Kanye West - The Power of Humility

I'm not sure you properly and fully appreciate the statement that is being made by Kanye West's "Runaway" video movie, but don't fear, I'm going to help you.

At it's fundamental core, Hip-Hop has always been about skills. Historically this transcended all of the core elements of the culture - graffiti, DJing, MCing and break dancing. Over time, the role of the MC rose, the role of the DJ fell back, and as far as popular culture is concerned, breaking and graf are the strangers at the family reunion that no one acknowledges or cares to recognize as being part of our bloodline.

As far as MC's are concerned, this hard coded focus on ability translated itself into a constantly improving quality of music. However, along the way to the widespread acceptance of Hip-Hop as a viable genre to be programmed for on your FM dial, some of our tools and tenets were forgotten. Certain historical parts of the greater canon were rejected and definitions of vast importance were obscured. Not even in a technical sense (the absence of scratched hooks being my personal least favorite change), but in terms of sentiment. The superiority of skills gave way to the superiority of bank roll, superiority of car collection, as if this was an equal substitution.

Once skills stopped being the final determinate of importance, the door was opened for any number of trash ass "rappers" to come to prominence. Why bother working really really hard on making a really really good song when you can simply don the persona of Lil Swaggy Swag and posit that any arguments opposed to your status are rendered moot based on the size of the fleet of rental cars in  your video?

Whenever I dip my toes into commercial radio these days and I hear what's being consumed by the masses at large, I often wonder what would happen if you Marty McFly'd any of the great icons of Hip-Hop from the golden years to now if they would even identify what is being labeled as "rap" currently as being something that descended from their lineage.

And we can't go backwards. As much as I appreciate what it means for someone of Buckwild's stature to release a vault full of "vintage" beats to a current artist like Celph Titled for a full length album who's sole purpose is to serve as an audio time machine, efforts like this (which definitely deserve to be applauded) are a blip on the national consciousness. Once there is rapping in a Kentucky Fried Chicken commercial, you can't take it back.

Which brings us to around to Kanye West's new long form video, "Runaway", and the music contain herein.

Prior to this, I honestly can't recall a Hip-Hop artist of his scale and import doing something that was so vastly unique. Kanye has always had a gift for introspection and self analysis, but listening to the lyrics of "Runaway" makes me think that he's not only speaking about himself any longer, but also the specific genus of male figure our excesses have spawned.

Think about this within the context of someone like Kanye West, who's previous crossover hit "Gold Digger" had suburban mom's and teens playing a happy little dance with the N word to the tune of 16,947,912 views on YouTube as of this afternoon and who knows how many actual record sales. When have we previously seen someone become mega famous to the level that Kanye reached, where people actively hate you without even knowing you, but love you enough to keep buying and keep talking, then turn around and eviscerate all the same boorish behavior that took you from artist to trending topic?

Perhaps you can look at Kanye's twitter feed and suggest that he's still as much of a megalomaniac as he ever was, but I would in turn suggest that obsessing over Napoleon's couch, or Queen Elizabeth's fine china, if done in the name of *art*, is EXACTLY what I want a super successful, super rich artist to do.

Consider on the other hand someone like Jay-Z, who continues to pump out anesthetized song after song, parceling out personal records like the exact opposite of Hansel and Gretel. As far as I know, has Jay even acknowledged that he's even married to Beyonce? Not simply on record, but in real life? Maybe Jay-Z doesn't want to be "artsy" and I suppose that's fine. But at a certain point, don't you start to question someone's desire to even be an artist when they don't reach for something more than? Especially, when they have all the access, the money, and the ability to make it happen?

Obviously, I loved the "Runaway" long form video and I accept that not everyone will. But even if you're not as inspired by it as I am, I would hope people recognize the value in the fact that Kanye is reaching for something. Something more than what Hip-Hop has even produced previously. I certainly wouldn't suggest that Kanye West was the one that turned the Phoenix to stone. That charge should be levied against much greater offenders possessing a great deal less talent. But I think he's trying to give rise to something truly new. Something singular. And for that we should say thank you.

