Best of 2000: Cynthia Fuchs

Cynthia Fuchs

Best Hip-hop Albums of 2000

Hip-hop endures. Whatever the hubbub, hip-hop simultaneously accommodates and alters the cultural landscape. While superstars appear on magazine covers and TV screens, new voices keep coming, reminding us that change is good, that the culture is wide and generous enough to accept and inform all. Below, the noteworthy albums of 2000, in alphabetical order.

Bahamadia, BBQueen (Goodvibe)
Bahamadia's EP is as near to perfect a combination of craft and passion that you might hear this year. Ms B collaborates with Rasco, Planet Asia, Chops, and DJ Revolution on "Special Forces" (she opens energetically: "Poems stay calm, approachin it / They be flop and over it / Back on my feet just like I'm 'posed to get"), and then, on the smooth "One-4-Teen", she works with Slum Village producer Jay Dee. On "Commonwealth (Cheap Chicks)", she affirms her girls and her life, round-the-way.

Blackalicious, Nia (Quannum Projects)
The Sacramento-based pair, producer/DJ Chief Xcel and lyricist The Gift of Gab, make consistently thoughtful and provocative music (and on this album, they also welcome guest production by DJ Shadow and Lyrics Born). Gab's words are both clever and weighty, as on "Trouble (Eve of Destruction)": "I'm a drama dropper, stomping all up in your zip code / Schizophrenic, you're panicked, running from my epilogue / Rap is like an insect crushed that I be steppin on / Lethal weapon armed, deafen all y'all heads / Up to the point of where your nervous smoking pall mall grits." You don't get better.

Common, Like Water for Chocolate (Universal/MCA)
A gifted lyricist and hard-working artist, Common comes with a rare confidence and self-knowledge. Lots of MCs assert their prowess on the mic, but Common almost seems to be sneaking into your psyche, at once convincing and, as his name once proclaimed, sensible. Maturing, he maintains both his self-respect and openness to new ideas (an unusual combination, no doubt). DJ Premier produced the first single "6th Sense", a reminder of hip-hop's political challenges ("We gonna help y'all see clear / It's real hip-hop music, from the soul, y'all"). He raps real life stories, with "Song for Assata", "A Film Called (Pimp)", featuring MC Lyte, and "Funky for You", with Bilal and Jill Scott. If you can forgive his occasional and unfortunate phobe-posturing (he, of all people, you wish, should know better), Common shows himself as that hip-hop rarity, a man of compassion.

Dead Prez, Let's Get Free (Loud)
Even if you put aside the brilliance of this group's video for "Mind Sex", Let's Get Free brings its own riches: and M-1 dig into race and class politics with verve and nerve. On "Police State" and "Behind Enemy Lines", they take on brutal oppressive tactics; on "They Schools", they root out the subtler and more pervasive forms; and on "Be Healthy", they even advise against fast foods.

Ghostface Killah, Supreme Clientele (Razor Sharp/Epic)
Ghost has genius in him. On Supreme Clientele, he rises above the pressures ever heaped on Wu projects, and delivers a concoction of beats (most by RZA) and wildman rhymes that uplift the soul and entertain. He speaks to and with X on "Malcolm" ("Hoodied up, blood in my eye"), and on the heavily rotated single "Apollo Kids", he offers life lessons to the wannabes: "As we approach, yo herb, the Gods bail / These Staten Island ferryboat cats bail / Fresh cellies, 50 thief up in the city / We banned for life, Apollo kids live to spit the real." But for the most part, he does what he does — he tells amazing stories amazingly.

Jurassic 5, Quality Control (Interscope)
Hailing from Los Angeles and formed out of two separate crews, J5 — DJs Cut Chemist and Numark, and MCs Chali 2na, Zaakir, Akil, and Mark 7even — remind you that hip-hop can be good fun as well as good work. Lively beats, sensuous grooves, and layers of flow infuse the record. They get their digs in (on "World of Entertainment", "Welcome to the world of showbiz arrangement / Where lights, camera, action is the language"), but they also wax, um, poetic, as on the title track, "J5 finds a way to remain supreme / Coming verbally Hardison as if my name was Kadeem".

