Well, maybe they can't slow down. Or, more accurately, maybe they won't allow to be slowed down. Leading up to the May 14th release of its best record yet, The Greatest Generation, the Philly sextet decided to push its ambition, health, and psyche to the absolute limit. The Wonder Years were going to attempt to play four shows in four different cities in a 24 hour span. And like many of Dan "Soupy" Campbell's lyrics - failure was not an option. Although failure tried to rear its ugly head a couple times throughout the madness of traveling from city to city, timezone to timezone.
After three successful shows in Philadelphia, New York City, and Chicago, the band was on its way to O'Hare Airport to board its flight to Anaheim to cap off the 24 hour whirlwind. Everything was going smoothly until a three hour flight delay pushed back the show at Chain Reaction two hours. This would break a lesser band, but instead I think this just motivated the band even more - they gave fate, mother nature, or whatever a collective middle finger, boarded the shittiest flight possible and hours later they put on one of the best shows I've seen in a long time.
The band came out onto the tiny Chain Reaction stage to raucous cheers from anxious fans ready to show their appreciation for what The Wonder Years were trying to accomplish. The band immediately launched into "Passing Through A Screen Door" and that open the floodgates of flying bodies everywhere. It was followed by two of the best Suburbia tracks - "Local Man Ruins Everything" and "Woke Up Older" - and the crowd reaction to both gave the band even more stamina. Campbell said as much, telling the crowd midway through the set that his body felt like it was ready to turn into dust but seeing all the smiling faces and the jumping around just inspired him and made him want to have even more fun. "Washington Park" was especially rousing as the audience feverishly shouted back the lyrics of losing a lot of blood in California, while new songs "Dismantling Summer" and "The Bastards, The Vultures, The Wolves" made its marks as new setlist staples (the shared gang vocals of "I'm came here looking for a fight" between band and crowd was especially hair-raising).
Realizing that only two songs stood in the way of the band finally getting much-needed (and deserved) showers and rest, The Wonder Years unleashed "Logan Circle" and "Came Out Swinging" and poured every ounce of being they had left into them. I never seen so many bodies jumping from the stage or on top of people than I did during the final song. It was a celebration of sorts - as not only the band realized what it had just accomplished but so did its fans. Seeing what I saw at Chain Reaction is the reason why I fell in love with this scene and it'll be the reason why this scene will continue to persevere long after I check out.
After the show I talked to a few members of the band and congratulated them on everything, stating that you couldn't even tell it was their fourth show in 24 hours. They looked energized, motivated, and confident the entire 40 or minutes they were up there. Afterwards, they were a bunch of guys weary yet proud of what happened during those 24 hours. Of course, their satisfaction and rest were short-lived, as the band did a photoshoot and two acoustic in-stores the following day - not to mention flying back to Philadelphia for the pop-up shop later this week. No rest for the weary they say. But in the end, it's all worth it. Greatest generation indeed.
Photo taken by Charles Epting - check out his Facebook
There’s no devil on my shoulder. He’s got a rocking chair on my front porch, but I won’t let him in. No, I won’t let him in.
To a lot of people who enjoy pop-punk and The Wonder Years in particular, Suburbia I’ve Given You All And Now I’m Nothing is the benchmark for the genre. It’s aggressive, passionate, and honest - it’s the pièce de résistance.
Nearly two years later, it’s time to turn that “is” into “was,” as that benchmark has been obliterated by the Philly sextet’s new album, The Greatest Generation.
Believe me when I say that The Greatest Generation features the 13 best Wonder Years songs to date. I cannot think of any other band in the genre that can do what this album has accomplished.
Immediately, opener “There, There” lets the listener know that countless hours, sweat, blood, and tears were spent on this album and that the band gave their all. It sets the tone - brilliantly blending slower, melancholy melodies with a punk rock energy. It’s weary yet uplifting - a theme you’ll hear and understand throughout. You’ve all heard “Passing Through A Screen Door” by now. It’s fantastic and the closest you’ll get to a Suburbia redux but rather it’s setting up fans for something they won’t get. It’s definitely the hands-down favorite for having the most lyrics tattooed on fan’s forearms.