Vitamin D's Rent Party, Seattle and Costs

Vitamin D's Rent Party Flyer

I'm not going to make this a super long 2000 word "blog" post like usual. We'll keep this nice and brief. Today is Friday. If you're going out on Saturday, you should be at Hidmo at 8pm for Vitamin D's Rent Party.

If you'd like to read about why, let me point you to these two already written pieces in the Seattle Weekly:

Vitamin D - Essential Nutrients - March 3rd, 2004

Only Mom Can Stop Vitamin D From Winning Beat Battles - August 17th, 2007

If you'd like to hear and see why, let me point you to some audio treats:

Vitamin D - Let Go - From the 2010 "Born Day EP"

Ghetto Children - I'm An MC - from the 1995 Tribal Productions tape only release - Untranslated Prescriptions

Jake One - Home f. Vitamin D, The Notework, Maneak B & Ish from Digable Planets - From Jake's 2008 fantastic "White Van Music"

You can also download the entirety of the Bornday EP (released this year on March 22nd, Vita's b-day) here: http://www.sendspace.com/file/6ouaqo

I fully intend on doing my own recap of Vita's involvement in what I think is an absolutely crucial and somewhat overlooked period in the development of Seattle Hip-Hop at a later date. Quite frankly, documenting the Tribal Productions era is really the most important thing I could ever endeavor to accomplish with this site.

Right now however, here is my brief sales pitch on why Vitamin D's Rent Party is something you *need* to check out.

The truth is that being an artist isn't an easy life, and furthermore, making that choice comes with a significant cost. I know with certainty that decisions I've made in life have cost me opportunities I can't get back. While I've been tremendously fortunate to have ended up on the right side of things with a great family, job and a career of sorts, for most artists it's a different story.

Other than a paltry number of "beats" on a Myspace page I no longer remember how to access, my time as an "artist" was short enough as to negate the usage of the word as to define it. I gave it a try. What I didn't do is put in two decades of hard work into building the foundation of Seattle Hip-Hop. Vitamin D, along with a handful of others, did exactly that.

The truth is that sometimes the best art gets overlooked, and I would not hesitate to describe the music that Vitamin D has put out over the last twenty years as being some of the best - not only relative to Seattle in particular, but Hip-Hop in general. Obviously if financial success was the implicit result of artistic quality I wouldn't be writing this right now but for a variety of reasons, some of which I've touched on previously here, that isn't the case. In this instance, Vita needs a little support. I intend to do my part to provide it, and I would strongly encourage you to do the same.

If nothing else, put down $5 at the door for the privilege of downloading the absolutely excellent Born Day EP that is linked above. It's without question my favorite album of 2010. In the space of 24 refreshing minutes Vita illustrates everything that I could possibly say in words about the Why of the need to support this rent party. Do yourself a favor, admit that you're in your 30's just like I am, and make time to listen to an MC trying to deal with mature real life topics (Ok, I'll call it Grown Folk Shit - you more comfortable with that?) in a manner that is unquestionably dope.

The truth is music isn't free. Neither is rent.

Where do we go from here?

Rest In Peace - Keith Elam AKA Guru from Gang Starr

“A man’s dying is more the survivors’ affair than his own.” - Thomas Mann

So it came to pass that on Monday, April 19th legendary MC Guru from Gang Starr died.

Most of the focus of the discussion at this point seems to revolve around the drama that was his hospitalization and the involvement of "super producer" Solar, who somehow was appointed (or appointed himself) Guru's legal proxy either before or while he was medically incapacitated. I highly doubt that we are ever going to get satisfactory answers about Guru's illness, his involvement with Solar, the fallout with DJ Premier and every other related issue about how Guru really felt about his legacy with Gang Starr - simply because of the nature of his condition.

