Rapper/Filmmaker

I've been thinking a lot about the supposed personalities of famous people and their production as artists...so I made this...where I show how a rapper is analogous to a filmmaker.

Nas/ Stanley Kubrick:

They’re both known for their genius and for creating masterpieces. Illmatic is considered by most hip hp enthusiasts to be the greatest rap album of all time. At the same time, many films Kubrick directed are considered to be some of the greatest films ever made...let's say 2001: A Space Odyssey perhaps.

The opening track to Illmatic called "The Genesis" (1 minute 45 seconds) has a similar effect that the opening credit sequence of 2001 has (1 minute 45 seconds). They both set the mood, tone, and themes for the rest of the work.

The track “The World is Yours” from Illmatic contains the phrase, “I'm out for dead presidents to represent me.” This would later be sampled on Jay Z’s first album Reasonable Doubt for the track “Dead Presidents (I/II). 

Just as Jay borrowed this line for the track, Lucas was able to create Star Wars, and all it’s special effects, in part because of the advances Kubrick paved for him.

Jay Z/ George Lucas:

The wealth that both men have accumulated from their works is incredible...untouchable. They are widely admired for their success and work...be it The Black Album or Star Wars. In a sense I think Jay owes Nas and Lucas owes Kubrick. They were able to take their predecessors genius gold and turn it into an unheard of profitable platinum.

Kendrick Lamar/ Paul Thomas Anderson: 

They're both new guys bringing back the wonder of old school and possibly outdoing it. PTA brings the epicness of Kubrick's films and has the handle of big casts like Altman. Kendrick brings us something with Good Kid, Maad City we haven't really seen since Illmatic. And some may argue he surpassed that. 

Tupac/ Steven Spielberg:

When I think King Of Hollywood I think Spielberg. When I think King of The West Coast I think Tupac. Many people consider each of them to be the greatest of all time.

Biggie/ Martin Scorsese:

Both are the King’s of New York in my mind. They bring us to the gritty streets of their city through their art.

Kanye West/ Quentin Tarantino:

Kanye started a producer who wanted to rap, and Tarantino started a writer who wanted to direct. They are both outlandish, outspoken characters that openly promote their ego. The way Kanye samples music, Tarantino samples movies. People are always like, "I like old Kanye/Tarantino." better when referring to Kanye's first album College Dropout or Tarantino's first movie Reservoir Dogs. But in reality they’re both just as good now, just different than they were. Kanye is trying to change what hip-hop can be, while Tarantino is trying to challenge what a B-Movie can be...and they always do well with the awards season. 

Outkast/ Coen Bros: 

Both brothers with a unique voice that started indie and took over the mainstream game.

Public Enemy/ Spike Lee:

Have you seen Do the Right Thing?? Spike Lee is all about "Fight the Power" in song form and real life actions.

Tyler the Creator/ Harmony Korine: 

Alright so Mac Miller made a whole mixtape about Harmony’s movie where a boy knowingly spreads AIDS in his community, but in real life I think Tyler would be the only actual hooligan who would fool around like this. I don’t mean to say he’d give people AIDS, but he sure does talk about killing people a lot in his raps. Their works are on edge and crazy and sometimes full of hate.

Common/ Orson Wells:

This was tough, but I’m gonna stick with it. Citizen Kane was Wells first film. Resurrection  was Common’s second album. On this album the track “I Used to Love H.E.R.” is featured. Both men created what many consider to be the greatest movie and rap song of all time...at the beginning of their careers. 

Both pieces of art are and were heavily influential in their field.

Plus they focus heavily on nostalgia...the trick is both men aren't nostalgic about women like we thought.

I won't ruin it, but this is how they open...

"Rosebud." (Wells) 

and 

"I met this girl, when I was ten years old. And what I loved most she had so much soul. She was old school, when I was just a shorty. Never knew throughout my life she would be there for me." (Common).

I won't spoil anymore.

Wu Tang Clan, but specifically RZA/ Akira Kurosawa:

Do I really need to explain this one? Seven Samurai is generally accepted to be one of the greatest movies of all time, and RZA has produced some of the greatest beats and music of all time. And they both love Eastern ways of fighting...Samurai, martial arts, kung fu...you get it. Not to mention RZA scored Kill Bill and directed The Man with the Iron Fists...a kung fu movie...or martial arts...whatever same thing. 

Das Racist/ Jim Abrahams, Jerry Zucker, David Zucker:

Those three guys I listed directed Airplane!. Das Racist is composed a three guys..well was...two rappers, one hype man...point is both these groups are the Kings of Parody.