The recently released “The Bastards, The Vultures, The Wolves” kicks off the best portion (tracks 5-8) of the album. ”The Devil In My Bloodstream” is something I’ve been waiting for the band to do forever - piano is great, reminds me of Ben Folds in a way - very emotional and personal, something Soupy does very well with his vocal inflections. The female vox (courtesy of Laura Stevenson) give the perfect contrast to Campbell’s rough vocals. The rise in volume/climax at the end feels completely natural as well instead of feeling shoe horned in like some bands do. It’s the most important song on the record - the thematic centerpiece of TGG. “Teenage Parents” is an improved take on that mid-00s punk sound, with the little strain on Soupy’s voice on “ALLL we had were hand-me-downs” totally reminding me of later-era The Starting Line.
“Chaser” feels like the heaviest song the band has done, just in terms of how the riff is delivered without that pop buoyancy. Campbell sings in a lower register which also adds to this. ”An American Religion” is ferocious while maintaining a little bit of melody on the chorus - it’s definitely the “angry” song on TGG - it should come with a warning at live shows: “WATCH OUT FOR FLYING BODIES.”
The final one-two punch of “Cul-de-sac” and “I Just Want To Sell Out My Funeral” is what makes this album, in addition with the middle portion. Songs like these are what sets this band apart from the rest of the nu-punk crowd. The guitar work in the former is some of my favorite on the album and the give-and-take shouts between Campbell and (I believe) Josh Martin are fantastic. The bridge is also one of the very best the band has ever wrote.
But the aforementioned closer track is the one though - it’s the one that sets this album apart from the other TWY albums. I still don’t want to give away the general idea of this song, but just make sure you listen to the first twelve tracks in order before hitting play on this one. The build-up to this track adds to its greatness. Anyways, “Funeral” is earnest, honest, urgent, etc. - it’s basically combines all the best qualities and traits of the band and places into a near 8 minute triumph. Is there a current pop-punk band that could pull this off? Definitely not. Hell, there may not be many pop-punk bands from the last 10 years that could pull this off.
Thomas will be blessing us with a probably 8000 word review (only a slight exaggeration) on the site later this week, but I just wanted to get out some quick thoughts and overall impressions on this album. Fair warning: this album may ruin all past, current, and future pop-punk releases for your ears, as The Wonder Years have finally created the album that the rest of the genre will aspire to.
I wouldn't say I had doubts about Fall Out Boy's return from hiatus. Everything the band has done leading up to and past this past Monday had been thoroughly planned and executed perfectly. The new song shot up the iTunes' charts. AbsolutePunk.net cannot stop talking about it. It was all my friends over in the Buzznet office could talk about all week. Yet, I couldn't help but feel a little nervousness minutes away from Fall Out Boy hitting the stage at the Roxy in Los Angeles for their third show this week since the announcement. A lot has changed since 2009 - my taste and interests have dramatically changed since Folie a Deux released in late 2008. So I anxiously held my breath as the lights dimmed and the Jay-Z spoken word intro began playing over the speakers. How would I react? Would nostalgia run through my veins? Or would I be that cynical dude now? Have I moved on? Welcome.....it's here...
And then the band paused, as if to look at me and say "c'mon dude, you know you're gonna love this." And during that pregnant pause my nervousness turned into anticipation as I watched Fall Out Boy ripped into "Thriller" and Pete Wentz jumped into the pit to begin one of the best sets of their career.
They kept the rowdiness up with two fan favorites from From Under The Cork Tree: the raucous "I Slept With Someone in Fall Out Boy and All I Got Was This Stupid Song Written About Me" and "A Little Less Sixteen Candles, A Little More 'Touch Me.'" I haven't seen the band play live since the Nintendo Fusion Tour in 2005, so finally seeing songs like "This Ain't a Scene, It's an Arms Race" and "Hum Hallelujah" performed was really cool; crowd participation was a must during the former, as Stump moved back and forth like a feverish preacher. I felt 17 again as I jumped and climbed my way up the backs of the audience members in front of me during "'Tell That Mick He Just Made My List of Things to Do Today '" and "Grand Theft Autumn (Where Is Your Boy)" - something my 27-year old body might regret tomorrow once it has to get out of bed. Regardless, I had to trick my body into thinking it was 2003 one more time during the colossal triple-knockout encore that included "Homesick at Space Camp," "Thnks Fr Th Mmrs," and the undisputed champion of FOB show closers - "Saturday."