Talib Kweli and Hi-Tek/Reflection Eternal, Train of Thought (Priority/Rawkus)
Talib Kweli may be best known as the other half of Black Star (with the now ubiquitous Mos Def). But Kweli has his own style and energy, in part revealed in his increasing reputation as an righteous freestyler. With DJ/producer Hi-Tek, he's made an impressive debut, showing range and depth — aggressive beats and languid songs of respect and love. Never mind that he has the nerve to cover Nina Simone's "For Women", and do all right with it, he also considers hip-hop's life-and-death shiftings on "Good Mourning", and wrangles unusual rhymes and images that speak volumes — on "This Means You", "Flashlights lookin for a brighter day in New York", on "Soul Rebels", "We still gonna blow like the horn played by Horatio / The stakes is three feet high and risin' like De La Soul".

OutKast, Stankonia (LaFace/Arista)
Big Boi and Andre 3000 are on some kind of mad roll. Revving up to 160 BPM for "B.O.B. (Bombs Over Baghdad)" or apologizing a trillion times for "Ms Jackson", OutKast brings a wicked combination of emotion, energy, and self-reflection. They are rowdy and rude, but also strangely bewitching, convincing you of their earnestness even as they slip that yoke and run off to play some more — on "So Fresh, So Clean", "I'ma show you how to wild out like Jack Trippa / Let me be bambino on your snippas". Ow.

Rah Digga, Dirty Harriet (Elektra)
Rah Digga is as real as they come. As the Flip Mode Female Out Front, she's had avenues open up, but also had to bear some unnecessary burdens. Her debut album shows that the hype meant something — she can rhyme and, perhaps more usefully at this stage in her career, she's a singularly fierce presence, like, she explodes on the mic. She can be a namedropper (on "Curtains", she raps, "Fuck with they heads like Kahlua, milk and vodka / Then tell they punk ass to move on like Silkk the Shocker / Word to my godfather, who bombs harder / Be out to get the paper like Inga and Shawn Carter"); a straight-talker (on "Do the Ladies Run This", "With my skills stay on your toes like high heels / And handle bars like bikes 'bout to blow like inner tubes / See me in the tube in the views to interludes / Never see me in the nude, Blade gon' bend the rules"); and on "Harriet Thugman", she's a force to be reckoned with: "I be that bitch niggas wantin in the lab / Rhymes comin, rhymes goin like I was a dollar cab". She will be back.

Jill Scott, Who Is Jill Scott? Words and Sounds, Vol. 1 (Hidden Beach/Epic)
The first time I saw Jilly from Philly, she was on stage singing the hell out of the hook on the Roots' hit "You Got Me" (which she had written, but which Erykah Badu sang for the album). Scott stopped the show, and it was a very good show. A few months afterwards, she released her own album — lush, smart, and lovely, every bit as mesmerizing as that memorable performance. Produced in part by DJ Jazzy Jeff, the album features mature, deftly-forged sonic delights, like "He Loves Me (Lyzel in E Flat)" and "A Long Walk".

Wu Tang Clan, The W (Sony/Columbia)
"Check out my gravel pit." Indeed. Whenever this group gets together, something miraculous happens, even if only for a minute. Though the guest appearances — a first for the group as a group — are a draw (Busta Rhymes is typically squirrelly on "The Monument"; Snoop, however, is an apt straight man for ODB on "Conditioner"), the whole does not rely on tricks or on past success, but on the shapeshifting skills of the collective. Informed in every way by RZA's propulsive, intelligent production, the album showcases individual skills as well as the group's. "Gravel Pit" showcases the lyrical arts of Meth and Ghostface (who also shows his lyrical brilliance on the haunting "I Can't Go to Sleep"). The group even extends to the reggae bandwagon, looking respectful rather than merely trendy, with Junior Reid, on "One Blood Under W." All over the record, you find bits of brilliance. The Wu-ness of the Wu — it's unstoppable.

