The Daily Swarm - MF Doom: My Adventures Shooting the Supervillain
"Wearing a mask and appearing on stage for one of the first shows since his five-year sojourn after the death of his brother, fellow KMD member Subroc, DOOMs performance that night was magnificent. His legendary partner MF GRIMM showed up in a wheelchair to watch from the balcony. Chuck D and his new rock band, Concentration Camp, were headlining, but everyone was there to see DOOM. There was a feeling in the room that we were all witnessing something special, something unique and mysterious; in fact, after DOOM got off stage, the entire crowd left, and Chuck seemed pissed.
It was at this particular show that I met a man named DJ Fisher who professed to manage DOOMs career. DJ Fisher and I talked about the opportunity of making a music video for one of DOOMs songs. I told him I would do it for free because I had access to camera equipment and discounted film stock through NYU, where I was studying. He liked that idea, and responded well to my passion and positive energy. I didnt just want to direct a video for the hell of it: I wanted to direct a video because I was so completely moved by DOOMs performance that night, and the mysterious aura around him. There was something incredibly bizarre about him. He didnt follow the days expected rap trends, for one he was far too individual for that. Instead, he was a thirty-something, overweight, prematurely balding, golden-age-era rapper in sweatpants and a silver WWF wrestling mask; onstage, DOOM would stalk back and forth as he spit out incredibly abstract lyrics over Sade samples referencing Jeopardy Daily Doubles, shouting out ancient comic book characters while revealing that he wrote his masterpiece album from a prison cell (BCDC-O Section, Cell #17, up under the top bunk)."
"Wearing a mask and appearing on stage for one of the first shows since his five-year sojourn after the death of his brother, fellow KMD member Subroc, DOOMs performance that night was magnificent. His legendary partner MF GRIMM showed up in a wheelchair to watch from the balcony. Chuck D and his new rock band, Concentration Camp, were headlining, but everyone was there to see DOOM. There was a feeling in the room that we were all witnessing something special, something unique and mysterious; in fact, after DOOM got off stage, the entire crowd left, and Chuck seemed pissed.
It was at this particular show that I met a man named DJ Fisher who professed to manage DOOMs career. DJ Fisher and I talked about the opportunity of making a music video for one of DOOMs songs. I told him I would do it for free because I had access to camera equipment and discounted film stock through NYU, where I was studying. He liked that idea, and responded well to my passion and positive energy. I didnt just want to direct a video for the hell of it: I wanted to direct a video because I was so completely moved by DOOMs performance that night, and the mysterious aura around him. There was something incredibly bizarre about him. He didnt follow the days expected rap trends, for one he was far too individual for that. Instead, he was a thirty-something, overweight, prematurely balding, golden-age-era rapper in sweatpants and a silver WWF wrestling mask; onstage, DOOM would stalk back and forth as he spit out incredibly abstract lyrics over Sade samples referencing Jeopardy Daily Doubles, shouting out ancient comic book characters while revealing that he wrote his masterpiece album from a prison cell (BCDC-O Section, Cell #17, up under the top bunk)."
