Read it here. It's by me. There will be plenty for readers of this blog to disagree with, and I'm curious to hear feedback. These lists are complicated things, guys.
No, Team Knoc didn't make the cut, but "Fruity Pebble Punk Rock" was on my brainstorm list. With all the press Lil B is getting these days, someone's gotta step up for them and point out that he didn't coin the word "Based" at all!
Thursday, January 27, 2011
Friday, November 05, 2010
Friday Slaps: A-1
Nation-friend A-1 drops some knowledge over a Misfits-sample-centric beat produced by IRL-friend, and fellow Bushwick resident (actually I live in Bed-Stuy, and he lives in Ridgewood, not that you give a fuck) Sam "WooStaar" Staar. You can download the track here:
A-1 "Cough Cool"
One thing I really dig about this video is how it shows Manhattan for what it really is: a corporate-run police state. It's kind of the inverse of the sense of freedom that "Empire State of Mind" puts out, and it's not subject matter most rappers bother trying to tackle, so I can definitely appreciate that.
I've been so busy these last couple of months with my 3-4 jobs, that I have totally neglected the one that doesn't pay me anything, and as a result, I forgot to post A-1's latest mixtape: the After School Special, which is made all of flipped afternoon syndicated show theme songs, that you watched as a kid, or if you smoke lots and lots of weed and find yourself watching TV at like 4 in the afternoon a lot. It's really sick. Here are a few favorites:
A-1 "Goosebumps"
Adam flips the classic rapper-meets-devil song, with a "Devil Came Down to Georgia" twist. This might be my favorite.
A-1 "Family Matters"
A thoughtful song about growing up, and life lessons, like those you might have learned watching ABC on Friday nights. Step by Step was totally overlooked by Sam and Adam, just saying.
A-1 "Black Ranger"
If you ever thought that someone had to flip the guitars on The Mighty Morphin Power Rangers theme song into a beat, this one's for you. I like the name, because I had forgotten that the Rangers' suits were race/gender-coded. Now I'm wondering if the nerdy dude who wore blue was Jewish...
Anyway, you should download the mixtape here. Enjoy your weekend.
Tuesday, November 02, 2010
Thursday, September 09, 2010
NoT Turns Five, Grows Up a Little
Yes friends, it has been a busy week here at the Nation of Thizzlam. The blog has now been on the web for five years, and Staxwell and I have been on the Planet Earth for twenty-fucking-five years, which is horrifying. It's time to buckle down once you reach a quarter century, or do some 'offline' work once your blog has turned five. That's kind of what happened, last week.
Last week Nation Friend Bennett4$enate was kind enough to have me on his radio show, Awesome New Place, on Jersey City's WFMU. We drank 4Loko, and talked about the internet, rap, and other stuff. We even played some music. Bennett and I had wanted to do this for the longest time, and it was great to finally get it done. What we've (by 'we', I mean Bennett) done is talked about all sorts of crap that you can watch/listen online, and put links to all of it on the playlist page, so when you listen, you can easily access everything you're curious about. It's like blogging, but on the radio.
Anyway, tune in to hear me and Bennett do a little back-and-forth on issues of authenticity, "reality", and memetics, and how they relate to rap in the internet age. The first half is a good example of how to be a bad guest on a radio show (I miss a lot of cues, talk about the wrong stuff, bring up uncomfortable subject matter), but we really hit our stride in the second half, I think, once the 4Loko kicks in a little bit. If you like what you hear, tune in to Bennett's show Wednesday late-night, 3am to 6am, EST.
After getting home from Jersey at like, 8am, I had to get some sleep in to finish this brief profile I wrote for the San Francisco Bay Guardian about Lil B the Based God. The editor liked the photo, so he put it on the cover. Pick up a copy if you live in the city. Hopefully, @Athennna (pictured above, rolling around in copies of the SFBG on top of Twin Peaks) hasn't gotten ALL of them.
Anyway, thanks to everyone who has stuck with this blog for so long. It's been a good five years, despite the fact that most of you, at this point, hate me, or are trying to sell me viagara, used electronics, and the like. Now, back to work.
