In 2024, we've experienced the loss of several luminaries in the world of entertainment. These beloved figures—actors, comedians, musicians, singers, and coaches—have touched our lives with their talent, passion, and dedication. They've left an indelible mark on our hearts and shaped the world of entertainment in ways that will continue to inspire and influence generations to come.
Among the incredible actors who bid farewell this year, we mourn the loss of a true chameleon who effortlessly.
Keith Elam ,[2] better known by his stage name Guru,has died he was 43was an Americanrapper and member of the hip-hop duo Gang Starr, along with DJ Premier. He was born in the Bostonneighborhood of Roxbury.[3] The name Guru is a backronym that stands for Gifted Unlimited Rhymes Universal and the less-often used God is Universal; he is the Ruler Universal, which are both references to the teachings of the Nation of Gods and Earths.
(July 17, 1962 – April 19, 2010)
Guru founded Gang Starr in 1987, and built a sizable following in the early 1990s, releasing classic albums such as Step in the Arena (1991) and Daily Operation (1992).
His "first proper solo album", in his own words, was Version 7.0: The Street Scriptures (2005), released with the help of producer and new backup MC Solar (who is not to be confused with MC Solaar from France). The album reached #1 on the college hip-hop charts, but was a failure with both fans and critics. It still managed to sell relatively well for an independent release.
Guru's last projects were the fourth installment in the Jazzmatazz series, entirely produced by Solar, released in early June 2007, and Guru 8.0: Lost And Found, released May 19, 2008 (also in collaboration with Solar). Although there were hopes for a Gang Starr reunion, Guru stated he would not work with DJ Premier again.[4]
On February 28, 2010, Guru went into cardiac arrest and, following surgery, fell into a coma.[5][6] He was said to have woken from the coma[7] but died on April 19, 2010, after a long battle with multiple myeloma.[8]
In a letter allegedly written by Guru on his deathbed, asked that Solar should manage his posthumous image, likeness, etc. on behalf of himself, and his son KC, and wished that DJ Premier not associate himself with Guru.[9] Members of Guru's family have claimed that Solar prevented contact with him during his fatal illness.[9]
Height was born in Richmond, Virginia. At an early age, she moved with her family to Rankin, Pennsylvania. Height was admitted to Barnard College in 1929, but upon arrival, she was denied entrance because the school had an unwritten policy of admitting only two black students per year.[2] She pursued studies instead at New York University, earning a degree in 1932, and a master's degree in educational psychology the following year.[3]
Height started working as a caseworker with the New York City Welfare Department and, at the age of twenty-five, she began a career as a civil rights activist when she joined the National Council of Negro Women. She fought for equal rights for both African Americans and women, and in 1944 she joined the national staff of the YWCA. She also served as National President of Delta Sigma Theta, Sorority Incorporated from 1946 to 1957.[4] She remained active with Delta Sigma Theta Sorority thoughtout her life. While there she developed leadership training programs and interracial and ecumenical education programs.[4]
In 1957, Height was named president of the National Council of Negro Women, a position she held until 1997. During the height of the civil rights movement of the 1960s, Height organized "Wednesdays in Mississippi",[5] which brought together black and white women from the North and South to create a dialogue of understanding. American leaders regularly took her counsel, including First LadyEleanor Roosevelt, and Height also encouraged PresidentDwight D. Eisenhower to desegregate schools and President Lyndon B. Johnson to appoint African American women to positions in government. In the mid 1960s, Height wrote a column entitled "A Woman's Word" for the weekly African-American newspaper, the New York Amsterdam News and her first column appeared in the March 20, 1965 issue on page 8. Height served on a number of committees, including as a consultant on African affairs to the Secretary of State, the President's Committee on the Employment of the Handicapped, and the President's Committee on the Status of Women. In 1974, Height was named to the National Council for the Protection of Human Subjects of Biomedical and Behavioral Research, which published The Belmont Report, a response to the infamous "Tuskegee Syphillis Study" and an international ethical touchstone for researchers to this day.
