The 500 - #134 - Ready To Die - The Notorious B.I.G.

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #134
Album Title: Ready To Die
Artist: The Notorious B.I.G.
Genre: East Coast Hip Hop
Recorded: The Hit Factory and D&D Studios, New York, New York.
Released: September, 1994
My age at release: 29
How familiar was I with it before this week: One song
Is it on the 2020 list? Yes, at position #22, rising 112 spots
Song I am putting on my Spotify Playlist: Big Poppa
Few things in hip hop engage me more than razor-sharp wordplay, intricate multi-syllabic rhymes, and storytelling that feels cinematic. Add in lyrics that carry political or social weight, and you’ve got my full attention.

If you’ve been following this series, you know I celebrated Eric B. & Rakim’s ability to rhyme across the bar line in my January, 2024, post on Paid in Full (#228 on The 500) and Eminem’s linguistic acrobatics in October, 2023, when I explored The Marshall Mathers LP (#244). I’ve also unpacked the groundbreaking social commentary in Public Enemy’s Fear of a Black Planet (#302); Illmatic (#402) from Nas or the raw bullhorn of protest found in N.W.A.’s Straight Outta Compton (#144). Meanwhile, I've also become a fan of clever sampling, especially the work of Erick Sermon and Parrish Smith on their first release, Strictly Business (#453).

Album covers for records mentioned above.

When it comes to pure smoothness, few can rival the late Christopher George Latore Wallace, better known as Biggie Smalls, The Notorious B.I.G., or simply Biggie. He delivers all of that and more. His verses aren’t just lyrics; they’re vivid narratives woven into rhythm, making Ready to Die a masterclass in clever, seemingly effortless rap. Biggie’s command of internal rhyme and multi-syllabic wordplay is matched by his breath control and rich vocal tone, allowing him to glide through complex lines with ease. Layer in his knack for striking imagery and streetwise slang, and the result is music that flows with smooth confidence.

Biggie’s work has only grown in stature over time. As noted earlier, Ready to Die jumped more than 100 spots in Rolling Stone Magazine's 2020 update of 2012’s The 500 Greatest Albums of All Time, landing in the Top 25. That said, not every track has aged gracefully. Some songs reveal the raw edges of Biggie’s youth...he was just 21 when he wrote them. The 14th track, Friend of Mine, leans heavily on crude humor and explicit sexual detail, tarnishing his lyrical brilliance. Respect, the album’s 13th cut, brims with sexual bravado, ego-driven bluster, and violent imagery, relying more on shock value than the sophistication Biggie displays elsewhere. And then there’s the awkwardly titled Me and My Bitch, intended as a love song but now jarring and undeniably misogynistic by today’s standards.

Biggie with his wife Faith Evans. It is unconfirmed if she
was the inspiration for his love song Me And My Bitch, but 
the timelines match-up. They married in August, 1994.

The Notorious B.I.G. released only two studio albums before his life was tragically cut short in a drive-by shooting in Los Angeles on March 8, 1997. Both records earned spots on Rolling Stone’s 2012 and 2020 editions of The 500 Greatest Albums of All Time. I’ll keep revisiting Biggie’s catalog, but I suspect my go-to will be the 2007 Greatest Hits compilation, released on the tenth anniversary of his death. It pulls together standout tracks from both studio albums, along with select posthumous material, that offer a powerful snapshot of his legacy in one collection while side-stepping some of his less mature tracks.

The 500 - #135 - Slanted and Enchanted - Pavement

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #135
Album Title: Slanted and Enchanted
Artist: Pavement
Genre: Indie Rock, Noise Pop, LoFi
Recorded: Louder Than You Think Studio (Stockton, California); South Makepeace Studio (Brooklyn, New York)
Released: April, 1992
My age at release: 26
How familiar was I with it before this week: Not at all
Is it on the 2020 list? Yes, at position #199, dropping 74 spots
Song I am putting on my Spotify Playlist: Conduit For Sale

In recent years, I’ve reshaped how I approach writing fluency in my Grades 6 and 7 classroom. Instead of assigning a major graded task every few weeks, I now focus on enhancing learning and confidence through regular entries in our Writer’s Notebooks. At the heart of the shift is the “Quick Write” strategy -- posted prominently in our class room (see below) -- which encourages students to get their ideas down without overthinking grammar or spelling. The approach is simple. I want them to write freely and often using topics that are generated from our class discussions or novel readings. I read each entry and offer one piece of targeted advice, helping them grow without overwhelming them with a page full of red ink editing suggestions. The goal is progress, not perfection. Later, they can choose their favourite piece and edit it thoroughly for grading.

This approach to writing came to mind as I researched the recording of Slanted and Enchanted, the debut record from California rockers Pavement. Created in a makeshift home studio on a shoestring budget, the band embraced a lo-fi aesthetic that favored raw energy over polish. The sessions were described as relaxed and spontaneous. Drummer Gary Young reportedly hit record on the tape machine and ran to his kit, capturing “takes” that were imperfect but authentic. The result was a landmark indie rock album, celebrated for its disheveled charm, jagged guitar riffs, and off-kilter melodies. Like a Quick Write, Slanted and Enchanted wasn’t about perfection, it was about capturing something real, unfiltered, and emotionally resonant. That spirit of creative freedom is exactly what I hope to foster in my students’ writing.

Pavement (circa 1992).

