Archive for August, 2009


Malik’s Honesty Box

If you’re on Facebook, you’ve probably come across ‘the Honesty Box’.  Essentially it’s a little app where you post a question and people can respond to you (anonymously if they so choose).  Depending on who’s asking the questions, it can get…very…interesting.

Anyway now that Limitless is done, I feel I’ve addressed all the different areas in my life to some degree: religion, Hollywood, the Fellas, the ladies, Kansas, USC, etc. But for my regular readers (and you know who you are, and I’m pretty sure I know who you are), there still may be something I didn’t cover that interests you.

Well since I still have a couple weeks before I start ‘fasting my sins away’, now’s the time.  Drop me a comment here, Tweet me, email me, hit me up wherever suits you.  If you know me you know I protect mine, but if you don’t care about me posting your name (if I choose your question) then say so.  I only plan on picking one question that interests me, but if I get a few questions that push my buttons, I’ll go ahead and play ‘drunk Malik’ again and put more of my laundry in the street.  This definitely won’t be a regular blog feature, so speak now or forever hold your piece.

Later…

bhcop

Originally written for Sylvester Stallone (who would take parts of the original idea to make Cobra), Beverly Hills Cop is universally agreed to be the film that made Eddie Murphy a movie star.  Don’t need much more for the intro, on to the tale of the tape…

Relevance:  In terms of African-American ‘movie stars’ (which I’ll define as people who you can put the name on the top of the marquee and people will show up regardless of the film), that list is still pretty short more than 20 years later.  Denzel.  Will.  I’d argue those may be the only two who can do anything and everybody will show up.  And both of those brothers came along after Eddie Murphy.  Easy to forget now.

Legacy:  Essentially, every one of his starring vehicles after this, as well as every movie starring Chris Rock or Martin Lawrence to name two.  And those are just headliners.  Let’s not forgot about the Mike Epps’ and Bernie Macs who also benefitted. (As a sidenote, I know ALL these guys were inspired by Richard Pryor, but I would argue Rich’s legacy will always be as a stand up comedian who did a few movies.  Eddie was a FANTASTIC stand up comedian who completely stopped doing it once he became a movie star.)

Craft:  All reports indicate that this was one of those films where the script was just kind of ‘there’, and a lot of the best scenes and jokes were improvised by Eddie and the cast.  So does that make it better or worse from a craft point of view?  I could see either side…

Crossover:  Oh yeah…that’s why it’s ranked so high.  The highest grossing film of the year (narrowly beating out Ghostbusters I believe, you fact-checkers are welcome to correct me if I’m wrong on that point.)  It seems silly now, but in the 80s there were ‘three black celebrities’: Eddie, Michael, and Prince.  This film went a long way to putting Eddie in that company.

Apollo:  

The countdown continues later this month…

 

the_arsenio_hall_show

With all due respect to Johnny Carson (who in my opinion has no peer), it was The Arsenio Hall Show that really brought cool back to late night.  Running in the mid 90s, the late night show became the stop for many musicians and speakers who had NO chance to appear on The Tonight Show or Late Night. 

On to the tale of the tape…

Relevance:  On a national level, Arsenio Hall was only known for one thing really: being Eddie Murphy’s sidekick in Coming to America.  But he was a decent comedian on his own right, which he got to show off every night in his monologues.  Did he ever have leading man ambitions?  Things that make you go hmm…

Legacy:  With all due respect to the Magic Hour, there hasn’t been a talk show since that catered so directly to the urban, hip hop audience.  As popular as hip hop has become in the mainstream, I still question if a show like this would be as marketable today.  It’s definitely part of this show’s legacy that the Roots can back Jimmy Fallon, and any mainstream rapper/actor can get onto the Tonight Show now.

Craft:  A talk show has something of an unfair disadvantage in this category.  But if this show was before your time, here’s a good example of the type of show it was.  Jean Claude Van Damme was promoting one of his movies, and Arsenio said “That’s great, let’s go to the clip.”  And they cut to the scene where Dolemite roundhouse kicks the two cops trying to arrest him.  Poor Jean-Claude was lost, but Arsenio (and everybody at home) fell out laughing…

Crossover:  Oh yeah.  At his peak, Arsenio dabbled in rapping (Chunky A), by all accounts he had Paula Abdul at her peak.  He was the Man for a good few years.  His show was so cool, a young Southern governor running for President sat in with the band right now to play sax.  That one PR move didn’t win the election, but it sure as hell didn’t hurt making him look cool to both young people AND black people.

Apollo:  Can’t pick one event here.  The nature of the show was pretty loose.  A lot is made of how Arsenio had Farrahkhan on his show, then a few months later the show was cancelled.  (It’s true, look it up).  I can pick out certain things (Shaq rapping with the Fu-Schnikens, the Dogg Pound and whatever caption they got that night), but the whole concept of a young black comedian hosting a talk show on one of the major networks is pretty ‘Apollo-ish’ to me.  Just my opinion as always.

 

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