And his eyes read “End”

The OFFICIAL’s rules were simple:

1. The person performing the illusion must dig his way to a tomb with one way entrance.

2. The person must fill in any hole created with the soil from that whole.

3. The person is not allowed to use any technology in digging, or moving any soil – only his hands and feet.

4. The person in the grave is not to be allowed out by anyone, he must either escape himself, ala Uma Thurman in KILL BILL VOLUME II, or die.

5. There is to be a live-feed camera in the tomb, which cannot be shut off.

6. No one is allowed to interfere with the illusion.

These were the parameters to a young magician’s, Pirlo, final illusion. A crescendo. Pirlo’s pinnacle performance was to be both a homecoming and a farewell to the art.

------------------------------------------------------------------------------

There was speculation. Despite reporters, scientists, and engineers, rummaging through the tomb, and finding no gadgets or trapdoors – there was speculation. Some assumed that the tomb had an escape hatch; others thought that he would never enter the tomb, but only appear to.

Famous at thirteen, for fermenting the Chicago River overnight, Pirlo had toured the world for years giving magic shows to packed arenas.

He bought a full block of real estate in upper Manhattan – the biggest retail purchase of a decade. He raised all the buildings in the area, and constructed an elaborate palace for himself, in which to live and work. He called it Giza.

The tabloids and news crews reported every step and maneuver as he prepared for the performance.

The Informant, a small-town southern news paper, announced that it had obtained segments of Pirlo’s “private magic documents”. Pirlo offered the newspaper billions to not reveal the trick. However, the editor, a man of modest means, released the concealed documents billions in a private film called “Pirlo’s secrets”. Teems of millions flooded movie theaters worldwide, but were frustrated by the inconclusiveness: no concrete explanation, no theory, no proof – the “private magic documents” were all encoded. Rather than an unveiling, the movie was a dialogue of possible explanations, using fragmented analysis and extrapolation. The most convincing evidence was presented in the last scene of the hour-long film, when a computer programmer described encrypted blueprints of a lifelike robot, in the image of Pirlo.

Pirlo maintained that a robot was not the secret to his trick. He alluded to something “older and more primitive, more innate”.

Days before the performance a Fx-Tech, a video game blog, produced a decoded version of the blueprints for Pirlo’s robot. Thinkers in every field stated that it was technology from a century in the future, Pirlo’s robot cures cancer, joked the onion.

However, hope amongst the masses grew. Scientific America indulged the public reporting “if it can do the things, the blue prints, say it would be the greatest technological breakthrough in a millennia, maybe two!”

Millions scanned the feed for clues. And s the moment drew closer, the bars and homes and stadiums were replete with eager masses, awaiting the bodacious.

Pirlo eats dinner with the OFFICIAL, on the balcony of the highest floor of Giza, surveying his garden. The OFFICIAL, saintly white skin radiates, beneath her whip cream gown. She tells him he needs to shave, and look tidy. At ten he leaves his abode. With a backdrop of pouring rain, and devastating electric vibrations, Pirlo walks naked, through his garden. One hundred thousand white candles illuminate Giza. He kneels. His eyes closed, he places his forehead on the muddy ground. With a flick of the neck, and crack of the jaw, he punctures the earth. He engages the bubbling blackness, biting, clawing, and carving. He makes a dent. A hole. A tunnel. Hours pass before he reaches the tomb, and without flinching he lunges into the chasm. Kicked by his falling foot, the walls of his tunnel collapse and the dirt follows him into the grave.

The Defense department monitored the ground to ensure that there was no tunneling of any kind.

Hours pass.

Pirlo walks up to the camera sobbing. On “Coffin-vision” Pirlo announces his failure. Then his regret. Then fear. “I mis-performed the procedure; I was never supposed to be in here. Oh my god help me, is anyone out there. It’s dark…” Millions watch silently; the feed is one way. “I fell in, the bot was supposed to fall in, but I did as well. He was supposed to be here alone. He was supposed to die here.” He presses. Presses a craftily made robot into the cameras, and says “yes, this is my trick, I’m sorry…You were all right, the rumor, the movie…” Crying, “I’m just a kid. I never wanted to do this, please. Mom I’m SORRY...” Pirlo cries, shivers, slams on the camera. The OFFICIAL watches from her bed.

