Hank Hyena
Jails, Hospitals & Hip-Hop And Some People
Hank Hyena reviews 'Jails, Hospitals & Hip-Hop and Some People' by Danny Hoch
Stage-to-page efforts are often anemic; when the oral blood and physical meat of the actor is excised, the skeletal text leaves us hungry. Karen Finley’s pathos, for example, and Eric Bogosian’s menace are both drastically reduced when the words are stripped of inflection, timing and image. Monologues require a careful recipe of spicy ideas, poetic flavoring and emotional marrow to leap successfully from the boards to the book. Is any contemporary solo performer gifted enough for this task? Yes! Or, to affirm more exuberantly in the author’s patois: Word up, man! Yo! No doubt!
Danny Hoch’s “Jails, Hospitals & Hip-Hop and Some People” is a mad wild infectious pleasure. The Brooklyn boy wonder’s two critically acclaimed and internationally toured solo shows are fully alive here — as one of his characters puts it, “type lovely, enlightened, and powerful.” In his introduction, Hoch proclaims, “Hip-Hop is the future of language … It crosses all lines of color, race, economics, nationality, and gender.” This sounds linguistically pretentious, but the 28-year-old street kid who taught conflict resolution in New York City jails “represents” his assertion magnificently in his characterization of 21 complex and conflicted New Yorkers. Several vignettes are wrenchingly sad: Flirtatious Victor believes he’s a great dancer because he’s Puerto Rican, even though a policeman’s bullet has paralyzed him for life. Living-with-AIDS Andy strives to keep his optimism and immune system healthy, but the jail food’s laced with Percodan. Pervasive even here, though, is a warm humanitarian humor — a populist’s vision that we’re all linked by similar desires for meaningful work, friendship and love.
Hoch’s quest to “portray the reality of multi-cultural America” — a challenge he believes mainstream media has responded to with gross stereotypes — is bravely addressed in the lone autobiographical sketch, “Danny’s Trip to L.A.” When he’s offered a part on Jerry Seinfeld’s hit sitcom, Danny agrees — but he stubbornly refuses to play the locker room attendant role with a Spanish accent. “I looked at my fucked-up sneakers, and my fucked-up sneaker said, ‘Always listen to your instinct, kid.’” Danny ditches the plum opportunity because his instinct won’t disrespect the nonwhite friends that his street sneakers symbolize.
Even the most despicable portraits in “Jails” are etched with empathy. Brutal corrections officer Sam is revealed as a pitiful victim of the prison complex that economically superseded his family’s apple farm, forcing him into an occupation he loathes. The bitterness of African-American Flex has similar roots — the only employment he can find is constructing a new jail, “seven hundred cells we gonna build in that shit … We gonna lock niggas’ heads up all day in that motherfucker.”
The sweetest gift in “Jails,” though, is the joyousness of hip-hop’s idiom and attitude. Somber English gets injected with dance rhythms and a streetwise point of view, especially in the rapper sketches like the sidesplitting “Emcee Enuff.” Observations here, like “Once you taste a fresh tuna sashimi melt in your mouth, you don’t want to go to jail,” poignantly enclose both the ambition and the fear of the urban American underclass. Hoch’s book is fresh and fly — both as literature and as social observation. I ain’t playing. It’s all good. I hope he makes mad loot wid the shit.
Word up
Two new films, 'Slamnation' and 'Slam,' celebrate -- and exaggerate -- the power of spoken word"
Recent cinema has extolled the power of poetry with varying degrees of subtlety : An impassioned postman uses Pablo Neruda’s lyrical aid to court a village sweetheart in “Il Postino”; in “Bulworth,” an insomniac senator raps out his radical agenda. In both cases, poetry succeeds because it exists in realms (love and revolution) the viewer can accept.
But in its depiction of an incarcerated African-American street poet, Marc Levin’s “Slam” is less restrained. The screenplay (written by Levin, producer Richard Stratton and actors Saul Williams, Sonja Sohn and Bonz Malone) overemploys and glorifies verse to the detriment of the plot’s credibility.
Continue Reading CloseHow Europe changed my life
How Europe changed my life: A summer odyssey affects a young Republican in the most unexpected way.
“Seven hundred dollars each for two months in Europe,” announced my roommate, Steven. He squinted through his tiny John Lennon glasses at the sequence of numbers. “$280 for round-trip air to London, $120 for the Eurail pass and 60 days at $5/day. Total: $700.”
“Groovy!” smiled Alex, our long-haired best friend. “I got the bread! Mon cheres, here I come!”
A week earlier, the three of us — tight chums bonded by girls, games and hallucinogens — had a simultaneous vision that depicted us traveling together in Europe. Glorious adventures glowed in our imagination.
Continue Reading CloseEscaping college poverty
If this campus parasite can make money and get laid, you can too.
Are you eating Kraft’s Macaroni and Cheese (75 cents) for dinner every
night? Reading all your homework in the campus bookstore, because you
can’t afford to buy the books? Sneaking out of Kinko’s without paying for
your copies?
If you answered yes to these questions, you’re a pitifully poor
starving scholar, like I was, haggard with hunger in the halls of
knowledge. If you’re wondering what “War and Peace” would taste like
baked and lightly salted, or boiled with a bouillon cube, you’ve descended
to the same dismal depths.
foreskin or against it?
Is circumcision the unkindest cut of all?
“you need a flesh-cap,” I snickered, “because winters are
frightfully cold in Helsinki.”
My Finnish friend Paavo and I tease each other incessantly about
cultural differences. A primary source of amusement is our differing
penises: I am circumcised, while he carries a foreskin.
Chuckling softly, he mused: “You’re absolutely not jealous?”
I replied, “No! Why should I be?”
Paavo shook his head. “If I was not whole, I would be angry extremely.”
Continue Reading ClosePage 15 of 15 in Hank Hyena