Tuesday, August 31, 2010
New Pack Sounds Kinda Like Old Pack
The Pack dropped Wolfpack Party a week ago, and few have said a thing about it. Shit, I'm just getting around to illegally downloading it myself, and I've been a fan since forever. They linked up with Husalah on this one track, and it's been getting a lot of love:
The Pack, Husalah "Bend That Corner"
The beat is great; Husalah comes with it; B is notably absent. It's a good Pack song, but not a great one. What it reminds me of, more than anything is one of The Pack's greatest songs, from back when it looked like they might blow up. They linked up with Dem Franchize Boyz (is one of these dudes in jail or something, what happened?) and Mistah FAB (LOL) for this song:
The Pack, DFB, Mistah FAB "Fresh"
This is one of my all-time favorite Pack tracks, and I'd recognize that slide-whistle (?) tune anywhere, even if it's been tweaked and recycled for a Husalah verse, and slightly different subject matter. With so many bloggers drooling over Young L's abilities as a producer these days, it's worthwhile to point out that he seems to be recycling tracks a little bit. I'm not hating, this might be a good creative exercise: returning to older work and improving upon it. "Fresh" sounds like a muddy mess compared to "Bend The Corner". And, it's not all that different from rappers who recycle their better mixtape verses on their albums (which seems like some admission that they know no one pays for either, squashing any ethical dilemma), or for that matter, rappers who constantly sound like they're recycling material, even though they aren't (Messy Marv, for example).
For a producer who eschews using samples for cultivating a sound all his own, this is a good practice, assuming it's intentional. Listening to his own beats and tweaking them is a great way to get better at his craft. I just don't like bloggers acting like he's the most prolific, creative dude out there without mentioning his penchant for revisiting tunes more than a little bit. Now, he ought to start shopping these around a little bit right, because it's not like Wolfpack Party is gonna do numbers.
The Pack, Husalah "Bend That Corner"
The beat is great; Husalah comes with it; B is notably absent. It's a good Pack song, but not a great one. What it reminds me of, more than anything is one of The Pack's greatest songs, from back when it looked like they might blow up. They linked up with Dem Franchize Boyz (is one of these dudes in jail or something, what happened?) and Mistah FAB (LOL) for this song:
The Pack, DFB, Mistah FAB "Fresh"
This is one of my all-time favorite Pack tracks, and I'd recognize that slide-whistle (?) tune anywhere, even if it's been tweaked and recycled for a Husalah verse, and slightly different subject matter. With so many bloggers drooling over Young L's abilities as a producer these days, it's worthwhile to point out that he seems to be recycling tracks a little bit. I'm not hating, this might be a good creative exercise: returning to older work and improving upon it. "Fresh" sounds like a muddy mess compared to "Bend The Corner". And, it's not all that different from rappers who recycle their better mixtape verses on their albums (which seems like some admission that they know no one pays for either, squashing any ethical dilemma), or for that matter, rappers who constantly sound like they're recycling material, even though they aren't (Messy Marv, for example).
For a producer who eschews using samples for cultivating a sound all his own, this is a good practice, assuming it's intentional. Listening to his own beats and tweaking them is a great way to get better at his craft. I just don't like bloggers acting like he's the most prolific, creative dude out there without mentioning his penchant for revisiting tunes more than a little bit. Now, he ought to start shopping these around a little bit right, because it's not like Wolfpack Party is gonna do numbers.
Monday, August 30, 2010
A-1: Charizard
A-1 "Charizard"
Goes to show, sick beats can come from the most unlikely sources. This one is produced by an old friend, Sac Masta, and flips the Pokemon theme song, in case you didn't get the reference. A-1 - who went to middle school with one Roach Gigz - provides the vocals, and rips it as usual. This is actually off of a new mixtape A-1 is putting out with my dude Sam "Hitman Sammy Sam" Staar, called the After School Special. All the beats come from popular kids shows - the only other one I can remember off the top of my head is Doug, which sounds promising - and it's set to drop on Labor Day (also my birthday, also staxwell's birthday, also the 5th anniversary of this blog's existence), so keep an eye out for it here.
Friday, August 20, 2010
Jim Jones' New Song is the Most Creatively Bankrupt Rap Song in a While
And that's saying something! (Skip to the link if you don't want to read some BS musings on Rick Ross)
If you live in Bed-Stuy, like I do these days, your life is little more than the time spent between cars passing by playing Rick Ross' "Blowin Money Fast". There was a week when - I swear! - I did not hear a car with a loud stereo playing anything BUT this one Rick Ross song. Needless to say, it was a good week. It also raised a lot of questions in my head about whether people listen to the song on repeat (on occasion, I do), or if I was fated to only hear these certain cars at certain points in their journey: the part where they listen to "Blowin Money Fast". A sort of inverse tree-in-the-woods type puzzle, I guess: If a car is playing "Blowin Money Fast" in Bed-Stuy, Willy will be there to hear it(?).
