Afrika Shox - Leftfield with Afrika Bambaataa:The music video was directed by Chris Cunningham, in 1999.

"Afrika Shox” by Leftfield, the first single released from their album Rhythm and Stealth. The song featured vocals by Afrika Bambaataa.

Goodwin’s Theory; 6 Aspects:1) What is the relationship between lyrics and visuals?2) What is the relationship between music and visuals?

3) Are there close-ups of the artist and star image motifs? 4) Is there a reference to the notion of looking?

5) Are there inter-textual references?6) Is the music video performance based, narrative-based or concept based?

Genre: Electronic, Dance, Garage, Underground.

Genre Origins: In the early 20th century, the most basic beginning structures of electronic dance music emerge in Europe, labelled as ‘noise music.’ Evolving in the West by the 1990s, in the U.S. during the late 1990s the genre achieved limited popular exposure and developed as an underground subculture which became mainstream. Electronic Dance Music was adopted by the U.S. music industry to describe

the increase in commercialisation of the American electronic music scene.

Genre Characteristics: Synthesised, generating sounds electronically. Vocoder; speech processor making the human voice have a robotic effect. Other sounds sampled into the music, looping the

audio. Several instruments and voices mixing, some reverb remixing the audio.

Characteristics of the Music Video: Using an electronic voice over the remixing, robotic reverb effect. Other sounds sampled with the audio.

What is the relationship between Lyrics and Visuals?Right at the start of the track, the name “Afrika Bambaataa” who features on the track is illustrated with

a traffic warden speaking into his walkie-talkie. It feels like it’s a summoning for the music to kick-in, waiting for the featured artist to really get into the music.

The traffic warden talking directly into the microphone; possibly reflecting how this track isn’t intended to be accepted in the mainstream, and will be an underground record, due to the political statement and

message being presented.

As the stumbling protagonist’s hands touch the barbed wire fence the lyrics

When ‘Afrika’ is called, referencing the featured artist, the main male character looking up to the voice. Seemingly confirming that he has African heritage and responds to the name, this may also reflect how

he’s dehumanised and is defined by his origins and identified by racial factors.

As the homeless man falls in the road, he rises in time with the lyrics: “Are you ready for the new age? They are setting the stage” The band and director may have chosen to do so in order to reflect an uprising, a revolution towards equality, no longer allowing oppression and inequality Instead standing up and facing

discrimination; specifically racism, identified in the video.

“let’s get electrified” can be heard; this amplifies the lyrics but also adds meaning. With the fence looking like a U.S. prison, it may be presenting how this man is trapped by their society, he can’t escape. Also,

reinforcing the genre of electronic music, being referenced with the electricity of the fence.

“The world is on fire, can I take you higher?The world is on fire.

Zulu Nation.Ha ha ha future, ha ha

ha future.”

Those lyrics used when seeing the Empire State Building through fencing reflects the segregation between class and race in the U.S. A sense of

naivety and optimism is laughed at, laughing at the possibility of a ‘future’ when the song-writers may feel like the prejudice is spread through the

country.

The lyrics: “Z.U.L.U that's the way we say Zulu. Zulu Nation, cities of angels” Highlight how their culture is precious to them, the chanting style of speaking this reinforcing

the communities connection. The Zulu people are an ethnic group from Southern Africa, the song specifically mentioning them, can be described as the ‘Zulu Kingdom

or Empire.’ The lyrics of this powerful community contradicted visually by the staggering homeless man, seemingly lost and broken; illustrated by his shattering arm.

What is the relationship between Music and Visuals?From the beginning of the music video, the genre is established through mise-en-scene. The police

car with flashing, strobe lights, connoting the dance music and clubs. The visual flashing lights reflecting the genre of garage, underground music. Reflecting the dance-like scenario you’d

associate the genre with.

Also, the idea of this being underground music is represented literally with the camera moving below ground when approaching the male. Illustrating the music through visuals in the video.

The unmoving, unnatural shapes which appear mechanical, modern and dystopian.New York appearing manufactured, the location reflecting where electronic dance music grew

into the mainstream music industry to be recognised as a popular genre.