In 2004, Height was recognized by Barnard for her achievements as an honorary alumna during its commemoration of the 50th anniversary of the Brown v. Board of Education decision.[2]
The musical stage play If This Hat Could Talk, based on her memoirs Open Wide The Freedom Gates, debuted in the middle of 2005. It showcases her unique perspective on the civil rights movement and details many of the behind-the-scenes figures and mentors who shaped her life, including Mary McLeod Bethune and Eleanor Roosevelt. Height was the chairperson of the Executive Committee of the Leadership Conference on Civil Rights, the largest civil rights organization in the USA. She was an honored guest and seated on stage at the inauguration of PresidentBarack Obama on January 20, 2009.[1] She attended the National Black Family Reunion, celebrated on the National Mall in Washington, D.C., every year until her death in 2010.
On March 25, 2010 Height was admitted to Howard University Hospital in Washington D.C. for unspecified reasons. Her spokeswoman issued a statement stating that at that time she was in a "very serious, but stable" condition but that they were remaining optimistic about her recovery. On April 20, 2010, Height died at the age of ninety-eight.
Allen was born in Cleveland, Ohio; her mother was an actress and her father worked for Union Carbide.[1] Allen worked her way up as a production runner, as a sound librarian and then as an assistant film editor at Columbia Pictures. She edited commercial and industrial films before becoming a full-fledged feature film editor. It took sixteen years working in the American film industry before Dede Allen edited her first important feature film, Odds Against Tomorrow (1959).[3] She worked closely with and was mentored by film directorRobert Wise, who had also been a film editor himself (most notably having cut Orson Welles' , Citizen Kane). Wise encouraged Dede Allen to be brave and experiment with her editing.
Much like the raw editing of early dadaist filmmakers (such as René Clair) or perhaps akin to that of the French New Wave, Allen pioneered the use of audio overlaps and utilized emotional jump cuts, stylistic flourishes that brought energy and realism to characters that until that point had not been a part of classic Hollywood film editing technique. Continuity editing and screen direction (being tied to the constraints of place and time) became the low priority, while using cutting to express the micro-cultural body language of the characters and moving the plot along in an artistic, almost three-dimensional manner became her modus operandi.
Benjamin Hooks was born in Memphis, Tennessee. He was the fifth of seven children of Robert B. Hooks and Bessie White Hooks. His father was a photographer and owned a photography studio with his brother Henry known at the time as Hooks Brothers, and the family was fairly comfortable by the standards of black people for the day. Still, he recalls that he had to wear hand-me-down clothes and that his mother had to be careful to make the dollars stretch to feed and care for the family.
Young Benjamin’s paternal grandmother, Julia Britton Hooks (1852–1942), graduated from Berea College in Kentucky in 1874 and was only the second American black woman to graduate from college. She was a musical prodigy who began playing piano publicly at age five, and at age 18 joined Berea’s faculty, teaching instrumental music 1870–72. Her sister, Dr. Mary E. Britton, also attended Berea, and became a physician in Lexington, Kentucky.
With such a family legacy, young Benjamin was inspired to study hard and prepare himself for college. In his youth, he had felt called to the Christian ministry. His father, however, did not approve and discouraged Benjamin from such a calling.
Benjamin was a member of the Omega Psi Phi Fraternity.
Hooks enrolled in LeMoyne-Owen College, in Memphis, Tennessee. There he undertook a pre-law course of study 1941–43. In his college years he became more acutely aware that he was one of a large number of Americans who were required to use segregated lunch counters, water fountains, and restrooms. “I wish I could tell you every time I was on the highway and couldn’t use a restroom,” he told U.S. News & World Report in an interview. “My bladder is messed up because of that. Stomach is messed up from eating cold sandwiches.”
After graduating in 1944 from Howard University, he joined the Army and had the job of guarding Italian prisoners of war. He found it humiliating that the prisoners were allowed to eat in restaurants from which he was barred. He was discharged from the Army after the end of the war with the rank of staff sergeant.
After the war he enrolled at the DePaul University College of Law in Chicago to study law. No law school in his native Tennessee would admit him. He graduated from DePaul in 1948 with his J.D. (law) degree.
Upon graduation Hooks immediately returned to his native Memphis. By this time he was thoroughly committed to breaking down the practices of racial segregation that existed in the United States. Fighting prejudice at every turn, he passed the Tennessee bar exam and set up his own law practice. “At that time you were insulted by law clerks, excluded from white bar associations and when I was in court, I was lucky to be called Ben,” he recalled in an interview with Jet magazine. “Usually it was just ‘boy.’ [But] the judges were always fair. The discrimination of those days has changed and, today, the South is ahead of the North in many respects in civil rights progress.”
