I got 99 donuts.....


From a page on the website of photographer Jason Fulford and a book called Eat Me: The Food and Philosophy of Kenny Shopsin.
3 / 10 large double doubles.
The only reason this didn't get a lower rating is the fact it's located in a strip mall which usually limits fascia.
With it's old fascia, dirty windows and dirty floor, appearance is not important to this store. I was afraid to even look in the restroom.
Service
6/10 large double doubles.
Prompt but I was one of two customers. No smiling faces. Nothing to warrant a tip.
Taste
4/10 large double doubles.
All taste reviews are based on large hot coffee 8 creams 8 sugars.
Not bitter. Not burnt. However they missed the mark of 8/8 by about 3 on each. Adding the correct contents the consumer requests is paramount. Adding the amount they "think" is enough does more harm than good.
Bottom line
4/10 large double doubles.
I would stay away. Grab youself a cup from the local gas station or even a fast food joint. You will get the same service, same facilities and same taste and save some money in the process.

These are cute! These small resin clay molds make cute puffy donuts that measure about .8cm wide. There are 7 molds included in the set-6 are different and there is one donut shape that has 2 molds...it is the regular looking donut shape which is why the picture that shows the finished donuts only has 6 donuts and molds showing.
These are flexible molds.
Only to be used with resin clay-for example resix or grace clay (which we also sell).
Please note this is for the mold only....the donuts are not included.
No words for now.
Pretty cool article on Dilla by Guardian editor Simon Reynolds, cool in the way it describes the experience of a person after having discovered the work of J Dilla. Or as the famous t-shirt states "J Dilla changed my life".
I'm one of those people who believe the sector that kept rap vital these last dozen years wasn't the underground but that cusp zone between "the streets" and commercial mainstream: Cash Money, Ruff Ryders, Ludacris, Lil Jon. Mostly dirty south, in other words: hip-hop that isn't encumbered by crippling reverence towards its old-skool past.
Still, sometimes as a critic you just absorb a sense of the musical landscape through osmosis and sure enough when I asked the DJ what record he was playing, he reluctantly (the attitude, typical for this kind of store, seemed to be "if you need to ask, you're not someone who needs to know") showed me the instrumentals version of Dilla's posthumous album, The Shining.
Over the next week I got hold of as much Dilla as I could: stuff he'd done with his group Slum Village and in collaboration with Madlib, solo records like Donuts, Ruff Draft, Welcome to Detroit and, naturally, The Shining (where I discovered that the track that blew my mind in the store was called Won't Do)
But then the internet comes along and responds :)
While I respect this as opinion, and musical taste should be as personal and free a choice as anything, I think it is quite wrong to claim that the above mentioned artists have " kept rap vital these last dozen years". Vital to you maybe but most of those who have a deep appreciation for hip hop surely will find fault with this. With respect, it is obvious that the author has, at best, a subtle knowledge and interest in hip hop, as he admits he "slept on" Jay Dee only really discovering him after his death. Anyone truly familiar with "these last dozen years" of hip hop would have known Jay Dee's work intimately, even if, like me, they didn't favour every one of his productions.
The 'backpack' label, a ridiculous reductive stereotype, is not applicable to a man who produced tracks and remixes for Janet Jackson, Heavy D, D'Angelo, Erykah Badu and Jamiroquai and, from his beginning, crafted a sound which had a profound influence accross the genre-and beyond. Neither is it relevant for Premier or Pete Rock. It belittles their accomplishments and influence on the music as a whole.
There is a tendency amongst those over 30 to be irrationally protective of their favourite hip hop artists I do not to fall into that category. As the popularity, and popification, of hip hop has increased over the years some find it hard to deal with their favourites perceived loss of relevance. They shouldn't worry. If we accept music as art and ignore the attempts of people to attatch cultural relevance and vitality to record sales and TV appearances, in other words treat hip hop as any other music or art form, popularity, arbitrary labelling and the concept of relevence become, themselves, irrelevant. The fact that years after his death Jay Dee's past work is still being discovered by some and new releases are eagerly anticipated is proof of this.
He was, ultimately, in the great tradition of hip hop production with influences from a wide variety of musical genres fused into a fresh, true new sound. This influence is traced through the works of, amongst others, Marley Marl, Paul C, Ced Gee, Prince Paul, Rick Rubin, Dr Dre, DJ Muggs, Eric B and Rakim, Erick Sermon, Large Professor, Ali Shaheed Muhammad, Q Tip, Mark the 45 King, DJ Premier, Pete Rock , The Beatminers, Buckwild, Jay Dee, MF Doom, Madlib, Lord Finesse, The RZA, Just Blaze, Kanye West, Hi Tek, 9th Wonder and on and on and on.
Sorry for the role call but if you like Jay Dee and are not familiar with some of the names I have listed give them a listen. There are many more.
Many of these producers began at a time when almost ALL hip hop was "underground", a euphemism for not popular. Most have produced tracks for the biggest names in popular music, hip hop or not, which has never impeded their ability to remain relevent to all who apprecite thier sound. This doesn't mean all of their work is great, how could it be, but these are the people who have injected vitality in the music for the past 25 years or so. I'm sure knowledgable people like Ludicrous,some of the Ruff Ryders and Mannie Fresh will acknowledge that fact.
I mean no disrespect to the author. As I said, I appreciate the post and its honesty. No backpacks in sight.