A film about Northwest hip-hop from

The Coolout Legacy

NYC filmmaker Georgio Brown moved to the Northwest in the early ’90s. In 1991, along with VJ D, he founded The Coolout Network, a public access show on cable television that would record the evolution of Seattle’s early hip-hop scene. As Georgio says at the beginning of this film, “we went to the community centers, parks, schools, clubs… Every place that hip-hop was happening… We wanted to cover it.” They certainly did. Coolout ran for 16 years on television, from 1991 until 2007. Various forms of the project continue online to this day.

This particular film, The Coolout Legacy was made by Georgio Brown himself. He narrates and reflects on the impact of the show and its importance to our local hip-hop community.

There’s vintage footage here galore: A teenage Funk Daddy shows off a trophy “taller than me” that he won at a DJ contest, before showing us some of the moves that earned him the victory. Laura “Piece” Kelley addresses the challenges of being a woman in a male-dominated rap scene. She often faces the insult that “she can rap pretty good for a girl.” But she replies, “I rap good for the world… And I don’t rap good. I rap well.”

Rapper H-Bomb heaps some well-deserved praise on Specswizard: “Nobody’s been doing hip-hop in Seattle longer than Specs.” We then catch up with the ‘Wizard and he shares a book of graffiti sketches from ’93. The late, great J. Moore shares his wisdom for success and acknowledges the importance of that Coolout played in “coalescing a scene.”

There are numerous live performances and freestyles of Seattle legends in their early days, as well as national acts like Mary J. Blige and Leaders of The New School. Brown talks about encouraging young artists who bravely stand on a stage with a mic and bear their truths. It’s hard. But with Coolout filming you, “every little victory helps,” adds Ghetto Chilldren’s B-Self.

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A film about Northwest hip-hop from

Listen To The Greg B

Hmmm... There's not a lot of information about this project in the museum encyclopedia. We'd love your help! TOWN LOVE is maintained by an awesome community of passionate volunteers who keep it all up to date.

Do you know something about the history of this record? Do you have a favorite lyric or a favorite memory? Send us an email on why this is one of the great hip-hop albums from the Northwest. Thanks!

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A film about Northwest hip-hop from

Prisoner Of Ignorance

For almost a century, vinyl records had been the dominant medium for music playback, but in the ‘90s, the format’s long reign was quickly eroded by two newer options: cassettes and CDs. Both were smaller, cheaper, less fragile, and portable. You could play cassettes and CDs in your car, throw them in a boombox, or go stroll with headphones and a fancy new Walkman.

“Prisoner of Ignorance” marks the first time NastyMix put their marketing and promotion efforts behind a cassette edition rather than the vinyl. (A plain-sleeve vinyl was made for DJs, but it was the cassette of “Prisoner” that got the cool cover art.)

NastyMix also splashed out on an MTV music video. In it, Kid Sensation is tied to an electric chair. He’s about to be executed. A white, racist cop narrates, saying “another Black youth is being appropriately punished.”

When asked if he has any last words, Kid raps that he’s a product of the system: “My only crime from birth is dark skin.” He recounts how he was expelled from school, how he turned to the streets and gangs. He started running with the wrong crew. In desperation, he tried to rob a liquor store. It went bad. He took a hostage, he killed two cops, the hostage was killed, too, I think? The story gets a little convoluted, but the message is clear: The system has failed him over and over again.

For his fall, he blames bigots, the school system, the media for promoting white supremacist falsehoods as truth. Americans are being brainwashed. Where is his piece of the so-called American dream?

At the end of the music video, Mix-A-Lot stands over Kid Sensation’s grave and makes the song’s anti-gang message clear: “Minorities make up 93% of all gang membership in the United States of America today. Whether you choose to call this genocide or just straight-up homicide, you brothers need to remember it’s all suicide.”

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A film about Northwest hip-hop from

Rollin' with Number One

The debut full-length from “teenage lady killer” Kid Sensation dropped in 1990, while Kid was, indeed, still a teenager. He and Sir Mix-A-Lot originally met back when pre-success, mid-80s Mix was a popular recurring DJ at Boys and Girls Club parties and events. Kid was a teen who’d linger after the set and help Mix put away his gear.

The backside of Rollin’ with Number One has all the best songs, like “Two Minutes,” where he shows us how it’s done by spitting verses for two minutes straight with barely a breath. The drums on standout “Legal” pierce your synapses at unexpectedly pleasant times. This one tune was co-produced by Mix-A-Lot—whose shadow looms large over the whole record—but it’s very much Kid Sensation who’s the star here, making all the beats and dominating 10 tracks with a smooth, speedy bullet train cadence.

Side B opener “Flowin’” is a great example of Kid Sensation’s dual threats of production and rapping. “I’m impossible,” he says at one point, adding, “Sucker emcees can’t comprehend because they’re too slow.” Kid then lays down a ground cover of drums, samples, and vocal wordplay, demonstrating his impressive skills, letting you know he’s “cutting you down like grass in a mower.”

The song is yet another NastyMix tune that incorporates elements of “Posse on Broadway.” (That’s 4, for anyone keeping count…) I’d love to know if there’s a larger story here.

Deft samples include movie lasers, a heart-rate monitor, and the infamous “funky drummer.”

The jacket will have you plotting your next beach fire at Golden Gardens. Listen closely to the lyrics and you’ll hear references to Rainier and Seward and other Town locales. This one is on Spotify so you can go bump it right now.

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