.accelerates and tries to catch up with the person, but, though it gets faster, they somehow never meet. This is interesting because it sheds new light on the old paradox of Achilles and the tortoise, whereby Achilles cannot catch up with the tortoise. This is the elementary machinery of dream logic. So why do I mention this? Isn't this mixture of extreme mobility and immobility also our situation as cinema or video spectators? We are, as spectators, having our own mobility reduced, while...this incisive reminder still evokes a cutting operation, if not a butchery: a kind of violence — the word flesh if found in the family, just as graphy is a scratch. Higher and further back, to write is to curve meet. Writing is the curve that the turn of seeking has already evoked for us and that we find in the bending of reflection.

Since 2007, Mouchee Deeki has issued a series of bold, forthright and highly individual discs that showcase his versatility, thematic flair and charismatic style. The first release, "Bidness," was an eight-song vehicle that alternated between party tunes, autobiographical entries, and topical/political commentary. The cut "Lean the Seat Back" (both single and radio versions) exhibits his penchant for humorous asides and colorful presentation, while "Nightmares" dips into the surreal and supernatural, "Shame" is one of his earliest and strongest socio-political pieces and the duo of "Come Here" and "Git Some" highlight the party/flashy aspects of his personality.

But growth is paramount to any artists' evolution, and Deeki showed plenty of it with the 2010 release "Fa True." The number of tracks doubled to 16, he's joined by skilled partners Rashad The Poet, Aphropik, Ink Diva, Iyen Frierson, Miz Tiff E., and D. Carmouche, and he shows heightened flamboyance as a producer, writer and performer. Aided by his cousin 7Tre, this disc offers something for everyone. Those who prefer celebratory or competitive banter will enjoy cuts like "Bartender," "Jungle Funk," :Shake Dat Leg,"  or the opener "Fa Time."

However, Deeki's immersion into topical and conscious material continues with other magnificent cuts that examine in stark terms hard-edged and complex themes. "DWB" tells an all too familiar story about the perils of being behind the wheel as a Black person when the cops approach." Strugglin" with lyen Frierson," "Black Men S.o.L.," and "What's the Problem with Rashad The Poet," and "My Brother's Keeper," with Mz. Tiff E., show Deeki's willingness to engage and interact with collaborative, like-minded performers. The same is true of "The Storm" featuring Ink Diva.

Those two productions set the table for the best Deeki effort yet, the new release "The Compound Effect," which drops in November. These are 14 lean, smart and topflight cuts that again display a diverse,  profound performer. There are certainly cuts aimed at the Afrocentric bunch such as "Jim Crow Back" featuring Mz Tiff E," "Me For DWB," "Meditation Revelation" and "The Upside." But he also has words of wisdom regarding contemporary artists in "Rappers Out Here," and testimony as to his ongoing desires and feelings in "Love Me Hate Me," "My Money Makes Money," "Still Hungry," "Outta My Mind" and "On My Relations Ship."

Progressive, thoughtful and individualistic voices never have it easy in a world that seems to place more value on conformity and performers who embrace it. But that doesn't bother or scare Mouchee Deeki. He says bring it on, because that's what he's doing, with messages that stamp him as a singular and gifted artist unwilling to worry about what the crowd's doing, ready to establish his own direction, and present it to audiences. These qualities separate those with passion and talent from those who prefer to imitate and follow. Mouchee Deeki's a leader, and someone who will definitely be heard from for years to come.

Born & Raised Hawai'i
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MAHALO

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