But the thing I kept noticing throughout the night was how much better Fall Out Boy had become as performers. Now, this was my first time seeing the band in almost 8 years but other fans who saw the band live right before the hiatus were telling me after the show about how much the band has improved. It was obvious throughout, especially during the cathartic "What a Catch, Donnie" and the frantic medley that transitioned to and from songs from different eras of the band seamlessly. A fun moment occurred during "Sugar, We're Goin Down," as the group of people I was with catapulted a girl wearing a red shirt up onto the crowd to surf her way up the stage. Turns out that was Cassadee Pope, who joined the band on stage to sing the final hook of the song.
The moment I realized that this is all bigger than a comeback was a moment that once again reaffirmed my my admiration and respect for the band. Patrick Stump told the audience that they didn't want to come back for the wrong reasons; that it had to be the right time and place for the four members of the band. He acknowledged that fans have been clamoring for a Take This To Your Grave 10th anniversary tour but that the band decided against that because they didn't want to take those songs and those memories and turn them into a commodity; it'd cheapen everything that you and I feel about that album. They could have easily taken the easiest route to huge paychecks but decided to once again challenge themselves as musicians. And with that the band launched into their latest single "My Songs Know What You Did In The Dark (Light Em Up)" and within the first 10 seconds it was clear that the band made the right choice. They looked like a new band with something to prove up on that stage; reinvigorated and ready to take over our stereos once again - to save rock and roll. This is a band that isn't going through the motions, rather this is a band with its best material still ahead of them. This song is an absolute monster when played live - you can't truly appreciate its massiveness until you see it like this. This upcoming new album is something that Fall Out Boy 100% believes in; something that's gonna knock us all on our asses. Throughout the night this didn't seem like a band that had just played its first shows in over 3 years, which is a testament to the hard work and preparation Camp FOB put into all this.
So yeah, that nagging nervousness I had minutes before the show was dashed quicker than you can say "Get Busy Living Or Get Busy Dying (Do Your Part To Save The Scene And Stop Going To Shows)." There is no doubt in my mind that this is just the very beginning of Fall Out Boy's domination in 2013. We found a few more seats on the bandwagon, hop on before it's too late. Again.
I wrote yesterday that the reason Silverstein has outlasted a number of its peers throughout the years is because of the growth and maturation in its songwriting. There's another element to this as well - the passion, intensity, and energy one puts into touring and the live performance are essential. Bands also fade out because they lose the passion to go out night to night and leave their guts and heart on the stage. This isn't the case for Silverstein, who played its first show at The Roxy Theatre in 9 years. It's one of the smaller venues in Los Angeles and with the show being sold out, it was packed to the gills, which just added to the night's overall atmosphere. Last night was a special night for the tour as Silverstein's latest album, This Is How The Wind Shifts, was released that day. So maybe that occasion gave the band extra incentive to burn the house down. Opening with "Stand Amid The Roar," Shane Told ripped into the song and set the tone for the night. The song has one of the coolest riffs on the new album and guitarists Josh Bradford and Paul Marc Rousseau unleashed them with ferocity. The energy didn't drop once, as the band tore into "Sacrifice," "Bleed No More," and "Your Sword Versus My Dagger." Things really got going with chaotic "S.O.S." - Billy Hamilton's bass work got everyone's feet moving, while the breakdowns in "American Dream" and "In Silent Seas We Drown" led to some frantic call and returns between Told and the audience.
There were plenty of standout moments throughout the night, including Rousseau joining drummer Paul Koehler on the stunning "In a Place of Solace" to create a booming build-up to the song's colossal climax. Another fantastic moment had Told coming out by himself for the encore and playing an acoustic version of "Call It Karma" before the rest of the band joined him back on stage. It was chilling to hear Told's lyrics echoed by the crowd; giving the song a unique take.
And of course Silverstein gave the crowd plenty of fan favorites to make this a memorable show. "My Heroine" was played to perfection, while the pit opened up on the classic "Smashed Into Pieces" and bodies were flying during all-time fan favorite "Smile In Your Sleep." Overall, Silverstein's set had a nice balance of old and new songs; the band making sure there is never a dull moment. Silverstein's performance was as strong as any band I've seen recently, hitting all their notes and marks flawlessly. If this show is coming to your town, do not hesitate to pick up tickets, as the smaller venues lead to a more intimate and personal show. And make sure you pick up the band's new album This Is How The Wind Shifts ASAP too - you''ll want to know the words to latest rippers like "Massachusetts" and "On Brave Mountains We Conquer." This is the best Silverstein has ever been - don't miss it.
