Sublime

“Mo’ Money, Mo’ Problems” was the first time I considered the true work of the sample: to call us all back to something familiar, in hopes that we might ignore all that is falling apart outside.

Al Green, Parliament, the Meters, the Isley Brothers, Sly and the Family Stone, Labelle, and Stevie Wonder.

The rest of the time, I hung in purgatory, playing talent shows and showcases here and there, living like a normal teenager in Philadelphia. Or maybe I should say living like a normal black teenager, which meant that aimlessness was accompanied by a certain unique set of risks. One night, I was out driving with a few friends of mine when the police

his work is primarily arranged into three discernible periods—his early or harmonic period, his middle or modal period, his late or experimental period—to distinguish and weigh the significance of each.

This was music that made people want to dance and freed them of the daily hassles of America’s segregated practices. It was music that expressed the full range of black life experiences.

trying to come to terms with Michael’s death. And we played his songs on the air. Usually, they would be too expensive to use, but there is a special stipulation, a death memorandum, that grants a 48-hour grace period where songs can be used for a standard rate for news purposes.