celine Song could've told (the film is semi-autobiographical).

3. Oppenheimer

If anyone knows how to make a biopic an epic, it's Christopher Nolan. Oppenheimer is essentially two films rolled into one- a tick-tock thriller about the creation of the atomic bomb as well as a political drama that J. Robert Oppenheimer endured. Cillian Murphy gives the performance of his career and leads a gigantic ensemble cast in a film that despite its 3-hour running time goes by fast. And while Barbie may have won the box office battle, Oppenheimer certain won the war in more ways than one.

2. Polite Society

Polite Society is a brilliant action comedy following an aspiring stuntwoman who believes her sister is marrying into a sinister family. In the style of a Tarantino movie, up-and-coming filmmaker Nida Manzoor makes a strong feature debut that is the epitome of a fun popcorn movie, which have been in short supply in recent years.

Poor Things

Yorgos Lanthimos has quickly risen as of the strongest filmmakers of this generation, proving so once again with his latest film Poor Things. Emma Stone gives an Oscar-worthy performance as a woman brought back to life who embarks on a journey of self-discovery and autonomy and is accompanied by an excellent supporting cast. Like a modern-day Tim Burton, Lanthimos was able to create a mesmerizing universe with incredible production design, a whimsical music score, and stunning cinematography. Going to the movies is meant to be an escape, and Poor Things perfectly encapsulates that.

[caltropspress]

Spittin' Wicked Randomness with Small Professor

or, Bizarre Rides II the Pharthest Cyde; 

or, A beginning doesn’t need an ending, only a portal

Make your body a temple. Make your home a shrine. You are a God, live like one!

—Timothy Leary, “You Are A God, Act Like One!” (1967)

Psycholinguistic structural confusion leads to insidious beat wrecking missions and continuous speech recognition, prescription, vocal anecdotal object impressions…. Synergistic sample arrangements.

—Jungle Brothers, “Trials of an Era” (1993)

EXORDIUM

I long for the anonymity the internet once provided. Everyone was faceless. Vacant visages—not even an avatar. I’ll often try to remanufacture this premillennial experience for myself. I deliberately avoid seeking images to accompany the names I see on the screen. Many people nowadays—most people, the writer bemoaned—make this nearly impossible. Vanity of vanities—all is vanity! But I do try, I do. I look away; I increase the scroll speed; I squint to blur and becloud. Like Iris DeMent desired, I try to let the mystery be. On Rakim’s plodding “The Mystery (Who Is God?),” the God MC suggests you can solve the mystery if you realize the answer revolves around your history. But I need the mystery to stay intact. So many years on, and I’m still figuring out da mystery of chessboxin’, looking all the way back to when Wu-Tang was in black hoodies on the man-sized chessboard—cloaked rooks shouting peace to all the crooks with bad looks. “You cannot hook up a 100 million years of sensory-somatic revelation to your puny, trivial personality chess board,” so says Timothy Leary. I’m inclined to agree.

Aside from his music, I’ve known Small Professor—Jamil Marshall, if we split the veil—only through his words, through his text on my chosen screens: pixelated patterns of character images. But late last year, I stumbled across an image of him appearing not unlike a cloaked rook. Draped in a black robe, Small Professor appeared beside his Wrecking Crew brethren as a Sith Lord. The occasion was a Halloween performance at Cratediggaz Records in South Philly. Small Professor’s face was hidden, and so I could fuck with this type of qualified exposure. His shrouded appearance elevated my intrigue rather than diminished it. This was no flashbulb, soul-capturing, photographic evidence of existence; this was no selfie self-absorption; this was simply some spooky shit. 

Of the many messages that Small Professor measures out into the ether[net], the ones that have frequently caught my attention make some mention of hallucinogenic drugs. Here again, we have [e]strange bedfellows—that being technology and drugs. Twinned conceptualizations: drugs as teknology; teknology as drugs [scanned as tricknology, too, two]. Programming in the Silicon [Uncanny] Valley with the capital-I Internet reformatted as a Third [Eye]nternet. You scream as it enters your bloodstream. “Build, elevate to a higher comprehension, / Let your third eye rise above evil interventions,” if we’re properly tuned in to the Jungle Brothers’ “Troopin’ on the Down Low.” Teknology and drukqs might be more familiar than we (Eye) thought.

