It's kinda amazing how ignorant writers in the 'new' Vibe can be. Real glad Tdot native, Drake got his shine on, but the article's author is kinda lost still. Apparently, the last person to shine in the U.S., by her calculations is Snow! Wow! Just wow, Mindbender was right... Ummm, if I am not mistaken Kardinal's Dangerous was the biggest tune of 2008, going gold. Maybe this is some intentional hateration cause really this article does not make sense to me otherwise
Long before Nas claimed hip hop is dead, the forward thinkers at Pound Magazine were already philosophizing. This issue from December 1999 I believe this was issue number 2, an almost palm-sized gem found for free on streets of Toronto. Pound was one of the rare places that you could read interviews with Dilated Peoples, Jeru and nuff (what people would call underground) artists, and also read about the political exploits of third world destabilization efforts a la Henry Kissinger. Long before most people had regular access to the internet, Pound was the place where you could read interviews with cats that weren't on the radio and not making the cover of the source. More importantly, Pound was never a hype-machine, much like bigger American mags, like the Source and XXL. More importantly, Pound never fronted on homeground talent, making sure Kardi got the cover early in his career, Sauks and Redman blessed a cover and Chiznock, during the rough Blake Savage days also got a cover. Nice to see the homeground repped right. miss Pound...
When I first heard that Michie Mee was down with Boogie Down Productions, I knew there was a moment in which Toronto had arrived long before the term Tdot O, or before the post-Fresh Arts Toronto hip hop explosion. In 1987, I was just trying to get me a BMX bike, had not idea of the major moves happening in my city. Hadn't even got into Kane or P.E. just some Run D.M.C. I was just lucky to get me hand on this gem of a record cause as you can see there is also featured on this record two joints from Rumble and Strong and all joints are produced by Boogie Down Productions. What makes this record real special to me is that I know during this era Canadian hip hop artists weren't asking New York hip hop artist to be on their tracks. Instead, there was a mutual awareness and respect for each other's work and since Toronto was one of the first trips New York cats took to test their material, it only seems right. Imagine, in 1987 Eric and Parrish weren't gettin paid, Rakim was not paid in full and most hip hoppers were in it for the love, the sheer excitement of seeing Doug E. Fresh or Biz Markie make music with their mouths...
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