So where exactly do we go from here? Especially when it comes to the legacy of an artist who seemingly, for reasons unknown, turned his back on the impact of the music he made as a part of a group.

It's easy for me to tell you that Gang Starr were the best rap duo ever. The more complex part is defining why.

In 1993 there was an attempt to re-classify Gang Starr's music as part of a larger alternative Hip-Hop movement that fuzed Jazz music and textures with rap - mostly by people that weren't listening to the already sizable catalog of hardcore east coast rap music that Gang Starr had assembled over the course of their previous three albums: No More Mr. Nice Guy, Step Into The Arena and Daily Operation.

Gang Starr - Take It Personal

Can you imagine someone releasing a song like this in 2010 as a single??? With a video??? Let's recap:

0:00 - 1:00 - Guru's girl is apparently playing him with some other dude. Said dude gets yoked up (by Big Shug no less) and is left hanging from the ceiling in her apartment.

1:00 - 1:40 - Some unidentified buster snitches to an attorney about the samples Gang Starr are using (I think the 12" thats held up is "Words I Manifest" but I could be wrong) and less than 45 seconds later the attorney's case is thrown out and the snitch is leaking brain juice all over the desk. And here you thought the legal system was ineffective...

2:03 - 2:21 - Around The Way Kid is upset Guru is "too busy making power moves" like getting photographed in front of a fake courthouse by fake reporters after exposing a fake sampling loophole - kind of a strange thing to get upset about but whatever. Anywho, Around The Way Kid is telling Guru's business "like a daytime talkshow" and for that transgression he gets snuffed up by the Gang Starr Foundation at large and is carried screaming off into the night, probably wishing he wasn't such a bitch.

Note the quickening pace of dudes getting snuffed. Also the plain intent of the song - telling the presumed audience of suckers / biters / wack MC's and other individuals worthy of scorn to in fact take the implied diss personally.

With the release of Guru's 1993 solo effort "Jazzmatazz, Vol. 1" along with Digable Planets "Reachin' (A New Refutation of Time and Space)", the convenient thing for journalists to do was play Dumb Person Math and lump Gang Starr, Guru's group, into that same category as Guru's passion project. Obviously some of Gang Starr's production was jazz loop based - see the 1990 "Mo' Betta Blues" soundtrack release "Jazz Thing" for the clearest example, but there was a vast difference between Premier's implementation of jazz samples and Digable Planets jacking the entire Blue Note Records catalog for their first album. Shit, I don't know that Digable Planets themselves wanted to be as "alternative" as they were branded, the blowback for which resulted in their criminally slept on 1994 release "Blowout Comb" (which was almost a Gang Starr tribute record in it's textures and themes), low subsequent sales, breakup and disappearance from the general public's collective radar.

Back to Gang Starr, it seems clear  that the first song on their next release, 1994's "Hard To Earn", was a direct repudiation of any efforts to brand them as even remotely "alternative":


First Verse:

What you need is more direction and get yourself some protection
I thought by now that you have learned your lesson
I'm stressin points and slammin all joints you call the real shit
Correct shit, you know the busta way you feel shit
Baby, I still don't think you understand
You lose the game, we get more props than Dan...Rather
And it don't matter 'cause when you flinch, you're weak
So i'mma step just to speak about the counterfeit, unlegit type of people
Those cellophane ones, the ones that you can see through
It's poetic justice 'cause I'm mad with a pact
So precise, my insight will take flight in the night
And in the daytime, 'cause I don't come up with corny rhymes
I'm too devoted to the concept of gettin mine
So here's the deal like Shaquille O'Neal
If you don't know what you're doing, how the hell can you be real?

This is Criminal Minded. This is Road to the Riches. This is a classic on the day it's released. This is the timeless implementation of the hardcore Hip-Hop aesthetic the East Coast was known for.