As we know from Jesse Jarnow, psychedelic saints were known as “heads,” which, underground hip-hop stalwarts of a certain age will wreckonize as an honorific for their own dedication to a way of life and listening. Stewart Brand, author and publisher of the Whole Earth Guide, would later speak of computers and online communities as the most auspicious collective force “since psychedelics.” Hua Hsu brings this to my total attention, but with my full cooperation (word to Def Squad), so there’s a few more things I’d like to mention. Computer science research centers saw networking and information sharing as devout acts “borrowed directly from Deadhead communalism.” Again, not dissimilar from the tape trading so crucial to the spread of this thing of ours called hip-hop. John Morrison writes of how “hip-hop owes much of its early development and propagation to an underground economy,” to the “recording and circulation of cassette tapes of park jams, live battles, DJ sets, and radio broadcasts” that brought a burgeoning and insurgent art form to the masses. The backchannels and clandestine conduits that made this dissemination possible suggest a secret organization with figures like Geechie Dan and Elvis “The Tapemaster” Moreno as its stewards. These cross-cultural, cross-generational connections exist despite Jerry Garcia’s abhorrence of rap as a legitimate musical form [see below: “Deadhead” diss-poem]. Small Professor centers himself within the radial lines of this complex mandala. His production isn’t strictly for the psych heads, or the hip-hop heads—his musick is For the Headz at Company Z. 

Small Professor understands the possibility and catalytic practices of rappers, much like William S. Burroughs did: “With computerized tape recorders & sensitive throat microphones we could attain insight into the nature of human speech & turn the word into a useful tool instead of an instrument of control in hands of a misinformed and misinforming press.” Somewhere you can hear the echoing call of Newwwspaaaaperrrr from the  Jungle Brothers’ “Book of Rhyme Pages,” a song with a prophetic register, a song that reads. 

In Burroughs’ essay “Academy 23: A Deconditioning,” which appeared in the San Francisco Oracle (c. 1966-1968), the beatific junky proposes that “academies be established where young people will learn to get really high…high as the Zen master is high when his arrow hits a target in the dark…high as the Karate master when he smashes a brick with his fist…high…weightless…in space.” As high as Wu-Tang get, I might add, Allah allow us pop this shit. Burroughs believes it’s “[t]ime to look beyond this cop rotten planet.” The students in Academy 23 “would receive a basic course consisting of training in the non-chemical disciplines of Yoga, Karate, prolonged sense withdrawal, stroboscopic lights, the constant use of tape recorders to break down verbal association lines. Techniques now being used for control of thought could instead be used for liberation.”

Small Professor is already present in such an academy, his “lab”—be it Albert Hofmann’s Sandoz Laboratory or RZA’s antediluvian lab. Like Bobby Digital, Small Professor experiences the “Lab Drunk,” the studio stupor: Stumbled into the lab half-drunk—honey-dipped, stinking blunts. The neural activity of Madlib’s psilocybin; the mind expansion of MKUltramagnetic; outlaw practices: tripping on LSD or sampling on an MPC—same diff, really. “The experience,” Leary wrote in the East Village Other, “must be communicated, harmonized with the greater flow.”

PART I

[December 23, 2023 | 9:10 PM] 

Small Professor:  Ah, fuck. I was supposed to plan this out. Just took 2 tabs to the dome officially at 9:00 PM. At some point tonight I will be looking around at my room like I just got here from outer space.

[10:14 PM]

Caltrops Press:  Where’s your head at right now?

SP:  Difficult to see. Always in motion is the right now (to paraphrase Yoda). Right now I am listening to “Right Now” (HAIM, live).

CP:  Are you alone?

SP:  I believe that to be true, but we can never be 100% sure, can we? I don’t presume to speak for you of course, but I’d wager that you may have, at least once, considered that The Truman Show could be real life, after all. According to this, though, yes:

CP:  Somebody once said, “Every day is Truman Show. True men show their face and expose flesh…” Do you think acid allows you to see beyond this reality?

SP:  No. It allows me to see this one more clearly. Time, or whatever it is that we collectively agree is this forward feeling momentum, seems to slow. So you (me) see the same things that you see everyday, but that your brain kinda knocks aside after a while. Things look new.

CP:  Are you typically playing music when you trip? Does the music slow down? Not literally. But do you process it differently? And, of course, I’m curious if you ever try to make music in this state?

SP:  I like making music that barely makes sense in whatever state I’m in at that time, so when I come back to it I’m even more confused. Like leaving yourself a drunk voicemail, but on purpose. I’m generally high—it’s just a matter of how. And to the last question: Do or do not, there is no try. 

PremRock:  I think [Small Professor's] work has benefited from discovering [hallucinogens]. He’s pretty passionate about ’em! I think it’s made him more expansive and he’s more eager to try far out ideas. He was always psychedelic in nature, but this just provided more of a conduit.