Steering the conversation away from unanswerable metaphysical questions (or assertions), the point is this: Rick Ross has the most popular rap single in New York City, and he's from Miami. Also, the song is interesting with regard to gangsta rap's inherent issues with authenticity and identity, as many have already pointed out. I'll keep this brief.
Rick Ross stole his name from a real, incarcerated drug dealer, Freeway Ricky Ross (Freeway stole the other half), a la the plot of CB4. Ironically, Rick Ross used to be a corrections officer. He quit (got fired?), and eventually became a rapper who - on his first single - claimed that he knew Palbo Escobar and Manuel Noriega, and moreover that the former president of Panama owes him no less than 100 favors. The sheer absurdity of the claim is demonstrative of Ross' unique relationship with reality. He knows that he's lying, and you know that he's lying, but he's going to stay in character as best as he can. And this strategy has worked for him, especially in his beef with 50 Cent. But this persona has gotten more complex.
On "BMF", he admits more outwardly just how he sees himself, or wants you to see him. Rapping "I think I'm Big Meech, Larry Hoover" over and over again on the hook is a funny way of admitting that he is not a famous drug kingpin, but rather someone who likes to pretend. But then, lines like "Self-made, you just affiliated/I built it ground-up, you bought it renovated/ talkin plenty capers, nothing's been authenticated", he maintains that he is more authentically a drug kingpin than you, the listener (or the Eternal Second-Person Sucker that so much rap depends on), despite the fact that he is not Larry Hoover or Big Meech, actually. He just uses their identity to inform his own. If this makes sense.
He adds another layer (maybe two layers?) to this identity on his "O Let's Do It (RMX)" verse by rapping "Bitch I think I'm Nino [Brown]/ Bitch I think I'm Scarface/ Bitch I'm Al Pacino". So here, Ross compares himself to to fictional representations of drug kingpins, and finally settles on actually being the actor who portrayed the most famous, most imitated (also Miami-based) version of this drug kingpin archetype in hip-hop culture. He is not actually a drug kingpin, but the pure idea of the drug kingpin, as it has been represented in rap music. He's pretty damn fleshy for a pure idea.
Anyway, his song is great, but it's totally phony and confusing on a whole lot of different levels. But I think part of its appeal is just how absurd it is, both to people who write thinkpieces about rap, and to those who just like to listen to stuff that sounds good.
What I've been trying to get around to is this: Jim Jones - who seems like a real prick - decided to turn to Lex Luger, who produced "BMF" for Ross, for a beat to make a Hot Summer Jam. Here's what he got:
Jim Jones "We Got That (Gretzky)"
The beat is so similar to "BMF" it's unreal. It's just missing those dark horns that give "BMF" its bulk, and make it such a banger. My other complaint is that the first person to make the Wayne Gretzky-Ice-Diamonds connections was Cam'ron, on his first single, "Horse & Carriage" ("I'll get you that shit that Gretzky skate on"; when the potential recipient figures out what he's saying and gets excited, Cam tells her to shut the fuck up).
Jim Jones, for all we know, was homeless before Cam'ron starting giving him money for rolling blunts or whatever. He was also a godawful rapper who struggled to fit way too many syllables onto bars with way too many multi-syllable rhymes, suggesting that maybe he had his verses written for him by another more talented lyricist (Cam?), but he was too incompetent to do them justice. Then he made "We Fly High" (which Max B claimed he wrote) and ditched Cam. What an asshole, right?
So, on top of more or less trying to steal the popularity of "BMF" in New York (probably), the lyrics are totally insipid drug kingpin talk, just like "BMF", but less inspired ("fuck your craigslist, half my n----s on that Fed list"). He borrowed from Ross, who already borrows his whole persona in a much more entertaining fashion, and then stole the only clever wordplay in the whole song from his former benefactor.
This song is a black hole of creativity, and I'd encourage you to delete it from your hard drive after listening to it once to see if you agree with what I'm saying here.