Honorable mention
Slum Village, Fantastic, Vol. 2 (Barak/Goodvibe)
Emerging from the chaos of Detroit, Slum Village's debut album is pulsing and shrewd. Producer Jay Dee (who's worked previously with De La Soul and Common, among others) also MCs here, along with T3 and Baatin. Too often, they're playing playas, but they do so over outstanding beats and lush, inventive boardwork.

Special Prize for Bringing the Joy
Erykah Badu, Mama's Gun (Motown)
It's true that in this album, Badu Badu Badu keeps the hip-hop is at a minimum for this album, almost like a background trace. But there's no mistaking that it's crucial to her exuberant mix of styles and signs. Amid the funk-soul-jazz-pop rhythms, and oh-so-sinewy lyrics, you can catch beats and hints, elusive and skitchy, and always inspired. Thank god for Badu.

Special Prize for Bringing the Noise

Eminem, The Marshall Mathers LP (Universal/Interscope)
Though the album is uneven and repetitive (okay, he hates Britney Spears, faggots, and the ICP: got it the first time), it has achieved the following: it has birthed sharp-witted and self-conscious videos ("Stan", "The Way I Am") and a brilliant MTV Video Music Awards moment — Eminem and his Slim-Shady-mimicking minions marching into the theater en masse. The album exults in its own gay-bashing, self-hating-and-loving, melodramatic schizziness while holding up that same schizziness as a mirror to the hypocritical culture that spawns it. If it only does that much — make people talk about shit — Marshall Mathers has made a contribution.


Spawning Ground

David Antrobus

In this ancient place of giant ferns and cedars, it seems the dead outnumber the living; the living fall away too quietly, too easily, taken away by stealth. There is tremendous natural beauty here, but its hold is tenuous, like moss clinging to rotting bark that will ultimately break and sink into the forest floor.

If I were to choose a visual symbol of my adopted home of Mission, an average-size town in the impossibly green western Canadian province of British Columbia, I would probably come up with a rotting carcass in a verdant pasture, a vision of death amid life. If this sounds harsh, hear me out and I'll tell my own truth about this place.

Clinging to the swift-scoured, salmon-haunted northern bank of the mighty Fraser River like an ailing lamprey to the deadly smooth flank of a Great White, this town, situated about 70 kilometers east of Vancouver, owes its entire existence to the water of its rivers and lakes, and to the wood harvested from the dense, surrounding forest. Settled in the mid-19th century, Mission has managed to survive despite two serious floods, a bridge collapse, the ominous early signs of malaise in the natural resource sector (did we really think the salmon and the great conifers were infinitely, magically renewable?), and a general reputation for unfocussed, redneck belligerence.

It all comes down to the Fraser River. The river has brought both food and trade; it provides a thoroughfare upon which the people of Mission (among others) float the great log booms that are the defeated renderings we humans fashion from the vast tracts of coastal rainforest (cedar, spruce, fir, hemlock) in our seemingly inexhaustible compulsion to exploit her resources and bring Mother Nature to her matronly knees — in part because (we believe) we can.

But the details about life in this town — the jeweler murdered in a robbery, the pretty high school graduate killed by a drunk driver, the 14-year-old suicide — in fact, all the jostling narratives crowding like paparazzi, each insisting on exclusive front page drama, bubble and coalesce and ultimately conspire to reveal the hidden Mission. There is a dark vortex lurking beneath the seemingly placid surface; the ominous shadow of something ancient beneath sun-dappled waters. Even the countless apparent banalities playing out on the town's rural borders disguise something deeper, more clandestine: the hobby farmer up in MacConnell Creek bemoaning his exhausted well; the entrepreneur hungry for an investment opportunity, eager to transform the hillsides of quiet, bucolic Silverdale into sudden, lockstep suburbia; the hiker mauled by a black bear in the mountains north of Steelhead. And always, the numerous lives derailed by marijuana grow-op busts. For all the gradual liberalisation of laws at the consumer end of this local economic rival to wood and water, those who supply the celebrated crop usually feel the full force of Canadian justice, anyway. There are times when nothing in Mission seems devoid of some kind of meaning.

