Peace! Magazine (Issue No. 53)
The Little X Story
by Emily Mills
Oblivious to the blazing afternoon sun, a large group of extras, stylists and
production staff scatter about the set of Donell Jones' latest video, "This
Love", deep inside a West end Toronto nightclub. Rich red paint, gold-trimmed
furnishings and provocatively dressed models colour the small room which is the
backdrop for the "club scene", now an indispensable component of many urban
videos.
At the centre of all the energy and commotion, the serious and critical
eye of the director oversees the entire operation. Although he has already
completed more than forty projects for r&b and hip hop giants like Aaliyah, DMX,
Sisqo, Redman and Jay-Z (to name a few), the director's determination and focus
could lead one to believe that he's new to the game. However, nothing could be
farther from the truth; homegrown video director, Little X, has been hard at
work over the past few years... and he's come a long way.
X's work day surely began hours earlier, yet he shows no signs of fatigue
while personally scrutinizing every aspect of the shoot. Dressed casually in
sneaks, loose-fitting gear and a wave cap, he speaks with authority and wastes
no time perfecting lighting and approving last-minute wardrobe changes. For the
next half-hour, the crew work under their director like an army to a general,
remaining steadfast in their mission to recreate X's penciled storyboard
illustrations. Only the arrival of lunch breaks the concentration of the young
visual artist, who then invites me to sit and talk about the evolution of Little
X.
Right from the beginning, the 20-something year old avoids volunteering
information about his personal life and his days as the well-known sidekick to
spoken word artist, Black Katt. Nor does he touch on his experience with
Kardinal Offishall, Saukrates and other local artists at the now-defunct
FreshArts Interdisciplinary Program. But X freely recounts the opportunities
that surfaced once he became curious about directing and is not shy in
recognizing Toronto as his creative birthplace. According to him, it all
started at the Nation's Music Station, MuchMusic.
"Until I went to Much, I only wanted to draw, like Graphic Design. Then,
I kind of got interested in the camera but I didn't know anybody in the film
industry," he says frankly. Referring to trend-setting video director, Hype
Williams, who has now also expanded to the fields of photography, fashion and
film, X credits his mentor as his main motivation to join the industry. "I knew
I liked this one guy's video - Hype Williams. So I did five months at Much, and
looked at everything I learned and made some connections, and said 'I'll do five
months with this guy.' I sent out my stuff and through a lot of persistence and
a couple of head aches, I managed to get an internship with them."
Under the guidance of Hype's production company, Big Dog Films, X drew
video storyboards while he absorbed and observed all the tricks of the trade.
"When we met it was kind of me respecting him as an artist, and him respecting
me as a talented kid. For me, when I meet someone who can draw or something
like that, there's just this respect that's there. And it's different from a
friendship. It's different from an acquaintance. It's hard to explain."
However he views their early relationship, it's clear that Hype's influence on
Little X's directoral technique and style has made its mark, even from the very
first video. Thinking back to "What It Takes" by Choclair featuring Jully
Black, X reflects fondly on his premier work and expresses appreciation to the
artists who didn't dismiss him altogether as he was still learning. "Choclair
was the first person who gave me a shot, if it wasn't for Choclair, who knows
when I would have even done a video," he confesses.
Fortunately for Choclair, X was able to return the favour years later on
the eve of his major label release, Ice Cold. Leaving VideoFact grants behind,
Choclair utilized X's skills and ultimately their collaboration on "Let's Ride"
would go on to make Canadian history. "It was great for him. He was nominated
for several MuchMusic Video Awards, they were playing it on MTV and they were
killing it on BET," he boasts proudly.
But not being too far removed from life as a struggling artist himself;
the accomplished director isn't only interested in industry praise and financial
profits. If so, he may never have taken on the "Stick To Your Vision" video
from Maestro's Built to Last. Respectfully, he says, "I don't know Maestro.