Zilla Rocca:  Even without shroomz he always had a bugged-out sense of melody, rhythm, and layered samples. Smalls has always been a seeker. We connect like that. We love unearthing old rap to learn from it while appreciating all the new styles.

When brothers start buggin’, I bug the most.

—Jungle Brothers, “Simple As That”

CP:  I’ve never fucked with psychedelics, so I generally have either a romantic or sensational notion of what it must be like. Have you ever had any experiences where things went really weird, or have you ritualized it enough so that you know what to expect? Like it’s become yoga or meditation for you by this point. 

SP:  Yeah, it’s pretty meditative. The first time I had acid was so surreal that nothing else could dream to compare.

CP:  When was that? Do you still remember the details?

SP:  Well, first of all, I couldn’t have started such a journey without such caring guides, for they did not have to take time from their lives to explain how much to take, how much not to, to be mindful of the kind of media you’re ingesting while in that space—like nothing too scary and shit like that. They specifically said, “Maybe watch a comedy tonight. Something on the lighter side of things.”

CP:  I’ve heard that’s important, having a guide.

SP:  So I believe I initially started off with the smallest amount I could take, cuz I didn’t know any better. But the effect was immediate. I remember going outside and just standing in an empty parking spot in front of my crib and watching it rain. It was night already. I was like, Wow, this is the best rain I’ve ever seen, and I’ve seen a lot of rain. And then I went out to get more tree. On my way home though, so…okay. How do I explain this? So, my Lyft driver on my way back to my house, he and I strike up a conversation. At the end of our talk, which included a phone call to someone of high stature in the 5% community who spoke to me directly, I embarked on the path to knowledge of self.

CP:  Like, sincerely? Or only until you stopped being high?

SP:  Well, I know now it started there. But I’ve always known that I am god, in some way. It’s just that, after you find out, what do you do with that knowledge of your own god-dom? That’s one thing I can appreciate about psychedelics. It’s like, Alright, well, if I know my brain is capable of such a thought or a piece of music in this one state, then I should be able to get back to it.

CP:  I get that. Like, “I’ve done this before, so I can surely do it again.” But, for so many artists, they struggle to capture whatever it is. I know a lot of times I’ll look back on something I’ve written and then ask myself, How did that even happen? Because the process—the making of something—is often so unconscious. 

Curly Castro:  Smalls calls me after the fact (bka “a trip”) and regales me with a cornucopia of odd and odder occurrences. I will say that one time [redacted] and that’s when [redacted] and what could say after [redacted]. I just told him, Say Less.

CP:  How long will this trip last? You took two tabs at 9 PM, and it’s been 4.5 hours.

SP:  Oh, I’ll be up for a while. Night hasn’t even begun.

CP:  I need to crash because I’ve got to be up early. But keep dropping whatever random thoughts you have here. We’ll call this Part 1.

SP:  Fantastic, Pt. 1

SP:  “God is never small.” Those are the words that man said, and my reply was, “...I am? I am. Ohhhh. I am.”

[Small Professor links me to a video showing Donald Lawrence & The Tri-City Singers performing “I Am God.”]

SP:  Also, I’m quite proud of the fact that my government name [Jamil], oddly Arabic considering how Christian my dear mother is, quite literally translates to “Beautiful Ruler,” with my first name actually meaning “god” in certain places (“Jamil” is one of Allah’s 99 aliases—I found that out earlier this year). My mom HATES THIS BOYEEEEE. She thought it just meant “handsome.”

SP:  Words mean things but don’t have to.

SP:  [Denmark Vessey & Scud One’s Cult Classic] (This is my official trip soundtrack.) “Throw bricks at him if you can’t build wit ’em, / Whoever marquee, top bill, I’ll Kill Bill ’em.”

SP:  It’s 8:23 AM. Still trippin’.

PART II

[December 24, 2023 | 9:15 AM] 

CP:  You awake? If so, talk to me about “Dettol.”

SP:  I feel like that beat was made along with a few others in that same span of time with Roc Marci in mind. Not only in terms of the drum un-emphasis but also being intentional about giving an MC room to operate, to breathe. On Midnight Marauders, both “Electric Relaxation” and “Lyrics To Go” are special beats because they operate within the parameters of 4/4 time but the bar lengths aren’t the typical 8. On “Dettol,” you have mostly 8-bar loops until it shifts to 12 for one measure, and then it starts over. (Not sure about my beat math there.) So the Armand Hammer guys had to each approach that in their own way. Couldn’t have drawn it up any better. “Numbers look crooked like King Kong shook it.”

