BACK LIKE COOKED CRACK

SMITTY FT. KANYE WEST, SCARFACE, AND JOHN LEGEND - GHETTO (2005)

It's sick, in every sense of the word, to think that I'm still moving through culture. I've lost a step. My hair is turning white, the kids laugh at the Pyrex Vision logo plastered across my ass, but I don't know what else to do with myself, and so I move onward.

The reappearance of the '03 XXL Freshmen list got me reminiscing on the raps of my youth that fell through the cracks. Little Haiti's Smitty earned local airplay and a Hype Williams video with "Diamonds on My Neck," an underrated slab of Swizzy 2.0, before his debut album was shelved and he was banished back to his old ghostwriter haunts. According to a Wikipeia citation terminating in a 404 error, Smitty is currently signed to Blackground/Interscope and will be releasing an album "in the near future." Time is relative. We may very well be banging new Smitty on our Nanos before this blog is updated again.

"Ghetto" is about as mid-00s as you could ask for: Kanye soul sample, John Legend providing the melodic counterpoint to Ye's talk-hook, a Scarface verse for some reason. I'm not complaining. Everything is so self-contained that Smitty ends up being an also-ran on his own track. Was Twista busy that day? Did someone owe Smitty a favor? His presence makes no sense, as if an armchair rapper deepfaked himself into the object of his fantasies.

SPANISH GUITAR FILES: MEMORIAL DAY EDITION

I revisited The Carter shortly after I started writing about Spanish guitars.  As the mournful yet sultry notes of "I Miss My Dawgs" cut the air, I remembered that this was the song where I first located Spanish guitars as a common feature in a certain style of rap musics.  Although Spanish guitars can be potent signifiers of gettin arriba wit it, they are often deployed when a rapper takes a sensitive turn and acknowledges the ultimate toll of street life.  However, the use of acoustic guitar on such a track does not guarantee the guitar is Spanish.  On paper, Scarface's "What Can I Do?" is a Spanish guitar enthusiast's wish fulfilled, but its thug passion is of a different cultural origin, more Delta blues than flamenco.

2Pac is the ur-sensitive thug, and arguably the progenitor of Spanish guitars as a trend.  Perhaps his time in the Bay was his first exposure to Spanish guitars and their expressive potential.  In the initial log of my Spanish guitar peregrinations, Mr. Si Mane Price of The Martorialist recommended songs by The Jacka, Mac Dre, and Baby Bash as evidence of the Bay's contribution to the oeuvre.  Considering its formidable Mexican population, the Bay is a strong candidate as the ground zero of Spanish guitars in rap music.  The appeal of Mexican culture to the existential thug is easily understood.  The mutual preoccupation with death provides a natural affinity between Mexican art and gangsta rap.  The narcocorridos of today, the anointment of Morrissey as token Anglo amongst Mexican-American youths, only confirm death obsession as a continuing thread within the culture.

The Jacka made music for the thinking thug - arguably better than anyone ever has.  From "Innocent Youth" and "1, 2, 3" to "Gang Starz," he was an active participant in the Spanish guitars subgenre and an architect of its future.  Few rappers have availed themselves of Spanish guitars and integrated them so seamlessly into their artistic vision, as if the Spaniard who first plucked the strings of passion only did so to provide a worthy bed for the Jacka's future raps.

This Memorial Day, as you chug your Miller Lite and suck chicken bones and ribs like a sorry heathen, listen to Jacka rock some Spanish guitars and think about the dead.

SHY GLIZZY'S PHILOSOPHICAL, BUT EXISTENTIALISM IS FOR THE FUCKBOYS

Yo, ya boy back from the brink and I ain't talkin clink!  Got kidnapped by a jam band while I was skiin da slopes, fell victim to Stockholm syndrome, and swore off all rap music but the cargo short kind.

Anyway, what about this new SHY GLIZZY tape, Law 3?   Best mixtape since IDK, that ASHER ROTH joint I was bangin back in my puka shell days.

But yo, let's get straight to the track "Funeral."  It's a gospel banger courtesy of KE ON THE TRACK, wherin GLIZZY envisions the illustrious mourners and ostentatious hijinks gon bless his funeral.  Spoiler: it sounds a lot like King of Diamonds.  He reflects on the conditions of loved ones, rhapsodizes all DANTE n BEATRICE PORTINARI on his bitch, and articulates his game plan before death's unforeseeable, inevitable scythe cuts him down.

It's an inspired entry in a classic rap theme: joyful celebration of death, mournful acknowledgement of life, the same contradiction that cats like SCARFACE, BIGGIE, and PAC built they reputations upon; it's that very same kinda emotional resonance that makes they listeners more acolytes than fans.

But ain't that what good art is all about?  Fuck life, but middle finger to death too.  Ain't know why we here - can't go on, I'll go on, son!