TV Audiences everywhere sent billions of letters and videos, death threats, and lynch threats, to the OFFICIAL; pleading for her to forgo procedure and let the crew dig him up, chants of “let him live” were in every public square for weeks. From Moscow to Shanghai, from Barcelona to Reno, to Omaha, to Prague, there were the chants “LET HIM LIVE”, “LET HIM LIVE”. “LET HIM LIVE”…

However, a common trend in intellectual circles was to either accept and enjoy the fateful event – bask in the irony the rules he created; or to hold judgment till the last in order to not be fooled by his magic. Descartian precautions: it could camera tricks, a devious demon, dancing through our perception – cynics.

Still the masses: “LET HIM LIVE”.

The OFFICIAL did not flinch. She would not save Pirlo. She spoke of rules. Lawsuits, court orders, and procedures persisted, as the public and the government fought itself. Fought itself as to whether or not to allow The OFFICIAL to let die Pirlo. Even foreign nations sent in petitions stating their desire to not rescue the poor boy, “we cannot take the risk to wait and see if this man or machine. Save first, and then ask” – spoke Russian Federation President, Vladimir Putin. “

“Vlad: LET HIM LIVE”, tribune echoed.

Supreme Court Case characterized in the media as The OFFICIAL v. The WORLD, came down in favor of The OFFICIAL, and Pirlo or Pirlo’s robot in the cage was set

“TO DIE…”- times lamented.

Dusk, March, 21^st, Pirlo dies. The world watches in silence, as Pirlo twitches, loses breath, and fades. Celebrities and politicians sprinkle the special, “Coffin vision”, with voice-overs and speeches – sermons of hope and wisdom. The general public shuns and lambastes the few critics that remain – insensitive brutes, cynics.

Pirlo lies on his back, eyes piercing the cameras stare. Minutes go by without a blink. His eyes close steadily, and he emits a baritone sigh, that steadily sputters and ends. Minutes, pass and his body remains still. The lids of his eyes creep open for an instance, then close, as a smile grows on his face…

Scholars, and politicians, and religious leaders would discuss the meaning and severity of his death, and the introspection it incites within them. How could a state, with laws and dignity, let this little boy die? Millions attended shrines

Three days later, The OFFICIAL is walking through bustling time square. She stops, her flowing white dress waving in the wind. She is smiling as she glances upward. She ignores autograph seekers, and pick up artists, and just stands glancing. A few around her stop and squint, searching for what absorbs her – a stick figure on top of the coke bottle. “It’s him!” cries a peanut vendor, the bustle seems to stop as thousands follow his finger into the sky. “It is, it is, it. Look…”

Pirlo waves; the crowd erupts. He stands on the oversized advertisement, adjacent to a stereo and microphone. He picks up the mic and shouts full force. “I GOTTTCHAAAAAA SNNNNITITTTITITTCHESSSS”, repeats, repeats, repeats.

Robot Died, PIRLO LIVES, announced Life Magazine.

Many Hated it. Critics raved it. The Press Consumed it. The young worshipped it. Christians were split; some thought it was an act of great understanding to bring the world together in mourning, others thought that it was blaspheme, a crude reproduction of the death of Jesus. Liberals thought it was beautiful, the Republican’s “don’t like to talk about that stuff much”. Time Magazine showed teary eyed grandma’s and studio executives glued to the “universal prestige special”, as it came to me known. The world gossiped through the cruelty and the brilliance, the dedication and the mystery.

The OFFICIAL immediately released all documents and procedures relating to the illusion. Including a letter sent to the Informant with attached “private magic documents; and the decoded robot blueprint emailed to the Fx-Tech.

The day after his resurrection Pirlo announced, through his friend and confident Andre 3000, his plans.

Andre approaches the microphone, “One Love” instrumental pulsating. The mass of youngsters, flippant from juking, cringes. In slow Shakespearean tone and rhythm:

“Prince of metacognition, prince of precision,

Through me, Pirlo proclaims, his fiercest collision.

One journey done – of that you know none –

The next really isn’t the one

Magnificent Pirlo visits the sun.

The public was enthralled. The man of the year.