The music video is cut to the beat, edited to fit with the music. This can be seen clearly in the breakdancing scene, where the actors moves are in sync with the music, complimenting

audio with visuals to compliment each-other. The low-angles of the men, showing their power over him, dancing in time with the music. The beat of the music commands the edit

and controls when there is a cut to another action or scene. Allowing movements to be illustrated also by the music.

The solo instrumental pieces in the video are illustrated by him walking in time to the music, the beat of the instrumental sounds used help illustrate movement in the video. The beat commanding the edit for cuts. Additionally, actions of loosing his foot being in time with the music. The use of movement being in time with the music creates the idea of the man being overwhelmed and surrounded by this overground world, unsure of what to do, desperate and searching, the increased pace adding tension.

The pace of the music grows as the song continues; more layers of sound added to the beat as it continues, the music video develops alongside, complimenting the track. The pace of the track increases in some places, the amount of noise increasing in some busy street scenes reflecting

the chaos and business of New York, the man getting taken along with the stream of quick walkers. But in addition, the chaotic and unorganised atmosphere may link to the club-like

atmosphere of the associated scene for electronic music.The repetitive beat, a common aspect of dance music, just before the beat kicks in again, is from a

worms-eye view shot, the man coming down to hit the floor in time with the beat of the music.The music video purposely synchronised with the pace of the track, complimenting each-other

Also, the cold, steel, hard, geometric shapes; including the twin towers.

Are there Close-Ups of the Artist and Star Image Motifs? In comparison to other music videos I’ve seen, Leftfield have been daring in their choice to base the production around such a sensitive topic which should be used respectfully, yet, also challenge the concepts of what we think. Creating

content which challenges and changes they way people perceive and think about how we function in a society.

The artist directly isn’t shown in the music video; instead, the productions solely focused around the narrative sharing the story of this one man. He is the focus of the whole video; presenting a message through visual story-telling.

The fact when he emerges from this dark, underground corner he is usually positioned on the right, often only dominating half or a third of the screen; possibly reflecting how little control or dominance he has overall. Having little influence over

society and is seen to be at the bottom of the social hierarchy.Whenever the male is in shot; his eyes appear glazed over, dead-looking and almost

zombie-like. The eyes being ‘the windows to the soul’ while his are covered over, misted by what he’s been through in life. Once again, possibly reflecting his

dehumanisation, and no longer feels human and accepted.He’s blinded by the above-ground sunlight; this could reflect that he’s not used to

rising up from his underground location. This movement upwards physically, may also be metaphoric and represent his status movement. However, when he is stumbling

the streets of New York, surrounded by more middle-class people, he sticks out from the crowd; everyone staring at him and identifying him as someone who doesn’t belong here. The music video reflecting how the segregation in class could be

influenced by ethnicity also. Referring back to the man constantly, showing how his situation doesn’t improve in time. Telling the story of similar people, who in real-life,

As the man stumbles around the city, loosing more and more of his limbs, the statue-like shattering of his body shows how he’s being worn down and weakened. No one

stopping to help him as he struggles, instead using his determination to keep on going; even hopping on one leg to reach his destination. The viewer at this point sympathising with him frustrated that no one will help. At the end, a car hits him;

leaving behind a cloud of dust. He’s completely destroyed by a yellow taxi; a somewhat iconic image of America. His death being brought by a yellow cab - possibly symbolising how the band are trying to get the message across that America is just

getting rid and hiding these problems that occur to do with race and status.

struggle to conform to the expectations of society.

Is there a Reference to the Notion of Looking?The notion of looking is referenced when a point-of-view shot is used travelling down the path before meeting the man for the first time. Taking the audience with them;

exploring this underground, hidden world which is under normal society. The dim, dark, shadowy lighting, due to being underground, creates an uncomfortable atmosphere

from which the man emerges from.

Film by nature is invasive and voyeuristic, watching a presented story on screen; the audience being voyeurs watching the homeless man stumbling around the streets,

constantly with him through tracking shots, although the viewer may sympathise with him, the notion of looking is still emphasised with persistence of following him around

as he interacts with others in New York.The notion of looking may also be represented by the man himself, wondering the streets, often looking up to the sky, or around him for something; help, support,

money, a home? Multiple possibilities, which could even include society accepting him.