CP:  (That’s your second Slum Village reference in this convo.) Paraffin was the first album I heard by them, so that beat would’ve been the third Armand Hammer song I heard overall. And that “giving them space” idea definitely benefited me—a guy who hadn’t been paying attention for years, specifically because lyrics weren’t grabbing me like they used to. 

The psychedelic experience is not just an internal, private affair. The “turned on” person realizes that he is not an isolated entity, a separate social ego, but rather one transient energy process hooked up with the energy dance around him.

—Timothy Leary, “You Are A God, Act Like One!”

CP:  How did you originally connect with woods and ELUCID? 

SP:  I may have been aware of ELUCID as early as 2005 by way of his Tanya Morgan/Lessondary/Okayplayer fam associations, but 2007 when he dropped Smash & Grab is when I instantly knew, Ah, this guy’s one of the best rappers ever. By 2009, that became, The best ever. That was the Myspace era, so we connected on there musically but also on some homie shit. We were working on a song of his in like 2011 or ’12 for the BIRD EAT SNAKE mixtape, “Dumb Out.” 

ELUCID:  BIRD EAT SNAKE is a whole lifetime ago. I had just met woods. I was also just beginning to develop the Cult Favorite record with AM Breakups. I was super charged creatively and was fortunate enough to have a lot of space to develop that. “Dumb Out” was such a strange beat that made my pen move immediately. Nothing overthought or drawn out. Just really chunky, vibed out, and punchy energy. I just began to acquire these attributes during the making of that tape. 

CP:  “Don’t eat the brown acid…”

SP:  Originally woods was supposed to be on there. I distinctly remember this being one of the first times I heard him because…okay. He recorded a verse on this beat and ELUCID sent his acapella but no reference to guide from. And I’m very good at matching up acapellas, so the fact that I could make no sense of his flow—where to place it in the mix—always stuck out to me. 

CP:  Is that why he didn’t end up on the song?

SP:  I don’t believe so. That would be funny if true, though. Because it feels like I have more music with those two than what tangibly exists. 

CP:  Also funny because, as their audience has grown—exponentially of late—the “discourse” returns to whether woods raps “on beat” or not.

SP:  Once I understood that the question of if he’s rapping on- or off-beat is the wrong one—when it should be, Why do I hear this as off-beat? How do I hear what he heard to deliver it that way?—that’s when it clicked for me.

CP:  Was “My Blank Verse” your first beat for them officially?

SP:  That was the very first song me and ELUCID made together. Don’t think it was for anything in particular, initially.

CP:  Got it. So it wasn’t approached as an Armand Hammer track, per se. Just ended up on an AH project. When did you connect with ELUCID in person?

SP:  I wanna say I met him in person at a show in Philly, at the Khyber. But the time I remember the most is when I was in Brooklyn with him (this actually might have been when we met up to record “My Blank Verse”), and he showed me the block where B.I.G. grew up. I like to imagine my power levels increasing on that day due to the residual holy hip-hop energy on the premises.

CP:  That’s dope. I’m surprised to hear you recorded the track in person. Both because so much is done remotely now—the producer and the MC separate—and also because ELUCID, I’ve read, is pretty private when it comes to recording. Maybe that came later, though.

SP:  Yes, that did come later to my knowledge. But also, I’m special. 

ELUCID:  This was the era when Willie Green’s studio was still in his apartment. I had just started recording with Backwoodz, and “My Blank Verse” was indeed recorded that afternoon. I usually don’t have people hanging in the studio while I record, but I think my comfort level with Jamil speaks to the ease I feel in our dealings.

SP:  I also remember going to meet ELUCID in New York specifically to get a flash drive that had he and woods’s verses for the Sean Price “Midnight Rounds” song they all should have been on together. His internet was down.

CP:  Why didn’t that track come to fruition?

SP:  woods’s hook was an interpolation of Apache’s “A Fight” (because, midnight rounds). The label was like, “Oh nah!” Word for word! Bar for bar! Sean P would have appreciated it.

CP:  Jersey’s own.

billy woods:  At that point in my “career,” I was kinda disappointed to get cut but not surprised. I guess I had a long history being snubbed regularly by peers and institutions in the indie music scene, so it just seemed like, Yeah, more of the same. I was pleasantly surprised to be invited, and unpleasantly unsurprised to be disinvited.

SP:  So, kept ELUCID’s verse and subbed in my man Castle, making this song the spiritual successor to a track I did on me and Guilty Simpson’s Highway Robbery, also featuring those two. Things fall apart, but they also come together. How they’re supposed to.