By 1949 Hooks had earned a local reputation as one of the few black lawyers in Memphis. At the Shelby County fair, he met a 24-year-old science teacher by the name of Frances Dancy. They began to date, and soon became inseparable. They were married in Memphis in 1952. Mrs. Hooks recalled in Ebony magazine that her husband was “good looking, very quiet, very intelligent.” She added: “He loved to go around to churches and that type of thing, so I started going with him. He was really a good catch.”
Hooks was a friend and associate of Dr. T.R.M. Howard, the head of the Regional Council of Negro Leadership (RCNL), a leading civil rights organization in Mississippi. Hooks attended the RCNL's annual conferences in the all-black town of Mound Bayou, Mississippi which often drew crowds of ten thousand or more. In 1954, only days before the U.S. Supreme Court handed down Brown v. Board of Education of Topeka, he appeared on an RCNL-sponsored roundtable, along with Thurgood Marshall, and other black Southern attorneys to formulate possible litigation strategies.
Hooks still felt the calling to the Christian ministry that he had felt in his youth. He was ordained as a Baptist minister in 1956 and began to preach regularly at the Greater Middle Baptist Church in Memphis, while continuing his busy law practice. He joined the Southern Christian Leadership Conference (then known as Southern Negro Leaders Conference on Transportation and Nonviolent Integration) along with Dr. Martin Luther King, Jr. He also became a pioneer in the NAACP-sponsored restaurant sit-ins and other boycotts of consumer items and services.
In addition to his other roles, he decided to enter Tennessee state politics and ran unsuccessfully for the state legislature in 1954 and for juvenile court judge in 1959 and 1963. Despite his losses, the personable young lawyer and preacher attracted not only black voters but liberal whites as well. By 1965 he was well enough known that Tennessee Governor Frank G. Clement appointed him to fill a vacancy in the Shelby County criminal court. With this he became the first black criminal court judge in Tennessee history. His temporary appointment to the bench expired in 1966 but he campaigned for, and won election to a full term in the same judicial office.
By the late 1960s Hooks was a judge, a businessman, a lawyer, and a minister, but he continued to do more. Twice a month he flew to Detroit to preach at the Greater New Mount Moriah Baptist Church. He also continued to work with the NAACP in civil rights protests and marches. Fortunately for Hooks, his wife Frances matched him in energy and stamina. She became her husband’s assistant, secretary, advisor, and traveling companion, even though it meant sacrificing her own career. “He said he needed me to help him”, she told Ebony. “Few husbands tell their wives that they need them after 30 years of marriage, so I gave it up and here I am, right by his side.”
Hooks had been a producer and host of several local television shows in Memphis in addition to his other duties and was a strong supporter of Republican political candidates. In 1972, President Richard Nixon appointed Hooks to be one of the five commissioners of the Federal Communications Commission (FCC). The Senate confirmed the nomination, and Benjamin and Frances Hooks moved to Washington, D.C. in 1973. As a member of the FCC, Hooks addressed the lack of minority ownership of television and radio stations, the minority employment statistics for the broadcasting industry, and the image of blacks in the mass media. Hooks completed his five-year term on the board of commissioners in 1978, but he continued to work for black involvement in the entertainment industry.
On November 6, 1976, the 64-member board of directors of the NAACP elected Hooks executive director of the organization. In the late 1970s the membership had declined from a high of about 500,000 to only about 200,000. Hooks was determined to add to the enrollment and to raise money for the organization’s severely depleted treasury, without changing the NAACP’s goals or mandates. “Black Americans are not defeated,” he told Ebony soon after his formal induction in 1977. “The civil rights movement is not dead. If anyone thinks that we are going to stop agitating, they had better think again. If anyone thinks that we are going to stop litigating, they had better close the courts. If anyone thinks that we are not going to demonstrate and protest, they had better roll up the sidewalks.”
In his early years at the NAACP, Hooks had some bitter arguments with Margaret Bush Wilson, chairwoman of the NAACP’s board of directors. At one point in 1983, Wilson summarily suspended Hooks after a quarrel over the organization’s policy. Wilson accused Hooks of mismanagement but the charges were never proven. A majority of the board backed Hooks and he never officially left his post as executive director. He has overseen the organization’s positions on affirmative action, federal aid to cities, foreign relations with repressive governments such as that in South Africa, and domestic policy decisions of every sort. Hooks likes to call himself “just a poor little ol’ country preacher,” but his modesty hardly hides his long list of accomplishments.