Goodwin’s notion of looking concept is also ironically presented in a low angle of 2 middle-aged city businessmen.

While most of the other characters in the music video look judgementally at the main character, the only character who offers the man help is someone of a similar or same ethnic origin. This suggests the cultural segregation in society is reflected by everyone

ignoring his problems, focusing on themselves. However, even this man’s attempt at help is somewhat ironic; asking him ‘if he needs a hand?’ as he lies there with no limbs. a

somewhat problematic yet ironic statement.

The second man looks over his paper judgementally, witnessing the scene before ignoring it and returning to read the paper, ignoring the man’s complete vulnerability. Rather than offering any help,

he turns his back, the broken, shattered figure seemingly invisible to him. The music video once again showing the curiosity of some individuals, who then choose to ignore the obvious racial

discrimination going on right in front of them, thinking that it is acceptable.

One leaving the man without a hand, showing no sympathy towards him, looking down at him as if he isn’t a human; reflecting the dehumanisation and prejudice still present throughout many western societies, as he turns

away, not helping the man he’s just damaged.

Are there Inter-textual References?Until September the 11th 2001, the Twin Towers of New York’s World Trading Centre were

a large symbol of America’s economic power, an icon of capitalism. Reflecting wealth, power and dominance against the world. Therefore, the use of the location under the Twin

Tower in 1999 for this music video acts as a binary opposite to the raged half-naked, stumbling African man. Lost under the shadow of these huge buildings. The low angle

reinforcing their great status.

Metaphorically, the binary opposition reflects how the ‘third-world’ is being exploited by capitalism. The African lost man by these buildings presents the two complete opposites, enhancing his vulnerable and weak position in the hustle and bustle of wealthy New York. To a contemporary audience; the use of the Twin Towers location references the horrific destruction and loss of lives. Unintentionally, the music video now has meaning from this; how so many soldiers were cruelly mistreated

and lost lives in the Vietnam War (talked about in more detail in later slides.)The concepts and issues touched upon in the music video can be related to current worldwide news events:

The horrible news of 9 people being killed by a gunman in an African-American church, victims ranged from 26 to 87 years old. The preventable deaths caused new talks about the shift in the law of the US attitude towards guns. Hillary Clinton

released a statement: “How many innocent people in our country, from little children to church members to movie theatre attendees, how many people do we need to see cut down before we act?”

Also, the news of refugees not being adequately helped. More than 2 million Syrian refugees have fled their homes since the civil war began. However, the European Union has only agreed to take in 10,000. The UK has offered financial aid those

displaced, but not accepting any refugees into the country, even though many Syrian refuges are willing to pay to gain access, they are still being ignored and left to deal with themselves. These traumatised, desperate people who are

undeserving of their situation aren’t being treated with the compassion and respect they deserve aa humans.

The issue of slavery is still ongoing, with heavy laws now in place to prevent the ownership, buying and selling of human beings. The topic leading into the legacy of

discrimination, with the last country to completely abolish slavery was the African state of Mauritania, 1981. However, there wasn’t actually any laws to enforce the slavery ban until 2007. In African there were a number of societies who kept slaves before there was

any regular commercial contact. The homeless, stumbling man on the streets may embody aspects of a slave in the U.S. His torn clothes, homelessness and being

suppressed by society.

But issues referenced in the music video are still on going topics which are continually discussed in the media:

Are there Inter-textual References?The man is represented to be zombie-like, associating the imagery with the horror or sci-fi genre,

reflecting the possible thoughts that other ethnicities are unusual and see them as different. Definitely in the video, it’s clear he isn’t treated with caring equality. The ‘black man’ seen to be something that the people are fearful of, this may reflect how the associated with certain ethnicities with extremism,

radicalisation and terrorism. The man seen as the ‘other’ in the video, someone who doesn’t belong and is therefore ‘alien’ to the rest, possibly representing the racist discrimination in society. The music video specifically links to Mary Shelley’s

‘Frankenstein’; with the imagery of his eyes:“the dull yellow eye of the creature open.”