Jay Electronica/ Terrance Malik:

Terry came out with Badlands and then Days of Heaven and then it took another 20 years before he released anything else. Jay Electronica dropped a huge bomb with Exhibit C...so much hype that even after a few years of practically releasing nothing, hip hop fans still adore him. So why are they together? For dropping amazing pieces of work and then vanishing.

Drake/ James Cameron: 

Drake transformed from a character in a wheelchair to the man he is today.

In James Cameron’s Avatar Sam Worthington’s character transforms from a man in a wheelchair to a blue Avatar thing.

I’m not saying Drake’s act is an act and he’s still that boy in the wheelchair hiding in his new body...Yes I am...sort of.

Nonetheless both have mad respect for their work and and have garnered huge mainstream and financial success.

I’ve heard some say Drake’s flow is revolutionary, just as Cameron’s special effects are.

And Drake makes songs for women just as Cameron does with his movies. (“Best I Ever Had” and Titanic for the ladies...Terminator for men...not that gender roles always are and have to be this way. I’m just trying to make a point.)

J. Cole/ David Gordon Green:

Both insist on being real...being really, really real. But at the same time they sometimes take a big turn and produce something less real like J. Cole’s Track “Workout Plan” and Green’s films such as The Sitter, Your Highness, and Pineapple Express. I like it when they’re real, but at the same time I really enjoy (besides Your Highness and The Sitter) when they’re just having fun.

J. Cole has expressed his admiration for Nas just as Green has expressed admiration for Kubrick and Terrance Malik...that doesn’t mean Cole admires Jay Electronica...maybe he does, maybe he doesn’t.

Macklemore and Ryan Lewis/ Ben Zeitlin:

This past year they both blew up to the front from small indie productions. Both Beasts of the Southern Wild and The Heist produce an enjoyable, well made experience that conveys messages for social and even political reform. 

Big L/ Alfred Hitchcock:

Bearers of greatness. I read that Big L started horrorcore rap with “Devil’s Son” and Hitchcock revolutionized thrillers and horror genres with Psycho.

(Honestly, I don’t know much about Big L, but I know enough to know I should mention him.)

Lil Wayne/ Michael Bay:

Both have taken in immense amounts of money. You hear everyone complain about their work, but they make that immense amount of money. There’s 4 Transformer’s  so far just as there are 4 Tha Carter’s so far...even though many people seem to not like any of them. They both like crude jokes.

N.W.A, but more specifically Dr. Dre/ Francis Ford Coppola:

I know Ice-T might be Gangsta rap, but to me Gangsta rap is NWA and even more so Dr. Dre. And nothing (besides Goodfellas) spells gangster to me more than The Godfather. Francis and Dre started producing and rapping gold. As of recently they’re both still producing things, but they definitely both fell off. What happened to Detox anyway? Did anyone even see Twixt? If so, was it any good?

Aesop Rock/ David Lynch:

This was definitely tough for me to decide. I considered Tech N9ne, and Hopsin, but ultimately it had to be Aesop. His lyrics are so complex and abstract, but definitely carry a meaning to them...just listen to “Daylight”. His stuff seems nonsensical, but it definitely isn’t. I feel the same way about Lynch’s films. They are complex, abstract, seem nonsensical, but are ultimately filled with so much.

Lupe Fiasco/ Oliver Stone:

Both are very political...usually radically...and are always very open about their views. They're both Libertarians. Lupe expresses his political views in songs like “Words I Never Said”, and there’s not a single Stone film that doesn’t express his views. Even with all the politics they both have solid mainstream careers. It must be said that I like Lupe more though.

Chiddy Bang/Wes Anderson:

Both are the most mainstream, but simultaneously very indie acts I can think of. They’re both very colorful...just look at Chiddy’s album covers or all of Anderson’s movies. Chiddy’s music banks on samples of indie songs while Anderson’s movies bank on use of classic Brit (indie-ish) rock.

Eminem/ Woody Allen:

Both put their true, honest selves and emotions into their work. And they both love their daughters...a lot.

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Close considerations:

Mos Def/ Spike Lee:

If Spike Lee was gonna rap a rap song it would be “Mathematics”. Both are ultra political and socially conscious. Mos Def sampled Malcolm X in his "Supermagic" from The Ecstatic and Spike Lee made a movie about the man.

Big L/ Billy Wilder:

Both had some of the greatest metaphors and similes in what they wrote, but rarely get the full appreciation they deserve.

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If I had readers, I'd say post your own analogies or challenge mine...but I have none.

I'll be expanding this list soon.