![]() ![]() The video featured Coolio being interrogated by Pfeiffer’s character LouAnne Johnson in the dark ransacked room of a tenement building, punctuated by scenes from the movie.Ĭoolio told Rolling Stone in 2015 he initially questioned Fuqua’s concept for the video, citing how different it was from what he had first imagined. Bruckheimer gave Fuqua her number, Pfeiffer accepted the offer, and the rest is history. Fuqua asked if he could get the star of Dangerous Minds, Michelle Pfeiffer, to appear in his video alongside Coolio. “When I spoke to Bruckheimer, I wanted to move into movies,” Fuqua told the hip-hop news site SOHH in 2010. After making a name for himself directing videos for the likes of Stevie Wonder and Prince, Fuqua got his shot at breaking into Hollywood when Jerry Bruckheimer offered him the opportunity to direct a music video for Coolio’s single “Gangsta’s Paradise,” which was intended to promote the Bruckheimer-produced Dangerous Minds. ![]() But back in 1995, Fuqua was just a 30-year-old up-and-comer from Pittsburgh who loved Akira Kurosawa and Caravaggio. In 2023, Antoine Fuqua’s name is synonymous with big-budget action thrillers, an artist known for his work on such movies as 2001’s Training Day and more recently the 2022 historical action drama Emancipation starring Will Smith. Known for: Training Day (2001), The Equalizer (2014), The Magnificent Seven (2016) Now that we’ve got the preliminaries out of the way, let’s get down to it! With that said, for this particular piece, we’re limiting the scope of our selections to (A) music videos featuring a song that falls approximately within the genre of hip-hop and (B) videos created by directors who at one point in their career have produced a work equivalent to that of a feature-length film (longer than 40 minutes). There are countless visual practitioners and music video directors whose work merits long-overdue recognition and appraisal. ![]() There are countless music video directors who have gone on to direct feature films, and vice versa including the likes of Michel Gondry, Ridley Scott, David Lynch, Mary Lambert, Paul Thomas Anderson, and Jonathan Glazer, each of whom have created videos for artists such as The White Stripes, Roxy Music, Nine Inch Nails, Madonna, Radiohead, and Jamiroquai, respectively. By extension, the history of hip-hop as a genre is as inextricably bound to the advent of commercial music videos as it is to the long-standing legacy of film itself. Arguably no other genre of music has been more thoroughly defined by music videos than hip-hop, a genre whose mass cultural breakthrough in the late ’70s runs parallel to the ascendant popularity of music videos as a mode of both commercial promotion and artistic expression.įor as long as there have been music videos, there have been music video directors. And Mobb Deep’s Prodigy delivers on the threat with his astonishing first verse: “Rock you in your face, stab your brain with your nose bone…” It’s the kind of thing that should get you locked up for life.As far back as the earliest music short films in the early 1900s to the mass broadcast premiere of “Video Killed the Radio Star” on MTV in 1981, the format of music video has left an indelible mark on the shape of popular culture for over a century. It’s the sound of a looming threat that could exist in any era. ![]() II” so timeless is that it’s also somewhat generic. II,” Mobb Deep’s Havoc combined three equally mercurial jazz samples: Herbie Hancock’s “Jessica,” “Daly-Wilson Big Band’s “Dirty Feet” and Quincy Jones “Kitty With The Bent Frame.” The songs are so obscure (at least to hip hop fans), their presence in the track remained somewhat of a mystery for a decade and a half. II.” That slow drum beat and those sirens seemingly ripped out of a horror film. There’s something immediately terrifying about “Shook Ones, Pt. ![]()
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