The low angled shots of New York also relate to Carol Reed’s image representation of Vienna as a labyrinth in the ‘The Third Man,’ the surreal tilted shots in the 1949 noir-style

film creates connotations with cynicism, melancholy, disillusionment, nightmare,alienation. This relates to the low shots of the massive New York buildings being swamping, dominant and powerful,

intimidating to the staggering man beneath them.The music video also references Fritz Lang’s 1927 German expressionist science-fiction

drama film: Metropolis.Lang created an image of Metropolis to be a dystopian futuristic city, built on inequality and reflecting the literal exploitation, power, greed and corruption which is expected with the rise of fascism. Lang’s creation of the city was pioneered in this film, this links to how

New York appears in Leftfield’s production; a modernised, power-house which has to eliminate the weak to continue development. Metropolis is concerned with wider cultural and political issues, aesthetically the urban space is bustling and thriving, linking to New

York’s representation the film exploring the social inequality which lives under the glossy surface. Lang explaining that “Metropolis, was born from my first sight of the skyscrapers of New York in October 1924...while visiting New York, I thought that it was the cross-roads of

multiple and confused human forces, blinded and knocking into one another, in an irresistible desire for exploitation, and living in perpetual anxiety..At night, the city did not simply give the impression of living: it lived as illusions live. I knew I should make a film of all these impressions.”

Another film reference that can link in with the Afrika Shox production is Ridley Scott’s 1982 American dystopian science fiction film: Blade Runner. The fiction film also has overcrowded, busy streets, overwhelming with the element of a future prediction. The film indicating the dying planet, the iconic film a defeated atmosphere. Similar to that of Afrika Shox as the helpless man reaches out, begging the middle-class businessmen for help, but only being

ignored and forgotten.The Matrix: The Wachowskis’ 1999 American science-fiction action film also has a city being represented as a dystopian

place, elements of predicting the future, like a warning for the present day audience.

Are there Inter-textual References?The Deer Hunter is a 1978 American epic war drama film co-written and directed by Michael Cimino about a trio of Russian American steelworkers and their service in the Vietnam War.

The inclusion of war veterans is something which can relate to Afrika Shox, the man wandering the streets wearing camouflage- like clothing and a dog-tag chain around his

neck, possibly implying he’s an abandoned war veteran. The message that these people who have had to fight, having no choice, are then condemned by society and having to deal with

the shock and trauma of returning after what they’ve been through.Jacknife, the 1989 American film directed by David Jones, is another film which touches upon the

concepts of war veterans returning from the Vietnam war, with a large amount of African-American casualties. Robert De Niro starred as a Vietnam Veteran in the film, being treated with contempt when returning home defeated. In Africa Shox, the man’s dog tag and clothing suggests he may have been a Vietnam War veteran; Post-Traumatic Stress Disorder (PTSD) among black Vietnam veterans was a real

problem when soldiers returned from war, struggling to recuperate and fit back in with society after what they’ve witnessed. During the Vietnam War years, there was military racism and racial social

upheaval in the U.S, while also being limited opportunities for ‘black people’ when returning from the war. They then grew conflicting feelings about their war experiences and struggled to rationalise the brutality against the Vietnamese. As a result, developing PTSD, but were often misdiagnosed by the

wide variety of PTSD experiences, unable to cope with the justification of what they saw.

Performance Based, Narrative Based or Concept Based?The music video is based around a linear narrative of the stumbling homeless man and his interactions with the people as

he travels. Although there is no performance aspect from Leftfield themselves, partially, there is some aspects which reflect a concept-based production.

Performance is integrated into the narrative story-telling of the man with the three break-dancing men. However, what I think is more essential to the music video is the concept that it involves;

the social and racial messages and assumptions the music video makes leaves the audience to question their own society and the prejudices which function within it in their day-to-day

lives. The art of the storytelling encompasses the performance-based aspect from the breakdancers, they represent the western culture also having possession and ownership of the African-American man’s origins with the dancing and early forms of dance music. New

York westernising electronic music in to the mainstream.