A monastery sits above this town, a Benedictine haven of alternating silence and the evocative clatter of Sunday Matins bells. Its tower is phallic and disproportionately defiant, rising above the landscape like a giant darning needle, casting its intrusive shadow over the patchwork quilt of human settlement as if to stitch a final tableaux, symbolically and definitively, of the history of the original inhabitants and their mistreatment at the hands of the white settlers. Said inhabitants were (and are) the Stó:lo people (their language, Halq'eméylem, was an exclusively oral tradition, so the words are spelled phonetically nowadays). Stó:lo territory stretched along the river valley from present-day Vancouver to Yale in the Fraser Canyon, a 170 kilometer swath of virgin, fecund land, teeming with such totemic creatures as salmon, ancient sturgeon, deer, black bear, cougar, coyote, beaver, and wolf.

The Stó:lo, a Native American (or First Nations) people belonging to the larger group of Central Coast Salish, settled this area around 10,000 years ago. Europeans, attracted by rumours of gold, arrived in the 1850s. The resulting clash of cultures did not work out well for the indigenous people, and today they are still recovering from the trickle-down effects of at least one generation having been torn from its extended family. Residential schools, for which the monastery in Mission is a present-day symbol, were sites of a particularly virulent form of cultural genocide. First Nations children across Canada were taken from their homes, often exposed to physical and sexual abuse and occasionally murder, their mouths scoured with soap if they even dared to utter their own languages. St. Mary's in Mission, founded in 1861 and relinquished in 1984, was the last residential school in Canada to close.

There are 82 Indian Reserves in the Fraser Valley. There are eight correctional institutions, two in Mission alone (Aboriginal people represent around four percent of the Canadian population, yet account for 18 percent of the federally incarcerated population). Somebody — something? — really likes to control and segregate people, around here.

This fragmentation is reflected in the odd demographics of the town in general. Leaving their multicultural mark have been, at various times, Italians in Silverdale, Swedes in Silverhill, the French in Durieu, the Japanese in the early years of the fruit industry (as in the US, the Japanese were rewarded for their labours by being sent to internment camps in 1942), and immigrants from India in the early days of the shake and shingle mills. (The Western Red Cedar, with its straight grain, durability, and imperviousness to the incessant rain, while inspiring Native culture with the quixotic grandeur of totem poles, grabbed more prosaic European imaginations in the form of the shake and shingle industry, which provides reliable roofing and siding components for homes.)

In some ways, Mission is a vibrantly conflicted example of Canada's multicultural mosaic. With just over 30,000 residents (of which 3,000 are First Nations) mostly crammed into a relatively small area, bordered by the river to the south and the mountains to the north, mill workers and biker gangs, artists and Mennonites, muscle car boys and summer folkies, soccer moms and Sikh Temple-goers, merchants and pagans, Freemasons and caffeine addicts, street people and Renaissance Faire anachronisms all rub shoulders with varying degrees of friction, occasionally achieving harmony in spite of themselves. Perhaps the relative accord is due to the overall youth of the population (73 percent are under 35-years-old).

Earlier, I mentioned the presence of death. Why? Because it is everywhere here, its proximity eerily palpable. It inhabits the sly rustle of the towering conifers. It taints the air with the swampy pungency of skunk cabbage in springtime. It hums incessantly in the sub-woofer buzz of the hydroelectric dams. It shuffles along in the downcast, scuff-shoed limp of a lone child returning to a chilly home. From a distance, even the monks in their dark cassocks, knit-browed and bound by their vows of silence, seem eerily close to the Reaper caricature. For actual evidence of its pervasiveness, though, one need not go far back in time.