Making timeless music would be what GangStarr did for the remainder of the 90's all the way till 2003 with the release of their last LP, "The Ownerz". Go through Gang Starr's catalog and you will find a purity and a purpose to every single song that is uncompromising - Hip-Hop that does not pander to the radio, that defines itself based on original style rather than what may be popular at the moment.

Specific to Guru, it's not as if he was technically the most amazing MC to ever get busy on the mic, but if the guy can pull of a line like: "Lemonade was a popular drink and it still is / I get more props and stunts than Bruce Willis" you can easily infer that he has more charisma than 100 of these half ass pooh butt rappers that are getting played 24/7 on your local radio station.

It's hard to talk about Gang Starr and lay out the reasons for why they are the best rap duo ever without sounding trite. I shouldn't need to tell you - this is really something you should already know. My indoctrination into rap music and Hip-Hop culture was in an era where everything was relative. You couldn't appreciate an artist like Big Mike without understanding the history of the Geto Boys. You couldn't get Redman without EPMD. You couldn't get Snoopp Dogg without knowing The D.O.C., N.W.A., Ice-T, etc. Knowing your history wasn't optional, it was *required*.

To that end, an MC from Boston and a DJ from Houston combined to establish their own self-referential standard for East Coast rap music - to a degree that won't be eclipsed anytime soon. Perhaps the challenge of living up to that same standard was part of the reason they stopped recording. If so, we're left with a body of work that is nearly unparalleled, regardless of whether or not Guru wanted to acknowledge the significance of the work that he and Premier put it, the music remains as a testament to that ideal. Raw, uncompromised Hip-Hop music. Gang Starr music.

I'll leave you with a couple of my favorite under the radar Gang Starr joints. First is Madlib's remix of "Just To Get A Rep", released in 2001 with a collection of other "unofficial" Madlib remixes. This song in particular takes Guru's already classic monotone delivery and pitches it down even further, combined with Madlib's somber production creates something that is far more melancholy than the original.

Gang Starr - Just To Get A Rep (Madlib remix)

Next is Gang Starr's contribution to the soundtrack of the 1993 film "Trespass" (which I saw in the theatre!) "Gotta Get Over". Some prefer the admittably fantastic remix by Large Professor, but at this moment in time I'll take the OG version for that classic Gang Starr sound.

Gang Starr - Gotta Get Over

Last is the video for "You Know My Steeze", the first single off of their 1998 album "Moment of Truth". Yes, it's an homage to THX1138. Yes, it's hilarious and dope at the same time. Nobody else could pull this off. No one.

Gang Starr - You Know My Steeze

On An Island - Erule & Pallas Records

Rap Pages - December 1994 - LA Underground cover photo left to right:
Ganjah K, Medusa, Ras Kass, Erule, Koko, AceyAlone

As a music industry outsider, trying to determine why certain records do well and others flop has always intrigued me. Especially during a time like the 90's when seemingly everyone and their mother had a major label record contract. As much as we like to remember this period as the "Golden Era" there was just as much shitty music getting released on majors then as there is now. Blood of Abraham, Tweety Bird Loc, Dog M.C., these guys:

(Label Guy: "Whats the album called? Nutt'in All Over Your Face? Sounds great! We'll sell a million!)

Browse through any rap magazine in the 90's and you will find a litany of terrible rap acts getting pushed by big labels. Again, this is my outsider impression, but it seemed that most of these major labels had no idea who or what they were getting into, and some of the quality of the artists that were signed during that time period is indicative of that relative inexperience.

Enter Erule and enter Pallas records.

Rap Pages - August 1994 - Back Inside Cover

Pallas records was distributed by Universal, which is to say that they were under the umbrella of the biggest record label in the world. At the time, hiphop icon Fab 5 Freddy was employed as their CEO, but in hindsight it would appear that Fab 5's talents lay in areas other than label and artist management. But I'm getting ahead of myself.