Place: New YorkThe choice of setting the music video in the iconic streets of New York reflects where dance and electronic music first

developed in the West. The underground music scene of New York being one of the most influential factors in its growth, now into the mainstream music genre culture. Therefore, Leftfield are reflecting a location where we expect electronic

dance music to be, but with the African-American lost, walking the streets, his origins are also the origins of original dance music to perform and tell stories to each-other. However, while he looks alien to the culture, electronic dance music fits in

with the American society in the big, busy city.

Representation: Gender:

To some extent, the visuals contradict the track with New York being represented as a

dystopia, all the low-angled shots of the iconic, recognisable buildings and the the

crowded busy streets indicate the African man to be alien to this culture, not being able to

adapt to the norms and values of this society.The mise-en-scene of ambient lighting and the guerilla-like filming suggest the supposed spontaneity of the filming, with the audience led to believe you’re following the actual narrative of this African-American’s literal struggle in this society. Signifying the negative representation New York City, the dystopian and modernised aspect of the mise-en-scene with

bright lights and increased, frantic pace of the music video reflect that it’s chaos when you look in more detail. The video is somewhat different to what the electronic dance music audience may be expecting, challenging their associations and stereotypes of the genre, taking them out of their comfort zone; but you can’t deny the detail of the cinematography; with exact locations, lights and cleverly paced editing has overall created clean cut production which amplifies the track

and may strengthen the artist’s following with the music video complimenting the track.

Throughout the music video, there isn’t one female in shot which has a major role in the production. The androcentric domination of the production creates a possibly biased view; masculine opinion of the situation are the only ones

presented. This may also reflect the lack of female artists and performers in the electronic dance music genre, the marginalisation of professional female performers in the music industry which aren’t moulded by aesthetically pleasing the

misogynistic audience are of a small percentage. The male gaze is usually another factor in music videos which can be highlighted, but in Leftfield’s production females aren’t heavily featured at all; possibly on purpose to make the audience question the lack of female artists in the genre, or even possibly reflecting in the rule of the patriarchy that women don’t

get a voice in the subject of war; for years the prejudice against female soldiers, and eve discrimination towards them now.

Representation: Ethnicity:The choice of the African-American’s costume references the Vietnam War; the soldier

references being the dog tag around his neck and the camouflage-like clothing. The audience are placed as voyeurs and passively look at the disintegration of him as he stumbles through the city, traumatise by the war with reference to PTSD and the

mistreatment of veterans, or even being low due to drugs or alcohol which is another reference to the electronic dance music genre and with the club scene associated.

As the man slowly becomes more and more fragile throughout the music video, his loss of limbs making him morevulnerable and helpless. However, still nobody sympathises with him and actually helping. His body shattering and eventually destroyed by an iconic image of America; the yellow taxi. The video possibly having this political statement that America should be held responsible for the downfall of these people. But after vanishing, due to him being homeless and disconnected;

nobody is going to notice his disappearance, a poignant and very sad note to leave the video on.

Although the music video is supposed to be a promotional marketing form to advertise their album, this production reflects a cultural and political message about who they see society. There is clearly racial tension highlighted in the representation of characters involved. The 2 white businessman and the breakdancers are somewhat judgemental and cruel in their actions

of degrading the homeless man. They’re binary opposites in the status and control they have. The ‘white colonisation’ of the African man’s origins with the breakdancers westernising dance music to become electronic and mainstream.

The African man is a metonym; symbolising the black community and people as a whole, reflecting how he represents a whole culture and race. Connotations of the African man’s surrounding

people judging him discriminately. The man crumbling, reflecting how hard the modern city treats these people; modern society metaphorically represented with connotations of segregation,

alienation and dread for those that don’t conform to society’s norm.

The white businessmen who easily cause the man’s arm to shatter is a metonym for the ‘white urban elite’ his ignorance and lack of sympathy for the struggle of this man. The low angle shows

the businessman has the power and authority here; but due to the back lighting his eyes look darkened and shadowed, expressionlessly turing away from the damages he’s caused and leaving.

