20th Century Genius Award Paper

Daric M. Grant

HUM/102

University of Phoenix

June 25, 2011

Nancy Erickson

20th Century Genius Award Paper

Good evening to those who are in attendance tonight, over the last 100 years, we as Americans have bared witness to the evolution of automobiles, participated or hated the civil rights movements, been exposed to the birth of technology and world commerce, and pushed our military strengths to unbelievable measures. Tonight, we are focusing strictly on the men and women who have made contributions in other areas of history. Tonight, we focus on the geniuses. What solidifies a genius? The answer to this difficult yet commonly discussed topic definitely brings about controversy among those who choose to indulge in the conversation. Most American citizens today identify with the so-called “Genius” by the artistic works of that individual. Based on the findings, we analyze and determine whether or not the information pertaining to the subject has impacted society or lack thereof. If it has changed the overall path of human thought, it is considered genius, and the creator should be graced with such a title. If not, we move forward inspecting the next piece of vital information. During the course of this essay we will uncover one of the most underrated African American poets of the 20th century. This individual deserves recognition for his influential speech patterns that have altered the standard and set new creative boundaries for all inspiring poets to follow; which makes him a perfect candidate for this award. The life of Saul Stacey Williams is an interesting study of independence, truth, respect, enlightenment, innovation, courage, and spiritual awareness. His journey through the ranks of poetic artistry has been nothing less than astonishing; captivating crowds, tickling the brain with mesmerizing phrases, plus the energy of a thousand men with body movements that almost seem scripted. Born in Newburgh, New York February 29, 1972, son of school teacher (mother) and preacher (father), Saul Williams lived in Brazil in 1989, and tackled Shakespeare by the third grade performing Julius Caesar on stage in elementary school. By the fourth grade, Saul composed his first poem which he recalls gaining the inspiration by the 1980s hip-hop group T la Rock. Immediately following high school Saul attended numerous colleges and universities; in which he obtained a B.A. in acting and philosophy from Morehouse College, and a Master’s degree in acting at New York University. Saul states “It was always important to rock the party as well as rock the English professor” (Interview, 2000). The infamous Nu-yorican Poets Café’ located in New York, is a place where up and coming poets went to showcase their talents. This is where Saul shocked listeners of all kinds with his cunning style and verbal wizardry. The Nu-yorican Café’ is where he gained the reputation of being a fierce and respected competitor of the arts, and by 1996, Saul earned the esteemed title of Nu-yorican Poet Café’s Grand Slam Champion. As a result of this well deserved victory, he recorded his first spoken word piece in 1997 and appeared on several hip-hop compilations in the late 90’s including the album Eargasms: Urban Hip-Hop, Lyricist Lounge, and Black Whole Styles. Saul would eventually follow his own path to stardom, leading him to live performances with musical icons such as Erykah Badu, The Roots, Nas, KRS-One, De La Soul, Nine Inch Nails, The Fugees, and many more big names. Saul states, “I’m taking rap somewhere it’s never been before, I do believe in the power of what I’m doing, and people’s ability to think for themselves beyond what’s being sold to them” (London Independent, 2001). Saul published his first book of poetry in 1998 entitled “The Seventh Octave.” Saul continued his rise to subtle fame by scoring a leading role in the 1998 independent film Slam. The director Marc Levin, recruited Saul as the main character Raymond Joshua; a small time Washington D.C. dope dealer who is incarcerated and finds power and refuge in his own poetry. Saul wrote and recited his own script for this fantastic production, which surprisingly, moved audiences across the entire globe earning the 1998 Grand Jury Prize at the Sundance Film Festival and the Camera d’Or Audience Award at Cannes. As an added bonus Saul also received an award for “Breakout Performance” by New York’s Independent Film Project. According to actress Alfre Woodard, who has played major roles in movies such as, “American Violet,” “Radio,” and “Down in the Delta” (which was in fact was directed by Maya Angelou) Slam was one of the most influential films in the past 25 years. By 1999, Saul published another book entitled “She” which is an intimate account about the fall of his relationship between the book’s illustrator Marcia Jones. With all the acclamations and positive audience reaction, Saul continued to evolve as poet, writer, and actor. In 2000 Saul landed numerous roles in movies such as “Kings of L.A.,” “Origin of Cotton,” and in 2001 he scored a role in “K-Pax” starring Kevin Spacey. Saul states, “I realize we have the power to change reality, because we dictate reality…but if we want to change how it is, then we have to make a film about how it should be” (Time Out, 1998). Saul published his third book entitled “Sorcery of Self” which hit bookshelves in the spring of 2001. He expresses the facts that being a poet and accomplishing such goals have been a blessing and a privilege in his explorations. Williams then set out on a European tour with a six piece band shortly after the release of his first full length solo album in the United Kingdom. “Amethyst Rock Star” was produced by famed record producer Rick Rubin in 2001. Williams would combine his outstanding poetic literary training to produce a rap record unlike any other. Saul had successfully intertwined the Shakespearean form into Hip Hop culture. Williams states, “The most positive thing you can do when someone puts the microphone up to you is to speak truth” (Time Out, 1998). As a poet, writer, musician, actor, and pioneer of the arts, Saul Stacey Williams has been published in The New York Times, Esquire, Bomb Magazine, and African Voices. He has made various guest appearances along with voice appearances, including the hit T.V. shows Girlfriends and Spongebob Squarepants. He has collaborated with the Nike cooperation where his song “List of Demands (Reparations)” is featured throughout the commercial. He has produced countless EP’s such as “Penny for a Thought” and “Purple Pigeons” along with music videos such as “Black Stacey” and “Convict Colony” on YouTube. Williams has toured and lectured across the world, appearing at many universities and colleges introducing his philosophies and ideologies to international audiences. Williams is obviously actively vocal and is considered a critic on the Afghanistan and Iraq wars releasing anti-war anthems such as “Not in My Name” and “Act III Scene 2 (Shakespeare).” He is best known for his blend of poetry and alternative hip hop; which has created not only a new genre of music, but has heightened the intellectual mindset of the listener while providing the mass media with a sense of romanticism. In conclusion, Saul Stacey Williams changed the overall human thought process and impacted our society in such a way, it left behind beautiful scars on spectators of all ages. Clinging to every word like a newborn child, we were left breathless yearning for more. In the mist of finding himself (we have found a missing piece of ourselves), exploring and breaking new boundaries, setting new standards, and ultimately winning over the hearts of a divided nation; this underrated, highly respected, well spoken, thoughtful, expressive, and inspiring poet is recognized for his many struggles, achievements, and contributions to the arts. Without further ado, the 2011 20th Century Genius Award is hereby presented to Mr. Saul Stacey Williams. Mr. Saul Williams is unable to accept this award tonight, so I accept it on his behalf. Thank You.

References

Black Issues Book Review, March-April 2002, p.63.

Hoya, February 25, 2000.

Independent (London, England) August 17, 2001, p.18.

Interview, March 2000.

Music Week, August 4, 2001, p. 11.

Observer (London, England), August 5, 2001, p. 14.

Publishers Weekly, September 1, 2003, p. 85.

Skipping Stones, May-August 2002, p.3

Time, October 19, 1998, p. 106.

Time Out, New York, October 15, 1998.
WWW.SaulWilliams.Com the Official Website

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