The bodies of three women were dumped between here and neighbouring Agassiz back in '95. Suicides and the furtive aftermath of murder, barely registering in the town at all, have spattered Burma Road, a potholed strip of rocks and dirt skirting the shore of Stave Lake. In 1997, Doug Holtam of Silverdale (a small community west of Mission) bludgeoned his pregnant wife and six-year-old daughter to death with a hammer. Against all odds, his young son Cody survived the attack. In 1995, a drunk driver, leaving in his wake not only the proverbial outpouring of community grief but also a devastated twin sister, killed 18-year-old Cindy Verhulst during the week she and her peers were busy celebrating their high school graduation. There was the little boy who slipped away from his day care centre and drowned in the swollen Fraser River. The 12-year-old boy found hanging from a school washroom towel dispenser. The elderly pilot whose body was discovered in dense forest a full two years after he had gone missing. And there was Dawn-Marie Wesley, a 14-year-old Native girl who took her own life in the basement of her home after enduring relentless bullying at school; barely noticed in life, Oprah material in death.

As disturbing and tragic as these stories are, however, there was little precedent for the breaking news in the summer of 2003. This one will need a little background.

Since the mid-'80s, women have been disappearing from Vancouver's Downtown Eastside, Canada's poorest postal code. Partly due to the initial incompetence of the Vancouver Police Department and jurisdictional issues with the Royal Canadian Mounted Police (RCMP), partly due to the amorphous (read: investigative nightmare) nature of the disappearances, and partly because so few people cared about missing hookers and addicts, more and more women went missing, with nary a ripple in the public consciousness (or conscience). In fact, as of this writing, a horrifying total of 65 individuals are currently on the Missing Women list. For years, law enforcement didn't even refer to their disappearance as crimes, and it wasn't until 1998 that an official task force was even assigned to investigate.

Finally, in February 2002, Robert William Pickton, a pig farmer from the Vancouver suburb of Port Coquitlam (approximately half way between Vancouver and Mission), was charged with two counts of first-degree murder of two of the missing women. More charges followed in the months ahead. Pickton currently faces 15 counts of first-degree murder with seven more expected. DNA samples of 31 women have been linked to his 10-acre farm. In short, potentially the largest serial murder case in Canadian history is now underway just 35 kilometers from Mission.

Given the frequent intrusion of death into the area, I suppose it should have surprised no one when, on 20 July 2003, the missing women's joint task force announced they would be searching an area of wetlands near Mission. Just south of Highway 7 (aka the Lougheed Highway) and the man-made body of water known as Silvermere (itself the subject of a delightfully creepy urban legend or two), the area is basically marshland bisected by a meandering slough. Immediately following the announcement of the search, the site was fenced off with temporary chain link, and the highway's wide shoulders — traditionally home to roadside fruit and flower vendors hawking their locally grown products — were suddenly and unequivocally off-limits.

Driving this formerly innocuous stretch of blacktop, especially under the after-dusk arc lights, with their swirling bug armadas and liquid island oases in the dark, now touched off an indescribably eerie feeling. It was a relief when, on 8 August, the entire ensemble of law enforcement personnel (numerous forensic investigators plus 52 anthropologists) took up their tools again and vanished. They gave no word of what they had uncovered or even whether anything had been found at all, leaving our community to its familiar, fitful dreams once more. Mission's part in this unfolding story, as it relates to the wider world, remains amorphous and indistinct, with its usual chilly glints of barely suppressed horror flickering amid the overall grey.

Here, it seems, empirical proof takes a back seat to rumour and anecdote every time.

Sometimes, while hiking alone in the tree-bejeweled mountains west of Steelhead, east of the dams, I have suddenly felt the fetid breath of graves, a harsh raven-shadow lurking behind the abundant emerald and olive greens of this sodden paradise. Inexplicable noises in the deep tangled brush; distant rending, gnashing. Something skulking and hungry. With all the assured rationality of the white male immigrant, I've been known to smirk at the idea of ghosts, and yet stumbling along a jade-tunnel trail bristling with old man's beard and devil's club, I've occasionally recoiled from something, the skin of my arms prickling with gooseflesh. There are spirits here, all right, something not too far removed from the capricious tricksters who inhabit indigenous myth. Spectres of a kind, nursing some nameless, hollow ache of unrequited need rendered manifest, paradoxically, by a landscape dripping with life.