The only help that is offered to the man s from another man from a similar/same race as he is: Africa Bambaataa who is known as the ‘Godfather’ of Hip-Hop culture. Being the only person in a dominant white community to attempt at giving help. The use of him offering “a hand” as the man lays helps on the floor is ironic but is also an explicit reference to the

origins of the electronic hip-hop genre, strongly reinforcing the genre.

Representation: Status:The male’s status is very early established by him emerging from the underground, the dark

shadows of society which is segregated from the others. Having these separate groups, reflecting the social status hierarchy. The homeless zombie-like African-American being at the very bottom of the ladder, having such a low status that the rest of society look down on him, he’s dehumanised; when shattering him limbs, people continue to look on and ignore him. The smooth transition underground is through a point-of-view tracking shot; the audience feeling like their trespassing to see this man. The physical camera movement of going underground

reflects the drop in social status; where this man is. The mies-en-scene of very little light; not very clean and the underground location references the poor treatment and lack of compassion these people are treated with. The mans desperation as he tries to grip to the wall, weak and

worn down by this way of life. He appears almost animalistic; emerging from he shadows and is more connected to animal rankings in terms of how other humans treat him. Being homeless

and literally the bottom of the social ladder with very little normalised connection with the rest of society. Also, the underground location references underground music.

The homeless African man reaching out to a ‘middle-class white man’ who is reading his paper. Another man breaks the African’s arm, looking at him judgementally through a low-angled shot before not even thinking twice, and walking away, leaving the man

looking distraught. The man reading the paper looks curiously over the pages, but also ignores the man’s desperation and helplessness, instead hiding behind his newspaper.

The paper acting as a buffer between them. The camera movements are slower in these sections, possibly to make the audience linger on these scenes; making them

stand out for importance in the message they’re trying to convey.The class segregation is shown in the divide between the homeless man and the rest of society in many of the shots throughout the piece. The quick editing cuts creates a stumbling feel to

how everything is stringed together. The pace rather frantic and unorganised. This is illustrated with the man’s limping and staggering feet, the close-up as he drags his feet, tripping down the

stairs. The audience sympathising with him as he tries to get help.

Through these sections, and later on as he hops, the camera movement is very smooth while his movements are very jarred. All the tracking shots reinforce the idea of voyeurism, which is the premise of film; the audience looking in on a different narrative for entertainment. The tracking

shots place the audience as voyeurs and therefore already in a higher status than him

Representation: Ideology:Immediately the band name ‘Leftfield’ has connotations with being separate from the mainstream, being out-of-the-box and different from the norm. Reflecting that the video may provide a unique message or

perspective to the audience.

In conclusion, this music video is a promotion for the band’s track; but also has a very strong cultural and political message aimed at the way our society is functioning. Using some intertextual references from the dystopian city to the Vietnam veteran’s mental state, Chris Cunningham clearly wanted to make a point. Through the representational aspects of ethnicity, gender and status, messages of

discrimination are portrayed and this all links back to Goodwin’s 6 aspects of music videos.

The incorporation of the ideal New York City imagery is somewhat destroyed by the underground locations used with the 3 male breakdancers. The use of also inserting dance performance into the video

reinforces the genre of dance music.These scenes of the all white breakdancers act as a symbolic metonym for the appropriation of back culture by the white society that they are part of. While the African man looks over at them, his eyes misted and glazed over, being ignored by the performers, he’s invisible to them.

The white cultural dominance, 3 against 1, in the underground location which the audience have established as the homeless man’s place.

This references the idea of ‘white performers’ hijacking ‘black music.’

Hip Hop and Dubstep’s origins can be traced back to styles originating in Jamaica party scene’s in the early 1980s, developing in predominately

‘black urban neighbourhoods’ not under the influence of the mainstream, the ‘white performers’ are the ones who are dancing; reflecting that the

African man’s heritage is now being adopted by this ‘white western culture’ leaving him with very little that is truly his anymore; homeless and lost, now even his unique origins are somewhat commercialised.