If you live in Bed-Stuy, like I do these days, your life is little more than the time spent between cars passing by playing Rick Ross' "Blowin Money Fast". There was a week when - I swear! - I did not hear a car with a loud stereo playing anything BUT this one Rick Ross song. Needless to say, it was a good week. It also raised a lot of questions in my head about whether people listen to the song on repeat (on occasion, I do), or if I was fated to only hear these certain cars at certain points in their journey: the part where they listen to "Blowin Money Fast". A sort of inverse tree-in-the-woods type puzzle, I guess: If a car is playing "Blowin Money Fast" in Bed-Stuy, Willy will be there to hear it(?).
Steering the conversation away from unanswerable metaphysical questions (or assertions), the point is this: Rick Ross has the most popular rap single in New York City, and he's from Miami. Also, the song is interesting with regard to gangsta rap's inherent issues with authenticity and identity, as many have already pointed out. I'll keep this brief.
Rick Ross stole his name from a real, incarcerated drug dealer, Freeway Ricky Ross (Freeway stole the other half), a la the plot of CB4. Ironically, Rick Ross used to be a corrections officer. He quit (got fired?), and eventually became a rapper who - on his first single - claimed that he knew Palbo Escobar and Manuel Noriega, and moreover that the former president of Panama owes him no less than 100 favors. The sheer absurdity of the claim is demonstrative of Ross' unique relationship with reality. He knows that he's lying, and you know that he's lying, but he's going to stay in character as best as he can. And this strategy has worked for him, especially in his beef with 50 Cent. But this persona has gotten more complex.
On "BMF", he admits more outwardly just how he sees himself, or wants you to see him. Rapping "I think I'm Big Meech, Larry Hoover" over and over again on the hook is a funny way of admitting that he is not a famous drug kingpin, but rather someone who likes to pretend. But then, lines like "Self-made, you just affiliated/I built it ground-up, you bought it renovated/ talkin plenty capers, nothing's been authenticated", he maintains that he is more authentically a drug kingpin than you, the listener (or the Eternal Second-Person Sucker that so much rap depends on), despite the fact that he is not Larry Hoover or Big Meech, actually. He just uses their identity to inform his own. If this makes sense.
He adds another layer (maybe two layers?) to this identity on his "O Let's Do It (RMX)" verse by rapping "Bitch I think I'm Nino [Brown]/ Bitch I think I'm Scarface/ Bitch I'm Al Pacino". So here, Ross compares himself to to fictional representations of drug kingpins, and finally settles on actually being the actor who portrayed the most famous, most imitated (also Miami-based) version of this drug kingpin archetype in hip-hop culture. He is not actually a drug kingpin, but the pure idea of the drug kingpin, as it has been represented in rap music. He's pretty damn fleshy for a pure idea.
Anyway, his song is great, but it's totally phony and confusing on a whole lot of different levels. But I think part of its appeal is just how absurd it is, both to people who write thinkpieces about rap, and to those who just like to listen to stuff that sounds good.
What I've been trying to get around to is this: Jim Jones - who seems like a real prick - decided to turn to Lex Luger, who produced "BMF" for Ross, for a beat to make a Hot Summer Jam. Here's what he got:
Jim Jones "We Got That (Gretzky)"
The beat is so similar to "BMF" it's unreal. It's just missing those dark horns that give "BMF" its bulk, and make it such a banger. My other complaint is that the first person to make the Wayne Gretzky-Ice-Diamonds connections was Cam'ron, on his first single, "Horse & Carriage" ("I'll get you that shit that Gretzky skate on"; when the potential recipient figures out what he's saying and gets excited, Cam tells her to shut the fuck up).
Jim Jones, for all we know, was homeless before Cam'ron starting giving him money for rolling blunts or whatever. He was also a godawful rapper who struggled to fit way too many syllables onto bars with way too many multi-syllable rhymes, suggesting that maybe he had his verses written for him by another more talented lyricist (Cam?), but he was too incompetent to do them justice. Then he made "We Fly High" (which Max B claimed he wrote) and ditched Cam. What an asshole, right?
So, on top of more or less trying to steal the popularity of "BMF" in New York (probably), the lyrics are totally insipid drug kingpin talk, just like "BMF", but less inspired ("fuck your craigslist, half my n----s on that Fed list"). He borrowed from Ross, who already borrows his whole persona in a much more entertaining fashion, and then stole the only clever wordplay in the whole song from his former benefactor.
This song is a black hole of creativity, and I'd encourage you to delete it from your hard drive after listening to it once to see if you agree with what I'm saying here.
Monday, August 09, 2010
When The Pack Makes a Song Called "Titties"...
..you fucking post it, OK?