There's an asterisk in the post because this isn't really my first listen to Tegan and Sara's spectacular new album Heartthrob - rather I've listened to this album roughly 20+ times since getting my advance in early November. I just didn't want to write a lot about it till it got a little closer to the release date (so in this case, 6 or so weeks before it releases at the end of January).
I won't get into too much detail on this album (I'm saving that for my review will may be posted at the end of this month; early January at the latest) but I just wanted to share a few thoughts. Everyone by now has heard the duo's first single "Closer" by now, and yes it is incredibly catchy and may be the catchiest song of 2013. But it is also the most optimistic song on the record. Let me reiterate: Heartthrob - lyrically at least - is nothing like "Closer." Move over The Con, this record is the twins darkest, most depressing record yet.
But the sadness and unhappiness is masked by Tegan and Sara's desire to go basically all keyboard/synth on Heartthrob. The record is incredibly catchy and there are very few guitar parts on it. "Goodbye, Goodbye" and "Drove Me Wild" are immediately infectious (believe me when I say you won't be able to get the line "You carry romance in the palm of your hand" out of your head for weeks after you hear the latter). "How Come You Don't Want Me" is heartbreaking - you can hear em breaking in Quin sisters vocals.
Overall, I believe Heartthrob is going to be a huge commercial success for Tegan and Sara but also a huge hit amongst the band's most diehard fans. I've been clamoring for an electronic-influenced record from Tegan and Sara since I first heard their voices on Tiesto's "Feel It In My Bones." Heartthrob is the perfect title - the theme of being so in love with someone, almost obsessively, and not having that love reciprocated is constant throughout. It's an infatuation, which is something fans will have once they hear this record.
Show Review: Circa Survive/Touché Amoré/Balance and Composure/O'Brother (10/10/12 @ LA Nokia Live)
This past week I finally made it out to my first real show in Los Angeles and I couldn't have picked a better show to go to. I headed downtown LA with fellow AP.net staff Jack Appleby to attend the Circa Survive Violent Waves tour at the Nokia Live. First off, I just got to say that I really liked that little area of downtown LA, I will be visiting there often. Jack and I arrived a little late and only got to catch the final half of O'Brother's set, but from what I could tell from the crowd reaction and what was happening on stage, the band absolutely killed it, unleashing one last powerful breakdown before giving way to Balance and Composure. Jack told me that he thinks B&C are the next breakout band in our scene, and I find it hard to disagree with him based on what I saw that night. The quintet ripped through a seven song set (six from the band's last album Separation and closed with "Rope" from the Tigers Jaw split) that left everyone blistered. Standout's included "Quake" and "Progress, Progress." Let's just say anticipation will be high for the band's next album.
The third band on the bill were the hometown heroes Touché Amoré. Working as direct support for Circa Survive, the hardcore quintet played a twenty song set that featured a good mix of songs from ...To The Beat Of A Dead Horse and Parting The Sea Between Brightness and Me, as well as "Whale Belly" (from the band's new 7" with The Casket Lottery) and a new song titled "Gravity," which stole the show for me. This song may be the most passionate and intense song I've heard from TA yet (it certainly appears to be the longest song they've ever written as well). Jeremy Bolm made the stage his own, as his presence was electric (he reminded me of a young Jake Bannon). Fist pumping and interacting with the crowd throughout, the band was on point with crowd pleasers "~" and "History Reshits Itself" (which featured an Anthony Green cameo). Touché ended the set with the colossal one-two punch of "Amends" and "Condolences," with the latter ending with Bolm in the pit being bear hugged by fans and the former somberly ending the set as Bolm shouted out his final words over the haunting piano chords courtesy of drummer Elliot Babin. Honestly, this set made me feel alive and it stole the show for me. Let it be known that Touché Amoré is one of the best live band you'll ever see.