CP:  What’s the story behind “No Grand Agenda”? Also, where are we at in terms of the trip?

SP:  It’s slowing but at a light jog now. The beat for “No Grand Agenda” was originally part of an album I did made up entirely of exactly 1-minute long songs called You’re Killin’ Me Smalls. There were 60 songs. ELUCID was one of the only rappers I sent it to, specifically because it wasn’t “supposed” to be for raps. I had an ex who stomped out my computer and hard drives one day, including the original files for this project. All except for that one.

SP:  “Are we sure there’s no grand agenda?” And ELUCID took my stems and arranged it how he heard it. It was meant to loop in on itself, like the other songs on that project. It was originally named “Kelvin Spacey,” and I’m sure I’m misremembering but I wanna say “Dettol” was originally named “Kelvin Duckworth,” if only to verify Zilla Rocca’s guess that I was the producer in question that had sent woods a beat named after his favorite Portland Trailblazer.

CP:  So you’re saying, like any good friend, ELUCID jacked that beat?

SP:  Oh, I remember him asking to rap on it, perhaps for nothing in particular at the time. But who am I to deny the goat? And it’s obvious to me that this is how it was supposed to go; ain’t nothing coincidental or accidental, dunn.

ELUCID:  The making of “No Grand Agenda” was a cornerstone for a foundational era of style for me. I felt like I made a song that seamlessly weaved both verse and chorus in a way that felt absolutely hypnotic. It was a new belt for me, this sense of control. Small Pro was one of the first producers to trust me enough to send his beat stems. During this period is where I began producing more of my own music, so I also wanted to arrange the song how I heard it. Thankfully, Jamil dug it. 

CP:  What do you like about ELUCID’s rapping?

SP:  Some of it is the voice. Some of it is the things that he’s saying. But mostly, my favorite rappers all share this in common: they can get busy on any style of beat, any tempo, any sound, any Small Pro time puzzle. I was listening back to his older stuff a little while ago and heard him doing whole specific styles on one song, and never doing it again. The versace, versace flow, in particular. It felt like he was bored at the time and peered ahead three years to see how everyone was rapping, came back, did it, and that was that.

ELUCID:  [Working with Small Pro] is a special thing. Something that I’m still exploring. I think a Small Pro x ELUCID tape would be ill. Knowing his attention and care in the translation of my bars and flows is the type of partnership real MCs aspire to. It just hasn’t happened yet!

SP:  He and woods both have had a way of inspiring me through specific lines. “Go where the drummer commanded me,” for example. It’s me. I’m the drummer. And woods, a few songs before “Dettol” says, “Beg producers to take out the drums,” which he said was meant to be a joke, but I took it literally and started making beats that could exist with or without drums equally. 

All of my Backwoodz-related songs are credited as “Small Pro,” not “Small Professor.” I was on shrooms the week after my birthday earlier this year when I realized those are now different entities. Especially because woods was once like, “Wait, you did ‘No Grand Agenda’?” And I was like, “I did….I think? No, that was Small Pro.”

The last full project I—or I—did before moving back to Philly was a reimagining of A Jawn Supreme 1-3 from the Small Pro remix perspective. It was my—or my—first time remixing my own music, hearing things without the drums I put on them originally. It was an enlightening time. I hear voices at the fortress.

CP:  I think it’s rare for a producer to be so attentive to what the MCs are saying, let alone to look at what they’re saying as guideposts. The idea of a differentiation between “Small Pro” and “Small Professor” is interesting. Where does the Small Pro path ultimately lead? Into this larger Armand Hammer universe?

SP:  I feel like when I started out making beats my natural inclination has been to make things as busy as possible. Small Pro is like, What if I take away instead of adding? Or, How can I still have a million things going on in the track but it sounds bare or like, not done? “My girl say this beat sound unfinished, / I said, ‘Yeah, that’s where my voice go.’”

SP:  (Not sure when I passed out. I knew the crash was inevitable.)

[December 24, 2023 | 6:47 PM]

SP:  To your point about it leading to the AH-verse, that may be part of it too. They’ve both inspired me as rappers but also their production decisions and choices—ELUCID quite literally, as his production has always confounded me, but woods too. Two producers who have had just as much an influence on me as anybody I worshiped when first starting out are August Fanon and Messiah Musik—modern legends. Fanon can make beats for literally anyone. But Messiah’s natural style is one that both Hammers can sound great on from the get-go, whereas I have to consciously get myself into that mode. They also both sometimes do odd and potentially challenging things regarding time in their beats, as I do, but in their own way.

CP:  Do I remember seeing you mention somewhere that you still use Fruity Loops and Cool Edit?