And at that time, I was kind of at a point where I didn't need to do videos back
home. But I did Maestro out of respect for him, what he's done and the memory
that I have of him as a kid in Toronto. I can't think of any other black person
that we know to do something on a level like that. He just opened up so many
doors, so many people's eyes just opened up like, 'S**t, maybe I can do this
too,'"
In spite of X's achievements and the ties he's maintained with Toronto,
some local critics support X as little as they did when he left for New York in
the first place. "'Northern Touch' was a big deal and even when I did the
video, there were people talking about, 'can he really do it?'" he recalls
defensively. With bitterness now in his voice, X exposes his 'no bulls**t'
attitude as he directly addresses those turning a blind eye to the past and
suddenly expecting favours. He obviously remembers those frustrating times
clearly: "I came and I said, 'Hey, give me a shot. I got nothin', we're all
***in' with nothin', so let's do somethin'.' If you put up your middle finger
to me, fine. But when you come to me now and you want me to do somethin'...
Well nigga, it goes both ways. Simple, play by your own rules." Concluding
sharply, X adds, "But for those who did look out, and I mean really look out,
I'm gonna bus' my ass for them. I'm gonna do what it takes... come home and
represent for the people who represented for you." As though he's just rid
himself of some deep resentment, X lightens up and assures me that he generally
has pure love for local artists and their efforts. Before moving on, he makes a
point of offering some advice since he's gained more perspective on the
entertainment industry over the years. "Here's something to know about success
in Canada - it can't happen. Don't forget [where you came from], because I'm
still from Toronto, I've never hid it and I always come back, but to be in
Toronto? No, you can't do it. Maybe down the line, if [and he stresses this
word] Toronto ever becomes like an Atlanta or L.A., but right now, take your ass
up and go." And since Little X has already made the long pilgrimage, he is used
to being sought out for his hard-earned wisdom on the state of urban music.
Reminding him of Da Mix Special on MuchMusic last December, X listened intensely
to allegations of unnecessary exploitation of women in hip hop and r&b videos.
Speaking on behalf of his industry with passion, he replies, "Although I'm not
defending it, I just feel like, if you're gonna come at me and say look how you
portray women, well look at everything. What's bulls**t is that hip-hop is
spotlighted, when there are all-white, male magazines and there is a woman on
the cover half-naked, like Maxim. GQ."
The point is well taken, but X senses that his answer may not suffice and
boldly declares, " I know that women would rather look at beautiful women and
men would rather look at beautiful women. The women's magazines, in the Vogues,
Elle's and all the other fashion magazines that women buy, it's all the same
kind of s**t, the skinny, scrawny, inaccessible, unrealistic women. It's BIG,
is what I'm trying to say. It's much bigger than hip-hop. It's much bigger
than r&b. We're doing exactly what everyone else does. Is it right? That's
another discussion.
But even considering the power of green from record labels, and the fact
that music generally dictates each video concept, X must have some leverage to
help transform the sexually over-saturated industry. Especially after recently
being selected as "Hot Video Director" by Rolling Stone, and directing videos
for top-selling international artists like Sisqo ('Thong Song - Remix'), Jay-Z
('It's Alright') and DMX ('What's My Name?').
Again, he insists that the business isn't so simplistic and rebuts, "Hip-
hop is what it is right now. So can I, as a video director, change the world"
No. Can I try to put some substance into what I do? What I can do is at least
put some kind of concept, you try to have a little something connect there...
instead of saying, 'Let's mindlessly dress everyone up and have them shake their
ass.' And I have done those videos." Regrettably facing the harsh reality of
his creative universe, X finishes: "It's hard. And you don't feel completely
good about it."
Sensing that his lunch break is coming to an end by the increasing noise
and background activity, Little X tries to communicate his future aspirations in
light of the restrictions and obstacles faced and will continue to encounter.
"I don't have career goals, I have artistic goals. When I make a video, I try
to make something that's gonna match the music, I try and make something that
people are gonna like." He pauses before completing his thought, "I'm somewhere
where I wanted to be a few years ago, but right now it's not where I want to be
and I have new goals. What I really believe as an artist, is that if you focus
on the art that you love, then everything else will fall into place. I'm no
genius and I don't think I'm gonna influence art on a whole, but I'm gonna focus
on what God gave me, the talent that I have, and try to build that to the
fullest extent that it can go. And that's my focus."
(
geocities.com/hypepaul)