In 1980, Hooks explained why the NAACP was against using violence to obtain civil rights:
There are a lot of ways an oppressed people can rise. One way to rise is to study, to be smarter than your oppressor. The concept of rising against oppression through physical contact is stupid and self-defeating. It exalts brawn over brain. And the most enduring contributions made to civilization have not been made by brawn, they have been made by brain.
Early in 1990 Hooks and his family were among the targets in a wave of bombings against civil rights leaders. Hooks visited President George H. W. Bush in the White House to discuss the escalating tensions between races. He emerged from that meeting with the government’s full support against racially motivated bomb attacks, but he was very critical of the administration’s apparent lack of action concerning inner city poverty and lack of support for public education.
On the other hand, Hooks would not lay all the blame for America’s ills at the feet of its elected officials. He has been a staunch advocate of self-help among the black community, urging wealthy and middle-class blacks to give time and resources to those less fortunate. “It’s time today... to bring it out of the closet: No longer can we proffer polite, explicable, reasons why Black America cannot do more for itself,” he told the 1990 NAACP convention delegates. “I’m calling for a moratorium on excuses. I challenge black America today—all of us—to set aside our alibis.”[1]
By 1991 some younger members of the NAACP thought that Hooks had lost touch with black America and ought to resign. One newspaper wrote: “Critics say the organization is a dinosaur whose national leadership is still living in the glory days of the civil rights movement.” Dr. Frederick Zak, a young local NAACP president, was quoted as saying, “There is a tendency by some of the older people to romanticize the struggle—especially the marching and the picketing and the boycotting and the going to jail.”
Hooks feels that the perilous times of the civil rights movement should never be taken for granted, especially by those who were born in the aftermath of the movement’s gains. “A young black man can’t understand what it means to have something he’s never been denied,’ Hooks told U.S. News & World Report. “I can’t make them understand the mental relief I feel at the rights we have. It almost infuriates me that people don’t understand what integration has done for this country.”
Hooks and his wife handled the NAACP’s business and helped to plan for its future for more than 15 years. He told the New York Times that a “sense of duty and responsibility” to the NAACP compelled him to stay in office through the 1990s, but eventually the demands of the executive director position proved too great for a man of his age. In February 1992, at the age of 67, he announced his resignation from the post, calling it “a killing job,” according to the Detroit Free Press. Hooks stated that he would serve out the 1992 year and predicted that a change in leadership would not jeopardize the NAACP’s stability: “We’ve been through some little stormy periods before. I think we’ll overcome it.”
Hooks served as a distinguished adjunct professor for the Political Science department of the University of Memphis. In 1996, the Benjamin L. Hooks Institute for Social Change was established at the University of Memphis. The Hooks Institute is a public policy research center supporting the urban research mission of the University of Memphis, and honoring Hooks’ many years of leadership in the American Civil Rights Movement. The Institute works to advance understanding of the legacy of the American Civil Rights Movement – and of other movements for social justice – through teaching, research and community programs that emphasize social movements, race relations, strong communities, public education, effective public participation, and social and economic justice.
Hooks also resumed preaching at the Greater Middle Baptist Church in Memphis where he had begun preaching in 1956.
On March 24, 2001, Benjamin Hooks and Frances Hooks renewed their wedding vows for the third time, after nearly 50 years of marriage. The ceremony was held in the Greater Middle Baptist Church in Memphis .
Hooks was member of:
American Bar Association
National Bar Association
Tennessee Bar Association
Southern Christian Leadership Conference
Tennessee Council on Human Relations
Hooks was awarded the Spingarn Medal from the National Association for the Advancement of Colored People, 1986.
NAACP created the Benjamin L. Hooks Distinguished Service Award, which is awarded to persons for efforts in implementing policies and programs which promote equal opportunity.
University of Memphis created the Benjamin L. Hooks Institute for Social Change. The Hooks Institute is committed to bringing scholars together to advance the goals of the civil rights movement, to promote human rights and democratic government worldwide, and to honor the lifetime of work of Hooks.
Carvel Lee Ausborn was better known by his stage name, Mississippi Slim, was a hillbilly singer who had a radio show on Tupelo's WELO during the later 1940s.
Slim travelled all over the country with Goober and His Kentuckians and the Bisbee's Comedians tent show and even joined the Grand Ole Opry once or twice, largely on the strength of his cousin's connections. He also became known as one of Elvis Presley's first musical heroes and critics.