Until last year, Pavement had slipped under my radar. It wasn’t until May, 2024, when guest blogger T.J. Gillespie wrote about their fourth album Crooked Rain, Crooked Rain (#212 on The 500) that I gave a proper listen. The record’s offbeat charm and melodic grit pulled me in. So when I noticed their debut, Slanted And Enchanted, ranked higher than Crooked Rain on The 500 list, I was eager to learn more. 

I'll admit, Slanted And Enchanted was a tough listen at first. The album’s lo-fi production and a raw, unpolished sound, felt chaotic and the vocals seemed a little pitchy. Yet, as I sat with it, I began to appreciate its scrappy brilliance. It wasn’t trying to be perfect, it was trying to be honest. That same spirit is what I aim to cultivate in my classroom – a space where students can create freely, without fear of flaws, knowing that the real magic often lives in the rough edges.

A stack of Writer's Notebooks from my current class, 
ready to be picked up for their next Quick Write opportunity.

I’m thrilled with the growth I’m seeing in my young writers. This week, we’re diving into seven strategies for crafting irresistible introductions, a skill that will elevate their writing instantly. I can’t wait to read their next Quick Write and see how they experiment with these techniques before applying them to a reworked polished piece. Just as writing this weekly blog has sharpened my own skills, their progress shines through every opportunity I give them...even when the work is raw, unpolished, and a little chaotic. As we've learned from Pavement, that’s where the magic begins.

The 500 - #136 - Greatest Hits - Elton John

I was inspired by a podcast called The 500 hosted by New York-based comedian Josh Adam Meyers. His goal, and mine, is to explore Rolling Stone Magazine's 2012 edition of The 500 Greatest Albums of All Time.

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Album: #136
Album Title: Greatest Hits
Artist: Elton John
Genre: Rock, Pop
Recorded: Several Studios
Released: November, 1974
My age at release: 9
How familiar was I with it before this week: Very
Is it on the 2020 list? No
Song I am putting on my Spotify Playlist: Don't Let The Son Go Down On Me

Last spring, I had the incredible opportunity to direct The Lion King Jr. with the talented students at Sir Arthur Currie Public School in London, Ontario. It was a true team effort, and I was fortunate to collaborate with a dedicated group of colleagues who brought the production to life. We had a musical director who led the choir and prepared the songs, two teachers who choreographed the dancers, and a tech lead who managed everything from headset microphones to stage lighting. Several staff members designed costumes and built set pieces, while others handled marketing and ticket sales.

Poster for Sir Arthur Currie’s production of The Lion King Jr.

Nearly 150 students auditioned for just 15 speaking roles (13 of which included singing), and the talent on display was nothing short of extraordinary. Faced with such an abundance of gifted performers, we made the bold decision to double-cast the show, allowing more students to shine on stage. It was a bit of a gamble -- splitting our rehearsal time between two casts made my directorial debut far more challenging than I had anticipated. But in the end, it was worth every moment. I walked away with a deep appreciation for the art of directing and the magic that happens when a school community comes together to create something memorable.

Sir Arthur Currie students performing The Circle Of Life at the conclusion of  The Lion King Jr.

For many of our students, The Lion King Jr. was their first real introduction to the music of Sir Elton John, who composed most of the songs for Disney’s 1994 animated classic, along with lyricist Tim Rice. During our spring rehearsals, John's melodies were absolutely everywhere. They echoed from the stage, floated through the hallways, and popped up in the most unexpected places -- hummed at desktops during work periods, whistled between classes, or softly sung in the yard at recess. E.J. knows how to write a tune that sticks with you, and our school was happily buzzing with his unforgettable music for weeks.

I was about the same age as some of our youngest cast members when I first heard the music of John. I can’t say for sure which song I heard first, but chances are it was the irresistibly catchy Crocodile Rock that pulled me in. That’s the magic of his music – he knows how to craft a hook that sticks. His 1974 Greatest Hits album was an early testament to his talent that expanded exponentially throughout his career.  He followed up with Greatest Hits Volume II  three years later, and his third volume a decade after that. John and his longtime lyricist, Bernie Taupin, were a hit-making machine. In fact, John has landed 29 songs in the Billboard Top 10 -- ranking him fourth among pre-streaming artists, behind only Michael Jackson, The Beatles and Madonna.

Bernie Taupin (left) and Elton John in 2019.

However, he topped those talented performers, by being elevated to the highly exclusive EGOT Club -- reserved for artists who have managed to snag an Emmy, a Grammy, an Oscar and a Tony award with their work. Only 21 individuals have achieved this honour. Of them, a mere three entertainers have been pop music performers  –  Elton John, John Legend and Jennifer Hudson.

The memory of The Lion King Jr. at Sir Arthur Currie will fade with each graduating class; however, I feel that Elton John’s legacy will persist. His 1983 hit, I’m Still Standing, a defiant anthem of resilience, made its way onto our classroom playlist this year, a mix of old and new music curated by both students and me. One student in particular, Saqeef, who played Older Simba in The Lion King Jr. (see below), has already set his sights on performing the song at the Spring, 2026, edition of Currie’s Got Talent,  accompanying himself on piano. It’s a fitting choice, and a testament to how John’s music continues to inspire new generations -- after seven decades and 50 years since I first started humming his tunes.

Saqeef (right) as Older Simba in a scene from Sir Arthur Currie's
production of The Lion King Jr.