panda

http://flvs.daum.net/flvPlayerOut.swf?vid=cWxnuPsP3S4$

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currently reading:
invisible man by ralph ellison

this cunning linguist

I'll be a park, and thou shalt be my deer;
Feed where thou wilt, on mountain or in dale:
Graze on my lips, and if those hills be dry,
Stray lower, where the pleasant fountains lie.

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currently listening to:
"to know you"by gift of gab
1982 self titled album

a story by brother dave

A while back I was in Los Angeles visiting my friend who went to USC. USC is situated just south of the Shrine Auditorium where they used to have the Academy Awards. Well, it just so happened I went to visit him on that Academy Award weekend. Needless to say, the streets were fuckin' packed with no where to park due to all the fans, media, and whatnot.

With a bunch of my homeboys piled into my rental car, we drove around for about 40 minutes looking for a spot to park at just outside of his apartment complex. Finally I see three brothas piling into a suburban getting ready to leave. Thankful, I pulled up behind them, hit my blinker (indicating that I was going to take up the spot) and waited.

For 10 minutes, those three cats fiddled around in their suburban doing something. I got impatient and stuck my head out the window. "Hey dog, you guys leaving?" I see a hand pop out the window giving me a hold-on-just-a-sec hand signal.

Two minutes later "DOG! You guys dippin out? We're gonna take that spot," I ask again.
An annoyed voice answers back from the drivers seat, "Yeah were leavin. Hold up."

Five Minutes later, I'm pissed. I lay on the horn with an annoying BRAAAAAAAAAP

"Hey Nigga! You getting out of that spot or what?"

Out pops Keenan Thompson from the driver seat, and shouts "Nigga I said Yeah!!!!"

He looks at our carload of hoods and hesitates.

One of my homeboys pipes up from the back seat, "Hey man! You're Kel from Nickelodeon! Whats up Kel!"

Keenan gets this confused look on his face, "But Im Keenan-"

The same homeboy pipes up again cutting him off, "Whatever cocksucker fucken beat it!"

Keenan with a destroyed look on his face, hops in his car, and peels off.

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currently reading:
inicidents in the life of a slave girl
by harriet jacobs

10 TRUTHS BLACK AND HISPANIC PEOPLE KNOW,
BUT WHITE PEOPLE WON'T ADMIT

1. Elvis is dead.
2. Jesus was not white.
3. Rap music is here to stay.
4. Kissing your pet is not cute or clean.
5. Skinny does not equal sexy.
6. Thomas Jefferson had black children.
7. A 5 year old child is too big for a stroller.
8. N'SYNC will never hold a candle to the Jackson 5.
9. An occasional BUTT whooping helps a child stay in line.10. Having your children curse you out in public is not normal.

10 TRUTHS WHITE AND BLACK PEOPLE KNOW,
BUT HISPANIC PEOPLE WON'T ADMIT:

1. Hickey's are not attractive.
2. Chicken is food, not a roommate.
3. Jesus is not a name for your son.
4. Your country's flag is not a car decoration.
5. Maria is a name but not for every daughter.
6. Jump out and run is not in any insurance policies.
7. 10 people to a car is considered too many.
8. Buttoning just the top button of your shirt is a bad fashion statement.
9. Mami and Papi can't possibly be the nickname of every person in yourfamily.
10. Letting your children run wildly through the store is not normal.

10 TRUTHS WHITE AND HISPANIC PEOPLE KNOW,
BUT BLACK PEOPLE WON'T ADMIT:

1. O.J. did it.2. Tupac is dead.
3. Teeth should not be decorated.
4. Weddings should start on time.
5. Your pastor doesn't know everything..
6. Jesse Jackson will never be President.
7. RED is not a Kool Aid flavor, it's a color.
8. Church does not require expensive clothes.
9. Crown Royal bags are meant to be thrown away.
10. Your rims and sound system should not be worth more than your car.

with thanks to sauldiego.

Girls make you come.
Grown women make you come home

it's my birthday!

j dilla

one of the greatest of all time...

he passed away this morning in an l.a. hospital...

After quietly serving as a member of A Tribe Called Quest's production team, the Ummah, and scoring hits for Busta Rhymes, De La Soul and Pharcyde, Detroit producer Jay Dee became known as a major hip-hop prospect by the late 90s. The hip-hop community took notice of his no-frills, breakbeat-heavy hip-hop style as he helped craft albums for Common (Like Water for Chocolate), Q Tip (Amplified), and the debut for his own group Slum Village (Fan-Tas-Tic Vol. 1).

By the time of his major-label debut with Slum Village's Fantastic, Vol. 2 in 2000, Jay Dee was recognized as one of hip-hop's most admired and desired producers. Jay Dee's debut as a solo artist came in 2001 with the single "Fuck the Police" and the album "Welcome to Detroit" on BBE.

After assuming the name J Dilla, he joined the Stones Throw roster in 2003, forming Jaylib with fellow producer/MC Madlib, and relocated from Detroit to Los Angeles. The duo released the "The Red" b/w "The Official" in 2003, followed by the album "Champion Sound" and a tour the following spring.

When Pharrell Williams was asked about his favorite hip-hop producer during a BET interview in 2004 he replied, "You may not know his name, but J Dilla, Jay Dee from Detroit." Indeed, the interviewer didn't know J Dilla has eluded the spotlight, preferring the studio to the stage or video. His work is mostly released by independents, for different groups, and under different names, but his core audience and cult status has grown. His pirated beat tapes (instrumentals, raw working material for rappers) have become something of urban legend, as their circulation from hand to hand and over the internet have led to a black market of Dilla beat tape collectors.
Despite contributing two tracks to Common's career-resurrecting "Be" this year, it's been a quiet time for Dilla. So where has he been? A cover story in URB (Mar 2004) made public his recent, sudden struggle with illness, and recently rumors began circulating again about health emergencies and hospitalization. Asked about this in XXL (June 2005), Dilla himself partially confirmed these stories. "The rumors were like, 'Jay Dee is dead' and all that, but I was just in the hospital. I was in ICU, with all types of tubes. It was crazy."

Working both from his home studio and while hospitalized from a portable sound system including turntable, samplers, and small boxes of vinyl brought in and out from visitors Dilla continued making music at his usual non-stop pace, circulating beats to MCs, and coming up with the foundation of what would become "Donuts".

Begun simply enough as a production beat tape, "Donuts" evolved into a project as unusual as the environment in which it was created. It's a hip-hop album without MC's. An album of electronic music that at times sounds like a 70s soul mixtape. Its abrupt transitions and numerous interludes might make you think you're rapidly turning the radio dial in some strange city where every station is programmed by a certain Detroit hip-hop producer. "Donuts" is J Dilla doing what he does best crafting hip-hop, soul and electronic music into his own sound.

And a few have asked, "What's up with the title?" Easy explanation. Dilla likes donuts