Many artists have given countless different reasons to why art is important to not just the culture, but to the lives of every individual. Some may say that art is vital for catharsis or taste or simply entertainment. One of the most accepted answers is for art to provide a perspective that most individuals do not get to witness in their daily lives. Art can introduce people to a whole new world that they didn’t understand before or find comfort for individuals who think they are alone in this world. Ghetto Life 101 is a vivid depiction of a life inside the Ida B. Well’s Projects in Chicago, Illinois with the perspectives of two insightful young men, LeAlan Jones and Lloyd Newman. The radio documentary keeps the story interesting by having
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This approach was extremely simplistic and sometimes flawed, but it added to the truth and personality to the documentation. The radio diaries really felt like just LeAlan and Lloyd carrying a microphone and sticking it in front of people’s faces whether they wanted it or not because that’s exactly what it was. I understand that there was one producer, David Isay, but it felt like he did not really involve himself at all in the interviews or recording process. This type of recording style reminded me of a cinema verite style of filmmaking, which involves extremely observational documentary filming popularized in Europe. This style of filmmaking usually had the camera being placed in one area, and it films for a couple hours then the filmmaker would move the camera continuously to other locations. This style causes the viewer to feel like he or she is not watching cinema but just watching people’s normal, daily lives play out through film. Ghetto Life 101 has a similar effect in that it is simply two boys from the South Side of Chicago carrying a microphone and stereo. Even if this radio documentary had narration and interviews, it still had this observational quality because the interactions and sounds were very naturalistic and
This approach was extremely simplistic and sometimes flawed, but it added to the truth and personality to the documentation. The radio diaries really felt like just LeAlan and Lloyd carrying a microphone and sticking it in front of people’s faces whether they wanted it or not because that’s exactly what it was. I understand that there was one producer, David Isay, but it felt like he did not really involve himself at all in the interviews or recording process. This type of recording style reminded me of a cinema verite style of filmmaking, which involves extremely observational documentary filming popularized in Europe. This style of filmmaking usually had the camera being placed in one area, and it films for a couple hours then the filmmaker would move the camera continuously to other locations. This style causes the viewer to feel like he or she is not watching cinema but just watching people’s normal, daily lives play out through film. Ghetto Life 101 has a similar effect in that it is simply two boys from the South Side of Chicago carrying a microphone and stereo. Even if this radio documentary had narration and interviews, it still had this observational quality because the interactions and sounds were very naturalistic and