One of the the greatest cultural tragedies of the digital era is that De La Soul’s early music isn’t streaming. An early victim of the sample-clearance wars (over 70 on their masterful debut, 3 Feet High and Rising), De La’s cultural impact — and promise — has never been allowed to be fully realized. Not only has the streaming era proved to stifle De La’s early output, their contracts only covered physical media releases as no one anticipated that streaming would become the primary way we’d all experience media.
With new modes of delivery, new contracts have to be made for those previous albums. And De La has tried to do this in good faith, but Tommy Boy Records, the label De La was originally signed to, has refused to give them a mutually equitable deal. Tommy Boy would take the lion’s share of the profits, even though all of De La’s albums have recouped (made back initial production/investment costs).
As a geek parent, I, for the most part, have been unsuccessful in passing on my enthusiasms to my teen and tween daughters. Sure, my eldest is now a confirmed Potterhead, but only years after her mother and I bequeathed her our books, which she refused to read because they were ours. She discovered and fell in love with Stranger Things on her own, too, which I guess is what works with her — if we’d told her to watch it, maybe she wouldn’t have listened. Her younger sister is a bit more open to my suggestions, and loves anything with magic and the fantastic, and she happily displays my gifts of Pop! figures of strong female characters on her shelf. However, she scares very, very easily, so attempts to watch Star Wars movies, for example, are interrupted by frequents runs out of the room or outright refusals, no matter how much likes likes the characters.