Dear Mr. Sandler,

While Merriem-Webster defines an open letter as “a published letter of protest or appeal usually addressed to an individual but intended for the general public,” I thought it was only right, in your honor, that I challenge that conventional approach of a literary style the same way that Happy Gilmore did with the sport of golf. And by that, I mean have fun with something in new ways as a means of building on an established tradition and ultimately positively contributing to its evolution.

Speaking of that former aspiring hockey player, congratulations on the success of Happy Gilmore 2! It was after a recent second viewing of it that I got inspired to write this. Bad Bunny. Eminem. Post Malone. Kid Cudi. Cam’ron. Hip-Hop certainly has a presence in this excellent legacy sequel. But you have always masterfully incorporated Hip-Hop music and culture into your films. I want to thank you for that, and that is what this letter is about.

Based on the origin of this writing at AllHipHop.com, it’s clear that Hip-Hop is a big part of who I am. I was born in 1987, and so my formative years were arguably the second half of the 1990s and the first half of the 2000s. In addition to rap, though, film was also a big part of my upbringing. Some of my fondest memories from my youth are going to movies with my grandfather; we saw a few of yours. And the best of those was Big Daddy. In addition to how he and I bonded over the bond between Sonny and Julian, another reason I love it is that it put me up on “Passing Me By” from The Pharcyde. The introduction to that record led me to the Bizarre Ride II the Pharcyde.  And now, over a quarter of a century later, I have that vinyl framed on my wall, acknowledging it as one of my favorite albums.

https://www.youtube.com/watch?v=a-mAK3uB2_0

Another instance of Hip-Hop music supervision that stands out to me is the scene in Hustle when your character receives devastating news, and then Beanie Sigel’s “Feel It in the Air” starts to play. That works on so many levels, which is why it is the ideal pick. But that is a relatively deeper cut, especially considering the dozens of songs from multiple genres that the film could’ve used for that particular part. Just thinking of that record gives me chills. And I can all but guarantee that part of Hustle introduced someone to Beanie Sigel the same way the opening credits to Big Daddy made me aware of The Pharcyde.

https://www.youtube.com/watch?v=0AIzKz9qQR0

Along with the exemplary Hip-Hop music selections in your movies, another notable aspect of your work is having rappers appear in acting roles that subvert expectations.  The Cobbler is a film that immediately comes to mind. Method Man has always been, and still is, a phenomenal emcee, but his performance in that truly stood out. His scenes with you were particularly noteworthy, and if it weren’t for your ability to share the screen with him, I doubt he would have come off as effective. And I’m guesstimating that if it weren’t for that success, he wouldn’t have grown as an actor to the point of being able to play Davis MacLean so masterfully years later on Power Book II: Ghost. And while he didn’t share any scenes with you, I thought The RZA was hilarious in Funny People. (So both on the mic and in the movies – the Wu Tang Clan ain’t nuthin’ ta f### wit.) 

https://youtu.be/z5STWYR8IcI

Vanilla Ice was also a pleasant surprise in That’s My Boy. I mean that sincerely, too. At the same time, I know the film’s reception was not great. However, for as over the top as it is, I think it’s a funny movie and you and “Uncle Vanny” are big reasons why. The way Ice plays and pokes fun at himself is great. The part where he explains how he owes money every time “Ice Ice Baby” gets played, and then you tell him to “Stop, collaborate, and listen,” never fails to get a laugh out of me.

https://youtu.be/_-ea8diZ5M8

I’m aware I’ve only scratched the surface regarding your association with Hip-Hop throughout your career. These are merely five examples in a career that spans five decades. I also understand that filmmaking is a very collaborative process, so the Hip-Hop in your films, in whatever capacity, is not always 100% your decision. However, given your legendary status (a very belated congratulations on your Mark Twain Prize for American Humor as well), your voice gets heard if needed – I would think.  

https://m.youtube.com/watch?v=5CukbxgucLc&pp=ygUdYWRhbSBzYW5kbGVyIG1hcmsgdHdhaW4gYXdhcmQ%3D

In closing, I present it to you like this, sir: I recall you and Rob Schneider interviewing with Howard Stern. You’re then telling the story of how Steven Spielberg reached out to compliment you on your “Red Hooded Sweatshirt” sketch on Saturday Night Live, and commented how it helped him get through the arduous task of filming Schindler’s List. I bring that up as a reminder of how your incredible talent can resonate with amazing people on profound levels. So, because of that, people will inevitably gravitate to things you associate with. Therefore, I greatly appreciate how you’ve included Hip-Hop to the degree you have over all these years.

https://youtu.be/0DkhIywNmys

Hip-Hop celebrated its 52nd birthday a few days ago, and I want you to know that you have played a part in helping it become the phenomenon it is. It is better off because of how you’ve chosen to include it in your journey, so, whether it be the character of Rosie rapping “Rapper’s Delight” in The Wedding Singer (another movie of yours my grandfather and I enjoyed), putting “Set Adrift on Memory Bliss” in I Now Pronounce You Chuck and Larry, name-dropping the Beastie Boys in “The Chanukah Song, Pt. 2,” or something in between. Thanks again. For everything.

Respectfully,

Shad Reed

https://youtu.be/Q0IGepU7ICc