SP:  Yup. I wanna say since 2008. Well, technically since 2003. But I’ve been using the same versions of those two programs for a minute now. Still using Windows XP, too. It’s comforting to me. And ridiculous. Like Rasheed Wallace faithfully wearing Air Force 1s his whole playing career.

CP:  I love that. Some real “if it ain’t broke don’t fix it” ethos. Any rules for yourself when it comes to sampling? Strictly vinyl or are you irreligious when it comes to source format?

SP:  98% of my beats are made from mp3s. The remaining fraction is YouTube or some other source. Haven’t used vinyl for sampling purposes in many years but ironically try to make my beats sound like vinyl. As far as rules, everything I thought was law were things I later learned the musicians I look(ed) up to sneered at. 

CP:  Ain’t that the truth. Very little is sacred when it comes to process, I find. That’s a lot of ego. What efforts do you make to have the beats “sound” like vinyl?

SP:  On “Dettol” is my go-to record crackle sample. That’s also in 98% of my beats, and something I specifically remember was like, corny or something, but—ah, here it is: Slum Village reference #3 to fulfill the rule—on “Hold Tight” Dilla uses a needle pop as a snare bolster as well as the accompanying static. It’s there for added depth and texture but also can act as a counter-rhythm to your percussion. Reality features an inherent level of static in the form of cosmic microwave background radiation around us at all times. Art imitates life.

[December 25th, 2023 | 11:41 AM]

CP:  “No Christmas this Christmas…”

CP:  I always like to think of the story—apocryphal or not—of Evil Dee using bacon grease hissing on the stove for extra crackle.

SP:  The turntable hum is freakable too. Makes for a great bass sound but also something you can feel.

CP:  Do you ever have acid trips accidentally interfere with other obligations? I imagine you’re always planning for a blocked out number of hours. But best laid plans…

SP:  There’s a recovery period the next day, so that can be interesting to navigate. But yeah, I usually am in my room avoiding external interactions on whatever kind of trip it is. In my experience with acid, you gain more control over your “self,” and shrooms is the opposite, where your sense of self and awareness is reduced. Go home, brain—you’re drunk.

CP:  The loss of control is something I just can’t handle. Have you ever found yourself in a situation on shrooms where you emerge later, like, “Damn, that was a bad look”?

SP:  Yeah. My first time taking an 8th to the face (I ate it on a burger) after getting to and past the point of looking in a mirror and not recognizing my face for a sec. I later came upstairs and my BM had made some, like, lasagna? And it was so good that I’m just there demolishing it over the stove—like I was Garfield. Her friend walked in the kitchen at that moment and I should have been mortified, but in that moment there was only delicious lasagna.

CP:  Real Gs move in silence like lasagna…

CP:  Listening to Terror Management on Xmas morning. Is “Marlow” your beat/song with the most synchronicity between you and the rapper?

SP:  It’s up there. That album is interesting to me because of the repeating motif of having two beats from different producers for one song—always thought that was cool. The intro on that beat had the spoken part added after the fact, so it did really feel like some good ole fashioned teamwork. 

CP:  And specifically the serendipity of you naming the beat for your late father, correct? I imagine an artist won’t typically name their song after the name of the beat. Was there a reason you named that beat, out of so many, after your father?

SP:  Originally it was a play off of the artist’s name I sampled (a lot of my song titles are born this way), but I can also say it makes me think of my father’s dark side. He was one of the happiest, generally cheerful people I’ve ever known, but I’ve seen him go into green belt mode when pushed too far—only a few times, but it was like, Oh snap. 

woods closed his set with “Marlow” at a Philly show last year shortly after my pops passed, and it’s one of the nicest gestures anyone has done for me. I was at the bar crying like a newborn fucking baby, god.

billy woods:  That was a special moment for me, too. I really love that song. Pro and I have not worked that much together, but a lot of what we have done is really dope. He has produced a handful of Armand Hammer songs but they all hit, in my opinion. But [“Marlow”] is a song I really love and has come in and out of my setlist, but always makes it back in. The fact that it happened at that moment, and that it had that extra meaning for him was an honor for me.

SP:  That album [Terror Management] as a whole has always intrigued me because of the repeating motif of two producers each having a beat on one track (this happens on some Armand Hammer albums too, now that I think about it, but it’s a different effect when it’s two MCs on each beat instead of one). 

CP:  Lots of doubles—the name, the sides of your father, “Small Pro” versus “Small Professor,” two beats, etc. Double-consciousness, perhaps. Not necessarily in a Du Bois sense; more so in the sense of realities. 