Erule's 12" single "Listen Up" with the b-side "Synopsis" was released in the summer of 1994 and was a semi-substantial hit. At this juncture let me provide a bit of a disclaimer. The truth is that I am hardly a disinterested party in this analysis, in that Erule's "Listen Up / Synopsis" single is probably my favorite rap single - ever. Ever ever. If I was stuck on an island with only three songs to listen to for the rest of my days, it would easily by my number one draft pick. You want evidence of my allegiances? I'll call this Exhibit A:

And if they had put it out on 8-track I would have copped that too

My rabid fandom aside, let's move onto the music:

Erule - Listen Up - Official Video

Erule - Synopsis

I don't even want to go on about how magical these records are because if you've got two ears, and they're properly functioning, that quality should be readily apparent. I will say that I believe there are definite parallels between Erule's "Listen Up" record and Dr. Dre and Snoop's classic "Nuthin' But A "G" Thang" in that their ultimate worth is all in their execution. Dre's sample of Leon Haywood's previously semi-obscure sex-funk classic "I Want To Do Something Freaky To You" was hardly groundbreaking. It's pretty much just a straight flip, and in the same way that "Listen Up" flips the Roy Ayers's comparatively more well known classic "Everybody Loves The Sunshine" as it's musical backbone. That being said, any asshole can loop the drums from Billy Squier's "Big Beat" over a break from one of the Conmen mixtapes, but a classic record this does not make.

In both G Thang and Listen Up there is a degree of sublime perfection in their execution that is rarely found. This is not the boisterous noise of any one of a million nondescript shitty pop rap hits, this is the combination of an MC and a producer blending their respective elements into something that becomes More Than. The end result is Special with a capital fucking S.

To that end, "Listen Up" was a success in 1994 terms. Rotation on Yo! MTV Raps, Rap City (shout out to Joe Clair for getting that commercial work), placement in every DJ chart list - the one missing ingredient being retail sales. No worries, the full length is going to come out eventually...right?

All this hype can't be for nothing right?

Rap Pages - August 1994 - Summer Sounds - Page 2

Wrong. If Nas's buildup from Live at the Barbeque to Halftime to Back to The Grill Again to Ain't Hard to Tell and then the Illmatic album was as an example of perfection in promoting an artist, this was the opposite. At the time of Rap Pages December 1994 profile piece on the LA Underground, the entirety of which I'll attach at the end, the album was still in the works. And that is as far as it got.

Fast forward 7 years later to 2001 and Erule releases an album of all new material entitled "Cold Currentz" on what I believe was his and his producer King Born Allah's own label, Flatland Region. I would say it was a generally uneven effort, but not without it's highlights:

Erule - One Rule - Believe it or not this was a Ja-Rule diss.

Erule - Nik Luv R.I.P.

Erule - The Real Me / Here It Is

One of the most interesting things about the "Cold Currentz" album was the interior of the CD insert, which was an exhaustive list of people, companies and organizations that from the view of Erule's camp conspired to prevent the release of his first album on Pallas Records. I'll include a small sample of it below - in all caps the way that it is written on the CD, because well, it's funnier that way:





I'm not including the other stuff where they bag on the lawyer that apparently represented them on their contract who was also working for Pallas Records, the Japanese "Hood Rat" Keiko, or a certain Travon Johonson who is referred to as a "HOMOSEXUAL SLAVE TRADER". Suffice it to say, these are not guys that had what could be called a positive experience with the record industry.

Amusingly, around the same time that the "Cold Currentz" album was released Pallas actually pressed new copies of the "Listen Up / Synopsis" 12" which I can assume was a less than subtle fuck you toward Erule's new venture - or less sinister just an attempt to make more money on an artist that was at one point under contract with their label.

To this day, I don't know that there have been clear answers gleamed about the situation with Pallas. Erule and his camp certainly made their position known, and other than a website that only exists in the cache on Archive.org Pallas Records seems to be entirely dead, so I doubt that any counterpoint from their side is even possible. I'm not sure that there would be any value to continuing that exchange either way. The Pallas record never came out, and all bluster aside, I highly doubt that the "Cold Currentz" album made anyone rich.

