One thing to remember, he said, is that the manipulation of voice in film goes back a long way. University of Virginia media studies associate professor William Little, who teaches a course centered on the use of AI and film, said he understands the controversy. There’s also the fact that Bourdain couldn’t give consent for his voice to be re-created. On the other, the director tried to give the impression that the voice was Bourdain’s.
On one hand, the words coming out of Bourdain’s mouth weren’t made up out of thin air – which is sometimes the case when AI is used for nefarious purposes. In the film, Neville uses the AI-created voice to read a line from an email Bourdain wrote to a friend. Then there are those stuck in the middle, not sure where the line in the sand should be – or if there should even be a line at all. Others believe it was well within his artistic license. Some people believe Neville had an ethical obligation to inform the audience that he had done so. But as a purely aesthetic experience, Most Known Unknown is like a summer thunderstorm- gorgeous and humid and dangerous.In case you missed it, last week’s disclosure by film director Morgan Neville that he used artificial intelligence to recreate the voice of deceased celebrity chef Anthony Bourdain in parts of his new documentary film, “Roadrunner,” has caused a stir.
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The lyrics remain in full dumbshit slap-you-up mode my favorite line is DJ Paul's "Haters shaking like booties in the strip club/ I'll cut ya head off like Al-Qaeda in this bitch, what!" This can occasionally veer into truly sickening eruptions of misogyny the rape narrative that Paul throws on "Let's Plan a Robbery", especially, is unforgivable. The group is now down to a trio, but those three guys have great voices: DJ Paul's weathered bark, Juicy J's wet, percussive under-the-beat slur, Crunchy Black's nasal, singsong rasp. Most Known Unknown doesn't carry the punch of Da Unbreakables (it's hard to top a posse cut built on a "Carmina Burana" sample), but Paul and Juicy's lighter touch makes for a few unexpectedly moving moments. And "Poppin' My Collar" is just a beautiful song, its soaring strings and choral vocals offset just right by a slow, hard beat. On "Swervin'" a gorgeous harp line floats above a storm of low, distorted bass, while the light, sprightly violins of "Side 2 Side" rub up against the stomp-stomp-clap drums perfectly. Most Known Unknown is the group's most melodic album, but these lighter touches perfectly compliment the old eeriness. It's a strong single, but it was also an unsettling sign that Paul and Juicy might be trying to become Kanye West.īut despite a new fondness for dusty r&b samples, Paul and Juicy have kept the black-hole stomp that has always made them great. The song finds the group's members rapping in double-time instead of their usual slow, slurry cadences, collaborating with fellow Tennessee rappers Eightball, MJG, and Young Buck instead of their own circle of friends, and, most shockingly, using the skittering percussion and tear-stained strings of dusty soul rather than the minor-key John Carpenter pianos they've been leaning on for years. We got a lot to do with what's going on in hip-hop today, but niggas don't realize it." But the album's opening song and first single, "Stay Fly", is a curious departure. On the spoken introduction to Most Known Unknown, DJ Paul explains the title: "Three 6 Mafia is known, but at the same time, they unknown. Promising Three 6 protgs like Lil Wyte and Frayser Boy made great records, but you weren't about to see them on MTV. The slower, darker end of the stuff that made its way to the radio (Lil Scrappy's "No Problem", Crime Mob's "Knuck If You Buck") was heavily and obviously indebted to the Three 6, but the group remained a regional empire, huge stars in Memphis and little-known outside the South. Something else happened in 2003, though: crunk blew up.
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The group had winnowed its once-huge lineup down to four, and everything that they did sounded practiced and weathered and calculated, like they'd spent years figuring out exactly how to raise heart-rates and explode trunks. Everything on that album was so slow and hard and ominous that it practically bent the air. By the time of 2003's stunning Da Unbreakables, the group had its approach down to a science.
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