SP:  I’m all about man’s rugged duality.

CP:  Did you and your father connect over music?

SP:  Oh, absolutely. Our music rooms were down the hall from one another when I got started in college, and over the years he would start wandering in to hear what I was working on. Eventually, as he started transitioning into working in DAWs, he would ask for advice with things he knew I would be able to help with. He loved showing me whatever he was working on, and I knew he valued my opinion as one of the people responsible for a lot of my music edumacation in the first place. 

[December 26, 2023 | 12:26 AM]

CP:  Would you reciprocate and show him what you were working on? Did he look upon hip-hop favorably?

SP:  He was from probably the last generation that didn’t grow up with hip-hop, and by and large it was probably offensive to him on two fronts: as a pretty religious dude the language and subject matter was too much, and musically all he heard were the loops, repetition, and sounds he loved and recognized being used all over again in an inferior, simple way. (I found a lot of the samples from Mobb Deep’s second album amongst his tape collection.) But over the years, as he saw how seriously I took it—as well as being impressed as a person who played 7-8 instruments by what I was able to do with two computer programs and mp3s—he was able to appreciate it as an artform (at least, the production side) even if it wasn’t quite his thing. 

He’s also half the reason I’ve always been enamored with non-common time signatures, a key feature in a lot of the music he dug—that Weather Report, Yellowjackets, Return to Forever, Herbie Hancock, Steely Dan, late ’70s, early ’80s chamber. My mother was more into “traditional” jazz and classical. They shared gospel personally—and professionally—as working church musicians. On my first album, there’s a 5/4 beat that I remember excitedly showing him because it took me forever to get the chops lined up in an un-choppy fashion, and there’s a switch on there between drum pattern grooves much like what you would find on a jazz fusion-type song. I felt like if I could impress him, I must be doing something right. The last time we hung out before the cancer did him in, he was showing me how far he had gotten learning how to play drums, and I got on the sticks and tried to replay the patterns on some of my beats (emphasis on tried). The “trouble don’t last” jawn, in particular, to which he responded by telling me I was already a drummer. Memories live. 

The times I saw his email pop up in my Bandcamp purchase notifications, I figured it was just a proud dad supporting his firstborn…nah, he was actually listening. His favorite project was the album I did along with my group Them That Do, which was my version of Madlib’s Shades of Blue on the beat tip. Besides digging the actual sound (updated jazz rap), I think he was most taken by the fact that he couldn’t quite tell what was sampled from where and that I had made all these sound from sometimes vastly different records seem like they were supposed to be together, and the beats made sense from the perspective of a person who understood music theory.

CP:  “I said, Well Daddy, don’t you know that things go in cycles.” Beautiful that you guys got to share those moments.

SP:  (I even said the part about two beats on Terror Management twice.)

SP:  My brother (the actual drummer of the family) just sent me “Spain” by Chick Corea, one of our dad’s favorites. Speaking of my brother—who I credit with teaching me how to program drums and how to count bars and all that—one time we were on our way to church with my dad, and Steely Dan’s “Black Cow” was on. Pops started to try to explain the lyrics, what a “black cow” was, why they were very high…all that. 

So a few years back I was proud to send [my father] “Gas Drawls” from Operation Doomsday because this story has always cracked me up, but also that’s a great-ass sample chop (and one that he appreciated, as opposed to the time my broski and I were buggin’ out over the beat for Jay-Z’s “Kingdom Come” and he was like, Is nobody doing anything original anymore?). 

[December 28, 2023 | 12:56 AM]

CP:  You should’ve sent him Lord Tariq and Peter Gunz after “Gas Drawls” and been like, “See.” As a drummer, does your brother fall more in line with your musical tastes or your father’s? 

SP:  I’d definitely say my brother has a much more diverse and varied musical vocabulary/understanding/tastes than I. We both grew up hearing, and then eventually listening, to rap. Twenty-three to twenty-four years ago when the neo-soul era was beginning, we were smack-dab in the middle of it, in the literal eye of the storm. Things Fall Apart, Like Water For Chocolate, Black on Both Sides, Reflection Eternal were just coming out. Musiq Soulchild was on the radio. Voodoo (which I didn’t get into until much later when I listened to it riding through Zanesville, Ohio countryside in 2007 [it’s still “Brown Sugar” over everything, though]) was everywhere. But there was also his actual school music education from primary to college, as well as listening to people from all instinctive travels and paths of rhythm, so he knows it all—or because he’d be like, “Shiiii, no I don’t!—a bit about a bit.”