According to Bill Mitchell, Slim "was a good entertainer" who put on a "pretty lively show," primarily "love songs with comedy. The people really enjoyed it."
William Sterling Walker was a former baritone with the Metropolitan Opera (1962-1980) whose singing career included performances at the White House, at Carnegie Hall and other concert venues across North America and Europe, and some 60 appearances on The Tonight Show with Johnny Carson. From 1991-2002, he produced opera as General Director of Fort Worth Opera in Fort Worth, Texas.
William Walker was born in Waco, Texas to parents who had moved to the city to escape rural hard times in Depression-era Bosque County. Walker came to Fort Worth at the age of 6, where his father eventually went to work for Consolidated Vultee, a predecessor of General Dynamics. Known as "Bill" to his family and friends, Walker began singing professionally at the age of 12 but secretly yearned to play baseball. After watching him strike out four times one night at a high school game, Walker's father suggested that perhaps his son should think more seriously about being a singer. [2] In 1949, upon graduation from Arlington Heights High School, Walker was awarded a vocal scholarship to Texas Christian University. [3] However, his studies were interrupted when he was drafted into the U.S. Army and sent to serve in the Korean War. During his time in Korea, he was awarded the Bronze Star for meritorious service. Upon his honorable discharge, Walker returned to Fort Worth, completed his bachelor's in voice and graduated from Texas Christian University in 1956. In 1957, he married the former Marci Martin and they moved to New York City. [4]
In 1962, Walker placed in the National Auditions for the Metropolitan Opera and was offered a contract to join the company. [7] His first roles at the Met were small ones, but subsequent exposure on television shows such as The Bell Telephone Hour, The Voice of Firestone, and most notably The Tonight Show with Johnny Carson -- where Walker appeared some 60 times – led to a higher profile in his opera career. [3] During his 18 seasons there, Walker gave more than 360 performances at the Met and sang the role of Marcello in La bohème more than 30 times. [8]
In 1975 when the Met toured Japan for the first time, Walker sang the role of Marcello in La boheme with Franco Corelli and Dorothy Kirsten. [8] The following season, Walker stepped in for an ailing colleague and sang the role of Germont in La traviata for the first time at the Met, a role he had already sung at the Santa Fe Opera and in other regional productions. Critic Harold Schonberg wrote in The New York Times, "the best singing of the night came from Mr. Walker," [9] and Time magazine called his Germont "splendidly sung." [10]
Walker's career included performances at the White House: In 1967 during the Johnson administration he was the principal entertainer at the White House Correspondents' Dinner. During the Carter administration, he sang at a White House state dinner honoring Helmut Schmidt, Chancellor of West Germany. In 1976, under the auspices of the U.S. State department, Walker was sent abroad to perform as a representative of the United States. In addition to recitals in Reykjavik, Iceland and at the Royal Swedish Opera in Stockholm, Walker sang Germont in La traviata and Amonasro in Aida in both Warsaw and Lodz, Poland.
From 1969 to 1976, Walker gave more than 250 solo recitals in the United States and Canada, performing classical operatic arias, art songs and American musical show stoppers, most memorably "Soliloquy" from Carousel and "Surrey With The Fringe On Top" from Oklahoma!. With a technique considered innovative at the time, Walker addressed his recital audiences directly from the stage, interspersing his songs with funny, often self-deprecating stories, making him a more accessible performer to his audiences then the stereotypically aloof classical artist.
Walker retired from singing in 1982. [7] In 1980, Walker was named the Hearndon Distinguished Visiting Professor of Music at Texas Christian University and taught master classes in performance for several years. He also taught master classes as the Carol Kyle Distinguished Visiting Professor of Music at Lamar University in Beaumont, Texas from 1980 to 1984.
In 1991, Walker returned to his hometown of Fort Worth to accept the position of General Director of the Fort Worth Opera, a small regional company "with a low budget, low profile and low community confidence." [11]
Even when he was still at the Met and working with world-class stage directors and designers, Walker believed that great singing was what made great opera. " 'That's what opera's all about, you know: let the opera singer sing and opera will flourish.'" [12] When he began to produce opera in Fort Worth, Walker capitalized on this philosophy of "a singer's opera" by recognizing the opportunity for Fort Worth Opera to be a showcase for up-and-coming vocal talent.
