Most Popular

  • The Hard Lie
    How former Ticket host Greg Williams destroyed the most dynamic duo in Dallas talk radio through drugs, deceit and disaffection
  • American Girls
    Crossing between American and Egyptian cultures, he Said girls made one deadly misstep: They fell in love
  • The Dirt Doctor
    How radio show host Howard Garrett pushed Dallas to the center of the organic gardening movement through passion, principle and molasses
  • The Caretaker
    One mother's crusade to better the life of her mentally retarded son and the system that failed him
  • Our 20th Music Awards
    1988-2008: Two Decades of DOMA

Recent Articles

Recent Articles by Sam Machkovech

National Features >

  • SF Weekly

    Identity Plagiarism

    A blogger steals someone else's life story and calls it her own.

    By Ashley Harrell

  • Westword

    Fuel's Gold

    How William Orr's quest for better, cheaper gas became a crime.

    By Alan Prendergast

  • Miami New Times

    Mold Over Miami

    The family of a dead judge blames a creeping fungus in the federal courthouse.

    By Tim Elfrink

  • The Pitch

    McCain Girl

    I worked at Kmart with John McCain's director of strategy.

    By Alan Scherstuhl

The Way of the Wu

Continued from page 1

Published on February 10, 2005

In other chapters, RZA gives readers only a peek at the true grit of the Wu-Tang: a crazy concert gunfight here, an argument with ODB there and a very incomplete biography that stretches thinly across the book's entirety. This is far from a definitive Wu-Tang story, and highlights like ODB's death are completely ignored. Strangers to the Clan surely will get lost in the text, while hard-core fans will be forced to dig for the juiciest bits hidden within the informal, journal-like chapters.

RZA isn't totally cryptic, though, as he at least explains his minimalist production techniques. His layers of sampling and eerie piano lines changed the hip-hop world and were quickly copied to death by the competition, and chapters about production are treated with painstaking care. One detail in particular stands out: In the studio, each rapper was given a different, customized microphone to bring out his specific style, and RZA would place each MC in certain parts of songs like soloists in a jazz composition.

Thanks to the lack of an outside, non-Wu perspective, however, his explanations become narrow and redundant. Compliments for separate MCs sound too similar, and he offers a far-too-simplistic answer to the band's longevity: "I told [the guys] about my vision." Worse, he pays little tribute to the rap legends who came before the Wu-Tang Clan, speaking as if his band were the only rap group that ever existed. In a song, it makes sense for a rapper to talk like he's the best ever, but in book form, the approach falls flat.

Luckily, The Wu-Tang Manual closes with comments from members GZA and U-God on the art of crafting rhymes, and while the stuff isn't the rap equivalent of a creative-writing textbook, the advice is solid and direct--work harder and study more than the best MC out there, and you'll last. That theme is the basis of the book, told in a streetwise manner, and for all the Manual's shortcomings, authenticity is its most redeeming quality. Professor RZA might be rough around the edges, but there's no denying that when he speaks, Ol' Dirty class is in session.

« Previous Page   1   2

Dallas Observer Insiders

  • Local food, music and news blasts
  • Free Stuff
Backpage.com