So here we are, approaching 16 years since the summer when the "Listen Up" single debuted, and we're no closer to hearing what was recorded during those Pallas years. Erule has made infrequent guest spots on other rappers's songs both before and after the release of the "Cold Currentz" album. His one solo effort being the painfully titled 2008 single "Please Listen To My Demo"

Here we go again. Fantastic song - but you can't buy it! As far as I can tell, there was no conventional release of this song, no 12", no promo cd's, nothing. Just the above video.

Considering Erule's career and inability to find any significant traction in the record industry, there is a certain amount of powerlessness that I'm left with feeling as a fan. The way that it's supposed to work is that I use my wallet to support artists that I appreciate. In Erule's case however, it's been nearly 10 years since he's released anything, so how do I support his career? What can I do?

It seems clear to me that this is a man who is supposed to be MC'ing - the guy was born to do it. And be clear - there is a vast difference between the craft that exists in the composition of one single verse of any Erule song and what passes for "rapping" nowadays as it continues to be abused in pop music. This is an art form. That is a mockery.

But what do you do when major label record company politics prevent your album from being released? What happens when it seems as though the window for "making it" in the music business seems to be closing? Do you continue pushing towards a goal that seems entirely unobtainable? How much do you sacrifice in the name of art? How long do you put the rest of your life on hold to chase your dreams? How do you prevent the bitterness of failure from impacting the art you love?

Obviously, all these questions are rhetorical, and it isn't for me to provide the answers. I would like to think that in 2010, someone of Erule's pedigree could use the various social networking tools to get their name out pretty easily and build some buzz. Sadat X from legendary East Coast group Brand Nubian advertises on Twitter his reasonable rates for feature appearances, which to me is absolutely genius. If I was an up and coming rapper, given the opportunity why wouldn't I want someone of that stature on my record? And for Sadat, he's able to find a way to stay working some 20 plus years into a career in an industry that quite literally chews people up.

This morning I sat my 3 year old daughter on my lap and we watched the Listen Up video that I've linked above. Someday I'll tell her the story of when I first bought the "Listen Up" promo tape at a long since out of business record store for the tidy sum of 99 cents. Whether Erule's Pallas record ever gets released or not, the "Listen Up / Synopsis" single remains a record that will always be important to me, and who's value exists above all the record industry bullshit that accompanied it's release. Going forward, whether Erule wants to release any new music or not, I'm still going to be here, and I'm still going to be Listening.

Postscript - below are scans of the entire LA Underground article.

First things first

A Story...

The year is 1994. I'm a junior at Franklin High School and the internet does not exist (as far as I'm concerned). I was compulsive consumer of any and every rap magazine I could get my hands on at the time, and as such whether it was 4080, Rap Pages, The Source, The Flavor ( I know thats a MySpace link and they aren't cool anymore but you NEED to click that and check out the pics they've posted - simply fantastic stuff), or any of the various Seattle mags that came and went, I was most definitely Copping That Shit.

I'm sure I could dig through my magazine collection and figure out when exactly I first heard about Blackalicious's "Melodica" EP. Matter of fact, consider "Deven Goes Through Crates Of His Old Rap Magazines" a definite future installment here. Anyway, at the time Melodica was an import only release, outside of whatever copies were likely being sold in the Bay Area. I hit up Tower Records for weeks on end bugging them to see if they had it in stock with no luck. Yet, every rap magazine I read went on and on about how spectacular this EP was and how Blackalicious were on some completely different shit than the rest of the West Coast was at that time. Regardless, the album might as well have been made out of Unobtanium (c) James Cameron because I have absolutely no chance of hearing, let alone purchasing it. If Charlie Bucket was a obsessive teenage hiphop culture sponge, I was him - without the sad-sack good for nothing family holding me back (keeping it real street here with the Willy Wonka references).

