I had the bug to try it on my own, but I abandoned it and gave it up. I used to always look at Ralph and say, “We could do better than this.” I did have a background in taking some film classes in high school as well as college. As we were watching them and looking at them, the first thing I noticed was they looked really cheap, not very creative or imaginative.
It was the first time I saw any hip-hop videos because I never saw them at all anywhere. Ralph and I had done Video Music Box, and we were playing the music videos that would come into us at that time. The only music videos I would see would be on MTV and New York Hot Tracks.
Martin: There wasn’t anyone who looked like me directing music videos. What is story behind you beginning to make videos for music artists in the 1980s? The interview below has been edited and condensed for length and clarity.
In honor of what would’ve been Tupac Shakur’s 52nd birthday, we spoke with Martin about his pioneering contributions to Black music videos and his work with the enigmatic wordsmith. In 1995, he was contacted by Interscope Records on behalf of Tupac Shakur to direct the video for “Dear Mama.” He formed a unique but brief relationship with the iconic rapper and his mother, Afeni Shakur, which resulted in directing four of his most memorable music videos: “Dear Mama,” “So Many Tears,” “Toss It Up,” and “I Wonder If Heaven Got a Ghetto.” As his clientele grew, his services rose in demand from several recording labels and music artists. Through his connection with the Cold Chillin’ Crew, he directed his first music video for Roxanne Shante. Martin, a native of Queens, New York, became a trailblazing force when he helped launch the Video Music Box channel with his childhood friend, Ralph McDaniels, in 1983. During this time, he shot videos for TLC, Stevie Wonder, Public Enemy, Bell Biv Devoe, Big Daddy Kane, JAY-Z, Keith Sweat, Toni Braxton, Notorious B.I.G., and many more. He is responsible for giving Black music videos range and authenticity at a time when hip-hop and R&B desperately needed a pioneer to deliver quality products for the world to see. Spanning four decades, Martin’s videography showcases the great talents of the past three decades in popular music. Before there was Hype Williams, Little X, and Benny Boom, there was Lionel C.
0 kommentar(er)