Godspeed quoth Time.

Pirlo gave interviews, lectures, even stadium renditions of his life story. Oprah got an exclusive, from his car.

He wanted to have one last interview on the Tonight Show on the night of his departure.

On the air he gave a delight chuckling interview, and talked about how its time to go and that he's not sad, and understands what he needs to get out of, and come free into the next step. Not in a preachy tone, more of a controlled pray like tone, like a southern reverend coming home for the end of tearful piece. The crowd laughed, cried, and danced with him for half an hour.

As he is about to leave to the shuttle, he gets up and something eerie had happened. He hobbles about and looks back and see that a robotic leg has fallen out of his hip. As the public saw this, the Band struck out a creepy, screeching rhythm. The camera shoots to the band, questioningly, and back to the Pirlo. He chuckles and says “um excuse me”. It was a procedure after “I went surfing in my youth in Hawaii, just kidding seriously, could you hand that to me.” Jay Leno jumps over and grabbed the leg and examined, the camera peals in. Marvelously computers flutter with graphs and colors on the monitor of the leg cover.

Pirlo slowly starts to laugh, then laugh and shake, and shout with laughter. Then shake. Then shake, and then burst into a thousand pieces of metal. All but his head burst into shrapnel, missing the audience and all those on stage. A fisherman in Indonesia and a car salesman in Kansas City shutter as they realize: He chose this.

The intact, robotic head lay on in the middle of the tonight shows stage. Jay Leno and the camera man, crawls from under his desk, and scurries towards the head. Coughing and beckoning the cameraman, the host simply pushes the microphone to the lips of the object. “You got me, I’m no Pirlo. Anyways I’m out you guys,” the head says chuckling, “we’ve had a lot laughs. Peace.” The system twists’ and malfunctions. Then it utters in twisted slow tone. “Through my father’s death, we hope, you’ve seen life.”

and his eyes read “End”

--------------------------------End------------------------------------

‘We On’ Review

Every once and awhile titans in hip hop, feel the need to combine forces to state exactly who they are, what they’re living like, and where there going – the top. Loosely connected lyrical legends like Big and Jay, Jay and Big L, and Nas and AZ, devastate through studio sessions in masterpieces of technique. The heat of the duel raises the stakes for a rapper’s verse. The first must protect his flow with blistering finesse, hoping not to be overshadowed. The second has a chance to shatter the song and leave that memorable sting in your ear. Some blend the process and trade jabs, switching at an ear splitting pace. Classics like Brooklyn’s Finest, and How Ya Livin’ are prime examples. This ladder strategy has been classically reinvented in the duet “We On” by Gemini and Lupe.

The song are arrives not a moment too soon. In Recent years lyrically sparing has been sparse at best. Most of the elite rappers, i.e. paid rappers, eschew head-head combat with solidified talent. There are two useful ways they avoid it: they either hop on a track with four or five other artists, a couple heavyweights, a few rising stars, a good mixed bag. Don’t worry about having the best verse, because of the sheer girth of the lyrics presented, there is no clear juxtaposition, and most loyal fans will defend the merit of their favorite rapper above all others (example: I’m so Hood remix, with Luda and Wayne and few other non-notables). Or, they still duel with a rapper one on one; you just have to make sure to pick on someone that isn’t your size

(Example: New Cash Money, with Wayne and Brisco – I know, ‘Weezy and who again?’ The larger-than-life status Wayne posses on the track would be sufficient to exhibit his superiority over Brisco, but the real kicker is Brisco’s feet-kissing, ‘thank ya, massa’, lyrics,

Your so genius,

Dats my word you know I got you twin,
You a real nigga dog, thanks for lettin me in.)

But have no fear; Thanks to a Chicago duo, the studio battle, is alive and well. In the midst of Chi-Town’s golden age, Lupe Fiasco and Gemini have delivered a brilliant mêlée for Hip Hop Heads to enjoy for years. The message and theme is simple: We are Chicago, and yes we are on.

