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Mic One’s 1998 version of Graham Nash’s 1971 hit  has been much imitated cashel tail bag by other rap artists, including Gangsta Nation and Beanie Sigel.This essay explores the politics of appropriation and sampling, arguing that musical borrowings work both ways.The outpouring of grief that attended Mic One’s death in Norridge contrasts with the CNN special entitled Chicagoland.Rap music’s local knowledge, as shown by graffiti, murals, and rap music offers a counter narrative to more widely disseminated news reports such as “Chicagoland” that purport to veuve ambal rose represent the windy city.