I keep saying “my brother” when I have two. My younger bro is the drummer but my older brother’s tape collection was everything in high school (actually, even before that I was stealing his It Was Written tape when I was in seventh grade to play on the way to school). Being eleven years older, he was in high school when the great 90s east coast revolution was happening, and his Nike shoebox archives reflected the sounds of the time. As far as his tastes go, if DMX was still with us and dropped an album today, he’d get it without a second thought.

[December 28, 2023 | 11:10 PM]

CP:  Sorry to trail off. Got a bit busy on my side. Would you be down to hit me with a handful of your most interesting beat names at the moment?

CP:  This is art.

SP:  The “Will Smith as…” series is new. They all slap.

[Small Professor posts a since-deleted message on X quoting Werner Herzog talking about stealing a 35mm camera from a Munich film school. The quote: “I don’t consider it theft. It was just a necessity. I had some sort of natural right to this tool. If you need air to breathe, and you are locked in a room, you have to take a chisel and hammer and break down a wall. It is your absolute right.”]

CP:  I love this. “A natural right” to make something. Like a compulsion within. (I also love Herzog, so I appreciate the anecdote.) Do you remember where you first acquired that cracked Fruity Loops (and maybe Cool Edit, too)? If I think back, I probably had a friend hand me a disk, a CD-RW, back in like 1999 or something. God knows what sketchy site he downloaded them from.

SP:  In college when I first started doing beats, I torrented everything—movies, programs, especially music—with nary a second thought. It’s a good way to give your computer a bad cold, which I did on several occasions. And I too appreciate Herzog because I love no myth more than my own as well.

CP:  Have you got any myths on par with rescuing celebrities from wrecked cars or nonchalantly brushing off bullets to your abdomen?

SP:  No, but I can say I did albums with both Sean Price and MC Paul Barman.

CP:  Indisputable. I think this is an appropriate spot to (un)officially close this. Anything else you want to talk about?

SP:  Gotta give a shout-out to the Jungle Brothers for making Crazy Wisdom Masters in 1991. PremRock told me legend was that they made it on shrooms and when I listened to it on acid I was like, Oh, yeah, y’all were high as fuck when this was made. I could tell not only because the music itself is bugged out but even the pace of the record is accelerated. They had some songs on there that were a minute-and-thirty-seconds but so much was going on , sometimes different things in either stereo channel that it gives off the effect of being on a trip and you’re noticing—for what feels like the first time again—that everything is happening everywhere at once.

Listen to Crazy Wisdom Masters when you get a chance. It’s a personal classic that I’ve listened to at least fourteen times this month. Warner Brothers did them dirty (this was their M.O. apparently—this was the same time period they were beefing with Prince) by delaying the entire record two years and having them clean up the tracks, and disrupting the carefully curated listening experience by taking tracks away and rearranging the entire thing. J Beez wit the Remedy, the resulting hodgepodge, would drop on my birthday in 1993, and when I first heard it, I was like, Hmm, something’s awry here, and that’s how I found out about Crazy Wisdom Masters. 

CP:  I think I downloaded it or thought about downloading it recently when people started talking about it again. Is there a “definitive” version to look for? I know Bill Laswell had uploaded a version to his Bandcamp page a while back. 

SP:  That’s a good question. The version I found that concludes with “For the Headz At Company Z” is the album as the god(s) intended.

Just as Small Pro is distinguished from “Small Professor”, “Crazy Wisdom Masters” is a distinct personality from “Jungle Brothers.” Small Pro is a definitive, lost Laswell version—a ra ra kid who catches wreck with randomness. He doesn’t channel, but grooves, as the most psychoactive Afrika Baby Bam and Mike G doppelgänger. We end up doubled-over; “dope-sick,” if you will. You sleep on it, then you wake up in the morning and dwells on it, as Small Pro casts his spells on it. (It’s as Simple As That.) SP’s Comin’ Through, and when he does, multiple realities accelerate as he explores radical possibilities. He’s chewing on the chemicals and raising up the levels on the decibels. We—his audience of lab assistants, his dilated pupils [and peoples]—“experience the ultimate, the infinite.”

Images:

Most images are from the Vol. 1, No. 10 October issue of the San Francisco Oracle or unknown issues of the Chicago Seed | Small Professor “Sith Lord” photo courtesy of Matthew Shaver for WXPN | The Grateful Dead tapers section photo, Unknown | Screenshots by Small Professor | Apache tape photo by Caltrops Press | Gilbert Shelton, “The Fabulous Furry Freak Brothers,” East Village Other (detail) | “Deadhead” poem by Joseph Rathgeber