The Pack "Titties"
Virtuosic? Absolutely not. In fact, this sounds like a rehash of some other Young L track I can't identify. But I dare you not to sing along while The Pack rattles off as many synonyms for "breast" as they can, or when Stunna just yells "titties bounce; jumping jacks" over and over again. It's hella fun. Boobs are tight. Forgive my inability to articulate further, but this is just the anti-dote to a day of reading a Libertarian report on the insolvency of the Highway Trust Fund. Yeah.
Wolfpack Party drops on August 24th.
The Pack "Titties"
Virtuosic? Absolutely not. In fact, this sounds like a rehash of some other Young L track I can't identify. But I dare you not to sing along while The Pack rattles off as many synonyms for "breast" as they can, or when Stunna just yells "titties bounce; jumping jacks" over and over again. It's hella fun. Boobs are tight. Forgive my inability to articulate further, but this is just the anti-dote to a day of reading a Libertarian report on the insolvency of the Highway Trust Fund. Yeah.
Wolfpack Party drops on August 24th.
Wednesday, August 04, 2010
From the Inbox: New Roach, and a Correction!
No matter how lazy we get here at the Nation of Thizzlam, we care deeply about upholding our standards of journalistic excellence. A while back, while writing about Berkeley's Malki Means King, I reported that Malki was Jewish primarily because there are a lot of Jews in Berkeley, also because he looks Jewish, and Malki actually means king in Hebrew. I suppose I forced the Jewish speculation on him because I wanted to make the connection between him and Saul Cohen. Malki must have googled himself last night to find that the top search result was a post calling him a "shithead" and saying he is Jewish. He left a couple comments. For that I apologize. I actually really love "The Malki Song", and I no longer think he's a shithead, though I wonder if he wasn't a little bit too upset about being called Jewish. From the comments:
"this is malki means king. im not jewish. lol. "
and then,
"also the .mp3 of the malki song is on itunes. i just got a check from itunes most of the sales are from the malki song!!! im bout to drop an album soon i need some promo on that. Please stop saying this jewish hebrew shit. im not jewish at all, my mom is italian my dad is lebanese. its my dads last name that side is from the middle east seriously. confusion like this is the reason i made the malki song... malki means king"
The Lebanese connection explains the Semitic sound to his name. Malki, let's not forget that Jews, too, are from the Middle East. At least originally. I'm still open to the idea that Malki is Jewish and doesn't know it, but for now just take this as a retraction. And Malki, if you're reading this, I would be happy to promote your album provided you hold yourself to the high standards of "The Malki Song".
And in a Twitter DM, Roach Gigz sent me his latest video, "Pop Off", which has already made the rounds because it's pretty incredible.
The video was shot in the days surrounding the Johannes Mehserle trial, concerning the fatal shooting of Oscar Grant at Fruitvale BART. Aris Jerome does a great job of using the abandoned storefronts of Downtown Oakland as a backdrop for some populist rage against the police powers of the state. The hundreds of wheatpaste posters of Mr. Grant's face act as a rebuttal to Shepard Fairey's iconic HOPE poster of Obama's face. The video is clever, and surprisingly powerful. It's might be the best I've seen since "Trap Goin Ham".
"this is malki means king. im not jewish. lol. "
and then,
"also the .mp3 of the malki song is on itunes. i just got a check from itunes most of the sales are from the malki song!!! im bout to drop an album soon i need some promo on that. Please stop saying this jewish hebrew shit. im not jewish at all, my mom is italian my dad is lebanese. its my dads last name that side is from the middle east seriously. confusion like this is the reason i made the malki song... malki means king"
The Lebanese connection explains the Semitic sound to his name. Malki, let's not forget that Jews, too, are from the Middle East. At least originally. I'm still open to the idea that Malki is Jewish and doesn't know it, but for now just take this as a retraction. And Malki, if you're reading this, I would be happy to promote your album provided you hold yourself to the high standards of "The Malki Song".
And in a Twitter DM, Roach Gigz sent me his latest video, "Pop Off", which has already made the rounds because it's pretty incredible.
The video was shot in the days surrounding the Johannes Mehserle trial, concerning the fatal shooting of Oscar Grant at Fruitvale BART. Aris Jerome does a great job of using the abandoned storefronts of Downtown Oakland as a backdrop for some populist rage against the police powers of the state. The hundreds of wheatpaste posters of Mr. Grant's face act as a rebuttal to Shepard Fairey's iconic HOPE poster of Obama's face. The video is clever, and surprisingly powerful. It's might be the best I've seen since "Trap Goin Ham".
