It’s both a tour de force and a, if you excuse the expression, and sorry to spoil ya, tour de horse.
Did i mention time got The Coup their first gig at Fillmore? This guy.
edit to add (and i aint even wrote the mother fucker yet): I’m going East Bay today and I will divert to 30th and West in honor of Pam the Funkstress, who was Boots Riley’s partner in crime (blowing up tall buildings, killing CEO’s so to speak, in Roberta Flack sort of way methinks) in The Coup. I hope I didn’t lose their cds in the move. I had the original cover that got them investigated. It was the bomb. Also, I will try to wear purple, I may have to buy purple. Bye, Purple. (Movie ends with two dedications. She was 52 and went to Burlingame High. Reminds me of the time I hired Brown Fellinis and Charlotte the Baroness came but could not play because nobody advanced the show enough to tell shithead promoter to provide the turntables. I paid her a kill fee. I may or may not have met Pam. At the Fillmore. Maybe she’s in the Heavy House Band wit Candye Kane.
and1(this is the way Plastic Alto rolls, or roils or riles):
Peter Hartlaub (2006)
“Pop Culture” columnist
San Francisco Chronicle
I enjoyed reading your column Wednesday (“Shaq
that it has inspired in me such an effusive response:
I agree with you wholeheartedly that recordings and
concerts by celebrities such as Shaquille O’Neal say
much more about the nature of celebrity per se than
they do about any specific topic or lyric, that they
are more about the medium than the message, if you
will. More precisely, if I can add my two cents worth,
Shaq’s work is problematic specifically because it is
a vanity project.
In my opinion, if Shaquille O’Neal calls a press
conference at the conclusion of the NBA finals, win or
lose, and announces that he is retiring from
basketball to devote his life full-time to recording
and touring as a rapper, I would find that laudable.
Notwithstanding his ineptitude as a performer, by
joining that ranks of a nation of starving, struggling
and “emerging” artists — more like the Boots Rileys,
Brendan Fowlers and Kamir Sen’s of the world than the
movie-star wannabes like Russell Crowe et al that you
list in your story — he would be doing them a tribute
and a great service. Even more so if he was able to
work in the indie realm and try to bypass, boycott or
destroy* the major label system (i.e. refusing to do
business with the four or five multinationals that
produce and benefit from 80 percent of all records
sold in the U.S. and thereby arguably hold back
thousands of worthier artists that the system is not
backing; bypassing or boycotting Live Nation and its
venues including the Fillmore; selling tickets on
virtuous.com not Ticketmaster, etc.).
I’ve worked as an artist manager and concert promoter
in the “indie realm” for a number of years now and
have come to believe that there is something viable
and commendable about every artistic utterance and
striving and that likewise there is no minimum level
of acceptance or acclaim that validates an emerging
artist’s career or skill set or oeuvre. In that
context I believe that even Shaquille O’Neal — as bad
as you say he is — can atone for his sins and refute
your article by taking the steps I’ve suggested here.
Worse than bad, his vanity work is a mockery of hip
hop, yet not hopelessly irredeemable.
(His output might be more deplorable for example if he
merely slogged his way through lame covers of other
artists’ previously released rhymes and beats — at
least he’s setting a straw-man standard of expression
that today’s youth can go out and surpass; maybe he
can start a “Shaquille O’Neal Music Camp” where
campers will after one week surpass their master or
reader in Palo Alto
(not for publication)
*Is it also possible that Shaquille O’Neal is aware of
the pernicious nature of the major-label dynamic and
his own celebrity and is in fact secretly trying to
sabotage or monkeywrench the system by producing such
losing efforts and performances?