Cleverly synchronized and lyrically bodacious the track will demand repeat more than any track since you were ‘pressing rewind atop your master disk.’ To a serenading chorus, and a spacious, airy sample, these two are in full throat ripping through their lyrics. Gemini’s baritone lines are said in Twista like almost reckless velocity. A strong contrast to Lupe’s cerebral style, Gemini’s flow is visceral and penetrating. Despite a more simply constructed scheme and a more material aim Gemini keeps pace with Lupe’s talent and depth. Unlike Brisco’s inferior style, Gemini never shies away from the presence of the more established star, challenging him with potent rhyme schemes.

Never Met A Nigga Even This Cold,
Watch Chevy’s everywhere 23's 24's,
Nothin But Tha Best Tv Screens On Tha Doors
Try To Get It How You Livin When You Livin In Tha Gold

Lupe is still Lupe. And as he is wont to do, he kills. His sharp clever syllables and acute rhythms steal the show. More than on his tight thematic albums, Lupe’s guest performances often display a flow that is at once loose and precise. ON this track Lupe showcases craftsmanship in layered bars that ,quiet frankly, border, on daredevil complexity. Lupe yet again explores a new level of wit. Even as Gemini was finishing one of his more memorable bar sets, Lupe rises above with cool precision.

Well im all like No chrome No tence fo' phones
Just case E.T wanna go home,
Never chase, coz of me there is no jones,
Levitate from tha sea-floor to tha O-Zone,

Despite the artists' respective individual quality, the rappers’ bar combos and switches are truly the inspired moments of the track. The break-neck speed is complemented sublimely by sprinkled dynamic punch lines. Each rapper, equally class in their role as both the player-maker and the finisher. With refined chemistry each rapper exhibits humility and talent in their fraternity and trade. The two artists redraw the boundaries of this time honored Hip Hop tradition.

Gotta understand this is who we are,
People murder service in Carmde-De-Garca
Any given time we purchase them new cars,
Somebody call tha children we hurtin' em too hard,
Us takin' tha light,
Thats takin it too far,
What you expect playboy we two stars,
Screw stars,
We the new Mars,
Lookin for a venus, nigga you a G

Time will tell if Gemini has the cult appeal and staying power of his counterpoint, but this track shows us that one thing for sure: Chicago is on.

Chico B. Day

Despite being born in Atlanta and raised in the southwest suburbs Kanye West’s home whether by choice or association is in Chicago. After winning two Grammys the bond between Kanye and his adopted city was stronger than ever. Soon after Kanye brought home the Grammy for “Best Rap Song” (Jesus Walks) Mayor Daley announced that February 27th 2005 would officially be “Kanye West day” in Chicago. Kanye West and his fantastical ego decided the best and only charity he could give his city, was to allow it to see him in a free concert, to be held on his day.

Even though, to avoid massive crowds, this once-in-a-life-time show was not publicized, word about this free concern leaked out to thousands throughout the city, including my friend. On February 26th, while browsing through internet blogs, he came across an opportunity that seemed to good to be true. He called to tell me about this “free Kanye concert at the House of Blues,”! Really? The concert was going to be a tribute to Chicago, including other Chicago born rappers Twista, Bump J, and Common. All of our doubts of the concert faded when we saw the scores of people lined up outside the House.

Considering that the House of Blues is general admission and a small capacity of about 600, we tried to show up as early as possible. For us as that was about an hour and a half before the concert began. We got in line with no idea if we came early enough to get in. After a few failed attempts to count up the line in front of us, we had to settle for the insecurity of maybe, hopefully, possibly getting in.

While waiting impatiently in line, our sole entertainment was another, albeit much lesser known, Chicago based rapper. A young Caucasian man, named Chico B, who had just been released on bail, decided what better place to rap than in front of a thousand people who aren’t going anywhere. He announced himself with the usual Hip Hop zeal and confidence, and he started to spit some actually bearable acapella lines. Holding up and shouting out his compilation disc, he was sure that if he could only get in to this concert and hand Kanye his disc, he could take off just like Ye.

Back in reality, my friends and I were getting closer and closer to the door of the concert. After we were 20 or 30 spaces away, I was sure we’d be seeing our icon, but with a radio message and a slight nod, the security guard shut the door of our hopes. To say the least we were exasperated. As angry as we were, the look on the face of Chico B was heart wrenching. Chico wouldn’t allow this opportunity to slip, he and hundreds of other frustrated fanatic fans decided to force their way in. All at once everyone was rushing the door, trying to push the security guards down; to think, all of this to see some famous suburbanite.