The closest we Europeans get to perceiving this (however inadvertently) can be heard in the low extended rumble of the nighttime freight trains as they call out in the dark, hunching parallel to Railway Avenue long after most residents are asleep, lonely as a buffalo herd that's somehow seen and almost comprehended its own approaching ruin.

Of course, my telling is by no means the complete, illustrated history of Mission, a town that can barely hold onto its own name (since 1884, take your pick: St. Mary's Mission, Mission Junction, Mission City, Village of Mission, Town of Mission, and currently the District of Mission). Not by a long shot; this lurid splash portrays but a small corner of the canvas. How can any one person paint the full picture of a community, after all? No, despite my perverse zeal to stir the viscous mud below the bright surface, great deeds and happy memories adorn the history of this place, too, adding the sparkle and lustre of life above and hopefully beyond the stillness and silence. And yet, no matter how much joie de vivre this community may exhibit on its special days, like a red-carpet celebrity when the cameras start rolling — whether it be the laughing children with their maple leaf flags and pancake stacks celebrating Canada Day up at Heritage Park, or the benevolently stoned crowd at the annual Folk Festival, or even the choked air and sharp adrenaline at the Raceway — surely one thing cannot go unremarked: nearly half of those missing-presumed-dead women were of Aboriginal descent. This adds one more layer of indifference to a jaded populace apparently caught somewhere between the small town rural cruelties of its past and the uneasy suburban shrugs of its gathering future.

I know this. I worked with the street kid population here for years, witnessed their hardscrabble resilience. Few people ever gave a genuine damn about the plight of these children, even though some of the throwaways had not yet reached puberty. Two-thirds of street-involved youth in Mission are Aboriginal. Many are sexually exploited by family members, neighbors, pimps and selected citizens, but few speak of it. Some of these kids head west to Vancouver for a date with misery, stretching already tenuous community ties to the breaking point. My job as a street worker was to speak for these lost children, to ensure some semblance of the child welfare system would kick in through advocacy with social workers or teachers or families or counselors or probation officers. In a world in which the so-called "bottom line" — money and the politics of money — has become drawn too garishly, these already marginalized youth were, and continue to be, largely abandoned by a system designed to protect them. Sometimes I stand beside the town's failing heart, its run down main drag (1st Avenue), taking in the pawnshops and thrift outlets and dollar stores, and I'm convinced I truly hate this place... but only because I've loved it so deeply. In life: death. In death: life. The great inscrutable cycle.

In this way, the perennially troubled summer Pow Wow, always skirting the edge of ruin (corrupt, inept politics and sporadic funding, take a bow), yet often prevailing regardless, seems to me a far more accurate symbol of the clutching, ragged breaths that secretly haunt the sleep of this community. The fleeting vibrant colours of traditional dancers whirling in bright regalia — poignant as the plumage of endangered birds, flying amongst the high wailing melismas of the Northern-style singing and the vital, aorta-punching drums of the circles — somehow speaks more of an unavenged wound in time and place, set amid the cruelty that underlies so much beauty, than anything else this conflicted human settlement seems capable of offering.

An absurd contrast, really — this vibrant gathering and the judgmental silence of all those surrounding stories of the dead — the whole place holding its breath waiting for these mortal sorrows to purge themselves before the pristine lawns and asphalt and vinyl sidings are allowed to spread and eventually suffocate every fucking thing that ever felt like something here.

For here, tenacious as the town itself alongside relentless churning waters, the living will no doubt cling to hope and the perpetual dream of life until the muscled river — unnoticed, stealthy, taken for granted — wrestles away everything (horror, joy, splintered wood and the final word) at long last, sending it all tumbling toward the planet's dark and pitiless seas for good.

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