The other thing that made Pimp C so remarkable was his love of Hip Hop. Like Bun B’s, Pimp packaged an appreciation for all facets of rap music that could have put him on the editorial staff at any of the major magazines. Although he might be misconstrued as a flagrant defender of southern Hip Hop in his last months, Pimp was highly educated on New York and west coast rap. The man collaborated with Lord Jamar and Keith Murray on “Live Wires Connect;” he reunited Kool G Rap, Big Daddy Kane and Marley Marl on “Next Up,” and he produced and featured on “Murder Man Dance” for Spice-1. Beyond this, there were collaborations with Talib Kweli and Dizzee Rascal; Pimp C made the music fun and kicked down the walls he was wrongfully accused of building. On the latest UGK album, Pimp borrowed a cadence and rhyme pattern from yet another labelmate, Too Short, on “Life is 2009.” The delivery and word choices were carefully studied in the same vein which Black Thought and Dice Raw mimicked the aforementioned Juice Crew members on The Roots’ 2004 album cut “Boom.” Confusing Pimp C for just a rhyming producer or a self-involved artist is criminally minded. Moreover, the work outside of Hip Hop was equally remarkable. Whether interpolating The Red Hot Chili Peppers on “Pocket Full of Stones (Remix)” or Bob Marley & The Wailers on “Cocaine in the Back of the Ride” or Tom Petty & The Heartbreakers on “Free,” the work wasn’t Diddy-like coverage, but rather H-Town-ified nods to greats beyond the walls, and making them accessible to urban youth. To see his man’s iPod or his record collection, like Bun’s, would be an education in of itself.

Pimp C was one of Hip Hop’s final characters. As the smash-cut in the video to “International Player’s Anthem,” (during Andre 3000’s verse) deems, he was Hip Hop’s pimp. While Ice-T might have a foothold in the actual facts, Pimp C, with his lavish wardrobe, his signature glasses and undeniable deuce-chucking, was the total package. This was a man who studied the way Kool Moe Dee, X-Clan or Ice-T himself rocked it, and he created his own character. This was all the more reason, when soliciting that production, that guest verse or simply purchasing a UGK or solo album, the check-writer knew what he was in store for. No fact checking was needed with Pimp C. Even if the man was embellishing, just like Kool Keith or KRS-One, it didn’t matter. Hip Hop’s suspension of disbelief was never tampered with, and the stories and style were warmly received.

With the deaths of J Dilla and Big L, Hip Hop has grown to love its icons after the fact. Just as Folk music fans understood Nick Drake and Soul folks received Nina Simone, Chad Butler, whose music passed our ears, eyes and hearts for nearly 20 years before he left us, will be better understood in time. Like 2Pac, the last two years of his life may have been spent in haste, making product that seemed to be means to make ends, all of this work, the slow cooked and the rushed alike, will carry prophecy that Hip Hop will undoubtedly need in its steps forward.

Chad Butler, we only shared air on a few occasions, but to say so makes me both proud and mournful. While our exchanges were short, and perhaps not memorable (on one side anyway), it is with humble honor and firm belief that I believe your impact on all of our lives and love of this thing of ours will reveal itself a bit more each day, each phase and each spin. Thank you and rest in peace.