Thursday, July 29, 2010
Turfin': Big With DC-Based Media Companies
I thought I was mistaken when I saw Slate.com tweeting something about Turfing in the Rain. Surely they must be referring to something other than the ecstasy-influenced, creepy dancing that guys do on street corners in Oakland, their garage in Walnut Creek, or their cul-de-sac in Hercules. Or wherever. But sure enough, on their Procrastinate Better blog, a Slate editor (or intern, or whoever) had posted a video of the Turf Feinz [sic] doing what they do on Macarthur and 90th in East Oakland. Their description of it is pretty great, in a how-the-hell-are-you-supposed-to-write-about-this kind of way. They call the "mesmerizing moves" alternately "balletic and Michael Jackson-inspired". They also call them "plainclothes dancers", which I find befuddling - should the dancers be in uniform? Either way, it's more articulate than, say, me pointing out that it's "hella weak". Their link is now dead, but the video is still up on YouTube:
Perhaps to solidify the, uh, less hetero aspects of Turfin, the dancers are named No Noize, Man, Dreal and BJ. The music is by Erk the Jerk, Oakland's vapid swag rapper who never really had enough swag or clever-enough flight metaphors to really take off (ha!) in the way that Wiz Khalifa and Curren$y have.
Anyway, back to DC-based media companies. I was checking The Atlanic today, and looked at their "Other Works of Genius" sidebar - the Nah Right Lite of The Atlantic, if you will - and spotted "The Interns Recommend: Dancing in the Rain", with the iconic photo of Albert Einstein razzing the camera hovering above it.
Truly dedicated NoT readers will remember when I personally ended a young Filipino turf dancer's career. He went by Tufapino (at times, parenthetically, "a Filipino that turf"), and I thought everything about him was hilarious. You can't find any of his videos anymore, save for this one ("ThiZzWiN ent's masterpiece"), because he has removed them all. I can't help but feel somehow responsible.
Given the fact that the DC media world seems fascinated with this trend, maybe I can pitch a story to The Atlantic about how, in a moment of youthful indiscretion, I ruined a young, talented dancer's online career, and how I go to track him down. Maybe he'll be working at a Best Buy in Dublin, or a Game Stop in Moraga, or a Soup Plantation in El Cerrito. You know, I interview him about his day-to-day life, ask him if he ever turfs "just for fun" or whatever. See if he's still cool with GiggDestrian, etc. It will be redemptive, like that Chris Hitchens piece where he visits a family whose kid got killed in Iraq because he read too much Chris Hitchens. Except it will be about turf dancing and rap blogging, which are far more interesting than the war in Iraq. Who's in?
Perhaps to solidify the, uh, less hetero aspects of Turfin, the dancers are named No Noize, Man, Dreal and BJ. The music is by Erk the Jerk, Oakland's vapid swag rapper who never really had enough swag or clever-enough flight metaphors to really take off (ha!) in the way that Wiz Khalifa and Curren$y have.
Anyway, back to DC-based media companies. I was checking The Atlanic today, and looked at their "Other Works of Genius" sidebar - the Nah Right Lite of The Atlantic, if you will - and spotted "The Interns Recommend: Dancing in the Rain", with the iconic photo of Albert Einstein razzing the camera hovering above it.
Truly dedicated NoT readers will remember when I personally ended a young Filipino turf dancer's career. He went by Tufapino (at times, parenthetically, "a Filipino that turf"), and I thought everything about him was hilarious. You can't find any of his videos anymore, save for this one ("ThiZzWiN ent's masterpiece"), because he has removed them all. I can't help but feel somehow responsible.
Given the fact that the DC media world seems fascinated with this trend, maybe I can pitch a story to The Atlantic about how, in a moment of youthful indiscretion, I ruined a young, talented dancer's online career, and how I go to track him down. Maybe he'll be working at a Best Buy in Dublin, or a Game Stop in Moraga, or a Soup Plantation in El Cerrito. You know, I interview him about his day-to-day life, ask him if he ever turfs "just for fun" or whatever. See if he's still cool with GiggDestrian, etc. It will be redemptive, like that Chris Hitchens piece where he visits a family whose kid got killed in Iraq because he read too much Chris Hitchens. Except it will be about turf dancing and rap blogging, which are far more interesting than the war in Iraq. Who's in?
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