Focusing mostly on the standard Italian and French repertory, Walker led the company through "seven seasons of rising artistry and record audiences,"[13] ultimately increasing season subscriptions, wiping out deficits, and bolstering the company's annual budget and its endowment to what were then record levels. During Walker's tenure, Fort Worth Opera joined other major Fort Worth performing arts organizations (Fort Worth Symphony, Texas Ballet Theater, the Van Cliburn International Piano Competition and Cliburn Concerts series) when they moved into their permanent home at Bass Performance Hall.[14] Tickets for the 1998-1999 inaugural season of Fort Worth Opera at Bass Performance Hall were sold out. [13]
In 1998, despite the successes achieved under Walker's tenure, the executive committee of the larger Fort Worth Opera board of directors attempted to force Walker to retire, but their decision was overridden by a vote of the full board. "I'm the happiest man in America," Walker said at the time. "This is the job I prepared for my whole life. I can't wait to get started again." [15] Walker's contract was extended until 2002, when he retired and was named Executive Director Emeritus by the Fort Worth Opera board of directors. [16]
Commercially available audio and video recordings of Walker are rare.
Cole Porter: A Remembrance RCA/NBC, rare recording from a Today Show broadcast in 1964
The Naked Carmen Mercury SRM 1-604, 1970
Wildcat Original Broadway Cast Soundtrack, RCA Victor LOC-1060, 1961
The Voice of Firestone: A Firestone French Opera Gala (as Mercutio in Romeo et Juliette, telecast of February 10, 1963) ISBN 1-56195-054-8, New England Conservatory of Music/Video Artists International. Inc.
The Bell Telephone Hour shows on file at the Paley Center for Media (formerly the Museum of Television and Radio) in New York. New York
Other recordings and career memorabilia are on deposit in the William Walker Collection at the library at Texas Christian University, Fort Worth, Texas.
In 2007, Walker and his wife, Marci, celebrated their 50th wedding anniversary. They have four children and three grandchildren.
Reid picked up drumming at age 16[2]and in the same period his family moved to Queens, NYC, three blocks away from John Coltrane. This was the early sixties which was a peak for Coltrane but also for the jazz scene in NYC. Before going to college he worked at the Apollo Theatre as a musician, under the direction of Quincy Jones. An article describes Reid: "Steve had always been passionate about music but it was the rhythms that really got him." [3]
After this trip Reid started playing with some of the big names of Jazz and black music, including James Brown, Sun Ra, Ornette Coleman, and Miles Davis (on the album Tutu).
In the early seventies Reid started his own label, Mustevic Sound Inc.
Reid lived in Europe for several years (Lugano, Switzerland) in his later life and released several recordings for labels such as Soul Jazz records in London, UK, and German jazz label CPR. For his final releases, his ensemble was based around Reid himself, Chuck Henderson (soprano saxophone; previous saxophonist Lena Bloch, tenor sax, left to play with the UMass Amherst jazz ensemble), Boris Netsvetaev (piano; living in Hamburg, Germany) and Chris Lachotta (double-bass; living in Munich, Germany).
In 2006, Reid teamed up with the groundbreaking electronic musician Kieran Hebden[4], better known as Four Tet, to release an improvisational experiment, The Exchange Session Vol. 1. The duo enjoyed this initial collaboration so much that they went on to release three further albums: The Exchange Session Vol. 2 (2006), Tongues (2007), and NYC (2008). In an interview discussing the duo's collaborations, Reid referred to Hebden as his newly-found "musical soul mate".[5]
Keith Elam ,[2] better known by his stage name Guru,has died he was 43was an American rapper and member of the hip-hop duo Gang Starr, along with DJ Premier. He was born in the Boston neighborhood of Roxbury.[3] The name Guru is a backronym that stands for Gifted Unlimited Rhymes Universal and the less-often used God is Universal; he is the Ruler Universal, which are both references to the teachings of the Nation of Gods and Earths. 
His "first proper solo album", in his own words, was Version 7.0: The Street Scriptures (2005), released with the help of producer and new backup MC Solar (who is not to be confused with MC Solaar from France). The album reached #1 on the college hip-hop charts, but was a failure with both fans and critics. It still managed to sell relatively well for an independent release.
On February 28, 2010, Guru went into cardiac arrest and, following surgery, fell into a coma.[5][6] He was said to have woken from the coma[7] but died on April 19, 2010, after a long battle with multiple myeloma.[8]