Finally, it was Circa Survive's turn. The LA crowd was firmly in the band's palm thoughout the near two hour set. This was their temple and Anthony Green was the leader. Between the continuous chanting of "CIRCA! CIRCA!" and confetti-spewing cannons, the band played a balanced set consisting of new songs and fan favorites from the Circa discography. Once they opened with the riveting "Sharp Practice" and quickly transitioned into "In The Morning and Amazing...," you knew this was going to be a special set. This was the first time I've seen Circa live since Juturna released in 2005 and boy have they improved as a live act. Highlights included "Stop The Fuckin' Car," "The Lottery," "Frozen Creek," and the Jeremy Bolm-aided "Glass Arrow." Green got a little surprise during "Suitcase," as the puppy furries from the video showed up on stage and gave the crowd a very lively interpretative dance routine. Circa Survive closed with a two-song encore consisted of "Act Appalled" and "Get Out." Honestly, I've never seen a crowd this into a show and dedicated to a band in the seven years I've been covering the scene. It was something else - I was thoroughly impressed, which is just another indication of the impact Circa Survive has had on the scene during its 8 years as a band.
Overall, this was one of the best shows I've been to in a while featuring one of the best bills in recent memory. All four bands have can't-miss sets. Don't be a fool and miss out on what could be the best show you see all 2012.
That was one of my main thoughts all weekend while listening to Converge's 8th studio album All We Love We Leave Behind. 2+ decades in the game and yet the Massachusetts quartet has shown zero signs of ever slowing down. And with All We Love We Leave Behind, they've raised the bar again. This may be the best heavy album you listen to in 2012 (and that's saying a lot - considering the stellar releases from bands like Every Time I Die, Birds in Row, The Chariot, and more this year). Songs like "Trespasses" and "Sadness Comes Home" (which features some fantastic riffing from Kurt Ballou) are some of the heaviest tracks in Converge's discography, while "A Glacial Pace" may be the album's highlight - its sludging pace slowing collapsing into a chaotic breakdown. Jake Bannon is as insane as ever with his voice, mixing in high shouts with guttural screams throughout. Just wait for "Coral Blue," which sounds like a Converge/Baroness/Mastodon hybrid baby, as Bannon's vocals span from spoken word to unrestrained yells. And the title track! Oh man, the title track is truly classic Converge craziness. Ballou's unleashes some ungodly riffs behind Ben Koller's fantastic drumming as Bannon just lays it all on the line (as he's prone to do). I won't give too much away (wait for my official review for that), but I will tell you that Converge has released an album that's truly great, continuing their dominance as the best band in the genre.
I saw Converge play at FYF Fest this weekend in LA, and for a group of guys that have been doing this for 22 years, they still go on the stage like they're a new band with something to prove. It was one of the best shows I've ever seen in my life, as Converge peppered in some new songs ("Aimless Arrow" and "Empty On The Inside") with absolute classics like "Jane Doe" and "Last Light." Bannon is a mad man on the stage, as at times I was just focusing on him spill his guts on stage instead of the music. What I'm saying is - you don't want to miss Converge on their upcoming fall tour (overseas and here in the States). You'll leave the pit sore, deaf, and happier than ever.
This past Friday I wandered over to Burbank to visit Warner Bros. Records for their final "Summer Session." When I found out a few days earlier that it was going to be Tegan and Sara, I jumped at the chance to go.
After making my way inside with the rest of the press and grabbing a quick bite to eat from the food provided, I settled into prime location to see one of my favorite acts ever perform for the first time in a year.
Tegan was the talkative one between the two throughout the short set. She kept mentioning how she and Sara were "nervous" to be playing live for the first time in a while, but you couldn't tell once the music started, as Tegan and Sara sounded excellent on the six songs they performed. They opened with fan favorite "Walking With A Ghost" and transitioned into "Alligator," which drove the the small crowd of fans into a dance frenzy. They cooled down with my personal favorite T&S song "Call It Off," which the Quin sisters played flawlessly. It was an incredibly emotional and moving performance, at least for this fan.
They played another song from 2007's The Con - moderately successful "Back In Your Head" before electrifying the crowd with their rendition of the Tiesto track they appeared on a few years ago - "Feel In Your Bones." And (bad pun alert), I certainly felt it throughout my body.
Finally, they closed with a new song from their upcoming 2013 album (which is going by the name of "Closer" for the time being), and, even though the sisters were a bit apprehensive performing it for the first time, they hit it out of the park. It features what could end up being one of the best hooks in Tegan and Sara's discography - something that's going to stick with you for a long time. It amped up my already sky-high excitement for their new album and it was the perfect way for them to close out their first live set in a year.