Rolling back the calendar tells me that in 1994 my birthday was on a Tuesday, so it was likely the following weekend of the 26th that I had my bi-weekly visitation with my dad. For my birthday all I asked him to do was take me to a record store that I hadn't previously been to - Silver Platters - south of Northgate Mall, not knowing what I would find exactly and no particular agenda other than to buy some new music. If I was smarter, I would have probably hit up Music Menu down by Franklin for a copy of the Melodica EP, but alas - I was 17, and also a fucking idiot.

While going through the rap section one CD at a time, somewhere between Big Daddy Kane and Bushwick Bill I found *it* - the Swan Lake CD single - hand drawn cover art, black on white, the back side corner of the CD case semi-broken. It took me a minute to wrap my mind around what I had found. I mean, I was not supposed to be holding this. Going through the rest of the cd's they had was completely a blur. I couldn't get to the register and get it in the cd player in the car fast enough.

Nowadays it takes all of about 15 seconds for me to type "Blackalicious - Swan Lake" into Google and be listening to what I mounted a quest for as a teenager. I think it's obvious that something significant has been lost in that we now have nearly unlimited access to hear any and everything at any time. This is not a crusty old "Things Were Better Back Then" allegorical tale about historical superiority based solely on an object's relative age. Consider the simple reality of the situation - things you have to work hard for mean more and have more basic value than things that you receive at no cost. No great surprise there. So why would our implied value on music be any different? Furthermore, you better fucking believe that decreased value is going to impact the actual quantity and quality of what music is being produced. Have you listened to the radio lately?

Artists, as much as we like to think exist in this strange ethereal void outside of reality, in fact have Normal People needs. They pay rent, buy groceries and have families they need to support. All those actions are functions of compensation for their output, and in the absence of that compensation you'll find the absence of art. I'm sure someone will counter with the suggestion that the best art is free. Well, sorry but you're a fucking moron. Maybe in the most extreme case there is some truth to that example, but here is what defeats it - Time.

At some point Jimi Hendrix was content to just wail away on the guitar for an audience of one and no money, but eventually Jimi wants to move out of Mamma Hendrix's house, so he's got two choices: either be financially compensated for being Jimi Hendrix, or be Jimi Jiffy Lube, Jimi Dental Hygienist, Jimmy Zoologist. In all of the later scenarios, he's not Jimi Hendrix, and he's not doing this.

Consider *your* most favorite music - have you supported that artist? Have you done anything to make sure they are in the financial space to keep doing what you so enjoy? Don't get it twisted - major artists are definitely getting their iTunes money, but what about the millions of music makers that aren't at that level? Believe me, I got wrapped up in the whole "music is free!" bullshit like everyone else, but I'm trying to make my amends. That means buying music, but it also means going to shows - specifically for Seattle artists who have put down an amazing legacy of some of the dopest hiphop music ever period - but aren't for whatever reason always the sharpest when it comes to getting a CD for sale in stores.

Back to my particular story, it wouldn't be a tale worth telling had the music been terrible - but it's not. It's an absolutely definitive West Coast record for all the right reasons. Fantastic mc'ing, fantastic production - and for the record, not a straight sample jack either - Chief Xcel chopped that. Quite obviously, it's value to me as a piece of music is wrapped up in the emotional weight of what it took to acquire. My sincere hope however, is that you dear reader, who I'm hoping clicked on the linked YouTube clip of "Swan Lake" this whole piece is about, are able to impart some of the value of my story to your own experience with the music.

There is some guy selling that same "Swan Lake" cd single on Ebay right now for $70, and other than first wondering why, second wondering if I should buy a backup, it just makes me sad for him. Maybe he didn't have to work hard for that copy, so it's essentially disposable. Or maybe he's just got shitty taste and can't recognize dope music.

I can tell you with conviction that my copy of the Swan Lake cd single is going to stay with me until I'm taking a dirt nap, and then passed onto my kids for them to know a little more about what made their Dad tick and to understand one of the things that he loved.