As the situation progressed, pushing turned shoving turned tackling. It wasn’t long until the cops came to settle the raging mob. Mace was sprayed and a fan or two was tackled, nothing you wouldn’t expect from a small riot. My friends and I left before the situation grew too out of control, never knowing how live the concert must have been.

Even though I’ll never know about the concert , if “Jesus Walks” was the first or last song played on the schedule, I still look at the experience positively. Maybe seeing Kanye and his short stature (5’6, 5’7) would have ruined his iconic figure for me, but more realistically the only positive I can draw from the experience was that I saw Hip Hop in its truest form.

No, I didn’t see the artists with the notoriety, the radio play, or the fame, but I got a chance to see Hip Hop where it begins. I saw a young pained man, with nothing to lose trying desperately to get his word out there. Chico B might not have the mass appeal or the even the talent, but to see his passion in its earliest stage is worth a trip to 329 Dearborn street with a couple of real good friends any day.

Kanye opted not to hold another concert despite his latest Grammy trophies. Perhaps this more than anything Ye does illustrates that the bigger you get the farther you get from the “heart of the city”.

Word is Bond- Macken

Special Thanks to Obi and Saif “We Raw”

Street Musicians

“Don’t pay them any attention they’re not artists, they’re just trying to get money”. My mother would always recite these cautions when passing a street musician on the CTA or the corner of a busy intersection. As a young child I would accept this message, and would never pay attention to the musical creations and renditions that were happening beside my everyday on my daily commute. Needless to say, payment for these money making mongrels wasn’t in my vocabulary.

One February morning during my regular CTA trip to my elementary school I saw a small and elderly Asian lady sitting on the platform bench adjacent to mine. From a down-trodden, dirty, worn-out black bag, she lifted a two pronged instrument. It was a cello with a small make-shift violin attached to the top. She began to play both of these instruments intermittingly, while regaling, through song, the pain of her childhood. The performance, though well written and well rehearsed, wasn’t the greatest musical creation. None of that mattered because the passion on her face, and the memories alive in her voice were real enough to chill one’s spine and awaken anyone’s compassion. It would be hyperbole to say it changed my life or my actions, but it definitely altered my perception of these courageous entertainers.

After that moment I would look at these street musicians with a greater intent and curiosity. It started with cello-violinist vocalists, and soon my curiosity spread to R&B/Dance groups, to spoken word poetry, to keyboard pianists, to one-mic rap performances, and to many other various assortments of musical talent. I began to realize that the fact that these artists were on streets and train stations did not inhibit their musical artistry but in fact heightened it. To combat the sounds of the city, while trying to deliver your message and perhaps make a small bank is more noble and courageous than most people (including my former self) realize. Disobeying my mothers warning, and anticipating the character of these unsung artists I began to slowly approach some these musicians to ask them their history and how they got interested in their particularly type of performance.

Through their responses and their artwork I started to understand that although some of these artists are simply desperate for a some temporary income, the majority of these individual’s first priority is to express themselves creatively, and pursue their passion; if only between the roars of passing trains. I compensated the lady that day, and to this day I make a small point to help those who are particularly heartfelt in the work. To those whom pour their passions to the half-listening commuters of the Chicago transportation system, you have my appreciation and good wishes.

Macken

Album Review: Common's "Be"

Along with The Roots, Lauryn Hill, and the BlackStar brothers (Talib Kwelli and Mos Def) Common has firmly secured his position as a significant director of the second alternative rap movement. Common has grown a loyal following with his Liberal verses laced with cadenced jazz rifts that draw direct correlation with the trailblazing conscious rappers of Tribe Called Quest and De La Soul. Common in his latest album is able to accomplish the feat of staying true to his background while branching off into more commercial audiences.

Three years removed from the controversial “Electric Circus” production, Common seems rejuvenated and focused with the state of the art instant classic “Be”. The 2002 released Electric Circus received mixed reviews, with many experimental tracks that didn’t serve the smoothness of Common’s style and consequently seemed to drag on even though the album did have many noteworthy tracks.