Make sure to catch Tegan and Sara on tour this fall with The Black Keys and follow them on twitter. Tegan and Sara have never sounded better and you should expect big things from them in 2013, as word around Warner was that their upcoming 7th is going to be their best yet.
(here's a short video I took of Tegan and Sara bantering back and forth as well as the first minute or so of "Call It Off." I thought I recorded the whole song but apparently my iPhone hates me.)
holy shit Drew, it's been like six weeks since you last wrote in your blog. Get your life together, man.
I need to blog more again. just putting random thoughts about music, film, television, stuff. Stuff that doesn't require me to bust out the spelling and grammar check haha. I need to make more time for free flowing writing, more stream of conscious type stuff. I guess.
life is weird, man. I'm thankful to have the job I have right now, since thousands of Americans like me aren't fortunate to even have a job at McDonalds. But this isn't what I want to do with my life forever. whatever, let's not get heavy right now, blog.
anyways, I saw two movies last week (TED and THE AMAZING SPIDER-MAN) and enjoyed them both. In fact, I'm going to see SPIDER-MAN again tonight with my sister and brother-in-law. More Emma Stone is a good thing.
as far as music goes, the new Yellowcard album is ruling my life. It's easily the best album of their career. By far. Also expect reviews of the new TEN and various other albums this weekend.
A few weeks ago, I received an online advance of The Ghost Inside’s Epitaph debut Get What You Give. I wasn’t able to spend much time with it as I was out of town, but I could tell from my few listens that this album was gonna be a jam and a half. Then early last week, I received a physical advance of the record and I immediately ripped the seal on it to play it in my car and really dive into it. Let me say this: if you were a fan of Returners and you were a bit wary of first single “Outlive,” don’t worry – Get What You Give shreds. Personally, I thought “Outlive” was a barnburner of a song and it fits in perfectly with what TGI is trying to accomplish on this album. It’s produced by A Day To Remember’s Jeremy McKinnon, but don’t let that scare you. He does a great job of maintaining TGI’s signature sound while sprinkling some nice melodies throughout (“Engine 45” and “Dark Horse” come to mind, with the latter having the perfect balance between sing-along catchiness and dick-ripping brutality). This album keeps up the intensity throughout - “Thirty Three” and “Face Value” are certain to be some of the heaviest songs of 2012. Overall, The Ghost Inside’s Get What You Give is the kind of hardcore album that requires you to bust out your mesh basketball shorts and bring the mosh – regardless of where you are.
When I got the news alert that Beastie Boys' co-founder Adam "MCA" Yauch had lost his battle with cancer, I didn't know how to immediately react. While he was diagnosed with cancer over 3 years ago, I always believed that Yauch would beat it. I soon realized that we'd lost a true pioneer, innovator, and legend not only in the hip-hop world but in all of music. I never met the man, but I'd be lying to you if I didn't say that his group, NYC's Beastie Boys, didn't impact my life. It was 1998's Hello Nasty that helped an awkward middle school Drew find some inner confidence and the ability to laugh at one's self. That album begun the obsession, as I delved into their back catalog and made immediate connections to such classics as Licensed to Ill and Paul's Boutique. Those album had a certain danger to them, an immediate swagger that I found so appealing as I went into my high school years. I felt like I was progressing as a person at the same time that MCA, Mike D, and Ad-Rock were growing as musicians as well as people. It was a long six years between Hello Nasty and the release of their classic To The 5 Boroughs, which presented the Beastie's as hip-hop's elder statesmen. MCA's deep raspy flow was as good as ever, as the trio balanced their witty lyrics with pointed commentary on the current situations in our country.
There was no doubt that Yauch was the most talented member of the group. Mike D and Ad-Rock played off his raspy rhymes perfectly, as he set both emcees up perfectly. He never took the spotlight of the group however, focusing his efforts on film, directing, and humanitarian efforts with the Tibet Freedom Program as well as other post-9/11 efforts in NYC. His film production and distribution company Oscilloscope Laboratories has become a major player in the independent film scene, distributing acclaimed films such as Oren Moverman's The Messenger, Kelly Reichardt's Wendy and Lucy, Banksy's Exit Through The Gift Shop, and many others. Yauch wanted to entertain but also educate. The man who once fought for our rights to party had dedicated part of his life to fight for the rights to speak out and have the same civil rights as every one else. Rest in peace MCA and thank you for impacting the lives of people everywhere, no matter how big or small.