Perhaps it was his friendship with the up and coming Kanye West or perhaps it was his breaking off of his connections with Erika Baduu but “Be” was a breath of fresh air for most Common fans. Produced mainly by Kanye West, Common seems to have found his voice and his true message with this heart-felt and consistent album.

A compact and thorough album “Be” maintains its focus with steady 70’s jazz and R&B rhythm’s that serve as a platform for Common’s lines rather than a overshadowing it with gaudy production. “Be” is reminiscent of an “Illmatic” or “Black Star” album because of its short production, one sole guest-appearance and complete lack of fill in tracks. Both Kanye West and Dilla deserve tremendous credit for one of the best produced albums that keeps a common sound without boring its audience.

From the very first track Common seems sincere and focused as he allows one of the great introductory lead-ins in recent memory. The exponentially upbeat track “Be” is a song that the most lyrical Hip Hop fan will find himself repeatedly vibbing-on even though it is a two minute track with only : 45 seconds of verse.

“Be” is the type of Album that has a few stand-out classics and no disappointing tracks. The lead single is “Corners” which was released previous to the album but still neatly fits into the album’s foundation. This track boggles the hip-hop psyche describing all of the Chicago urban temperament with only rhyming one consistent syllable(s) per verse.

Common’s verses throughout the album are tight and imaginative but do not show his true rhyming potential as one of the best lyricist of all time. He keeps most of his lines basic but effective as he describes the many elements of his surroundings. From his ill-gotten love affair’s “took em out to eat but they wasn’t really eaten, might of got a lil head but I wasn’t really cheatin”-Faithful, to his progression as a man and a father “waiting for the lord to rise I look into my daughter eyes, and realize Imma learn through her. The messiah might even return through her.”-Be. Common still flexes his muscles as a great lyricist but does not bog down his meaning with eccentric rhyming schemes.

By far his most commercially successful record “Be” hits with the breadth of Common’s unique approach. This work for Common is a crossover album that delivers him into previously unknown commercially successful territories but also serves as a return to the basics of conscious Hip-Hop.

Album Review: Mack 10's "Hustla's Handbook"











Despite the exuberance of the premier track Mack 10’s Hustla’s Handbook is crowded and deluded. It is a clear indication that Mack 10’s west coast relevance has faltered and failed. During the mid and late 90’s Mack 10 filled the void of the recession of West Coast and Gangsta rap. Those loyal to low riders and red and blue bandanas were satisfied with Mack’s west laid back beats and bone crushing lyrics. However with a repetitive and dry latest release, it seems that the once Low-ridin bad boy has little success left in his arsenal.

The West Coast star-studded cache of artists was left depleted in the mid 1990’s while Dr. Dre was in limbo, Ice Cube had begun to pursue a Movie Career, Snoop Dogg had cross over to pop, and worst of 2pac’s had suffered an untimely death. Mack 10 kept the West Coast proud and vibing during that time period. Now that The Game has successfully rejuvenated the West Coast, Mack 10’s lyrics and grips seemed overplayed and unnecessary. The Album shows false hope with the introduction that is smooth and well delivered. Like this is easily the best track on the record and arguably the only one worth mention; him and the west coast champion Nate Dogg calibrating once again shows a glimpse of the Mack 10 of old.

In all Hustle’s Handbook is dull and repetitive it is mostly composed of Mack reminiscing on the old negligent good old times. One half expects him to remark on a time where he actually made a significant listenable album. The beats are inconsistent and poorly stringed together. The lyrics are unnecessarily thuggish and bogged down. For all the West Coast faithful this album will not ruin your cause, but you might be better served re-copping The Documentary.

-Macken

I am hip hop, I don't enter a new entity when I place my Pac and Common graced headphones on my ears, but rather I enter a strange new world when I take them off.

My mission is to deliever the essence of my world into the world of yours. I do not want to enhance, distort, critique, or praise Hip Hop in this blog but rather I desire to give you Hip Hop undistorted or enhanced, in its true crucial compositio: The thoughts, dreams, grumblings, andoutcry's of an otherwise silenced urban people.

From my Chicago, to our New York, to your particular city, this cite will give Hip Hop and be Hip Hop.