When Randy gets back to his cell, he sits crosslegged on his bed with the Walkman and begins dealing out the CDs like cards in a solitaire game. The selection is pretty reasonable: a two-disc set of the Brandenburg Concertos, a collection of Bach organ fugues (nerds have a thing about Bach), some Louis Armstrong, some Wynton Marsalis, and then various selections from Hammerdown Systems, which is a Seattle-based record label in which Chester is a major investor. It is a second-generation Seattle-scene record label; all of its artists are young people who came to Seattle after they graduated from college in search of the legendary Seattle music scene and discovered that it didn’t really exist—it was just a couple of dozen guys who sat around playing guitar in one another’s basements—and so who were basically forced to choose between going home in ignominy or fabricating the Seattle music scene of their imagination from whole cloth. This led to the establishment of any number of small clubs, and the foundation of many bands, that were not rooted in any kind of authentic reality whatsoever but merely reflected the dreams and aspiration of pan-global young adults who had all flocked to Seattle on the same chimera hunt. This second wave scene came in for a lot of abuse from those of the original two dozen people who had not yet died of drug overdose or suicide. There was something of a backlash; and yet, about thirty-six hours after the backlash reached its maximum intensity, there was an antibacklash backlash from young immigrants who asserted their right to some kind of unique cultural identity as people who had naively come to Seattle and discovered that there was no there there and that they would have to create it themselves. Fueled by that conviction, and by their own youthful libidinous energy, and by a few cultural commentators who found this whole scenario fetchingly post-modern, they started a whole lot of second-generation bands and even a couple of record labels, of which Hammerdown Systems is the only one that didn’t either go out of business or get turned into a wholly-owned subsidiary of an L.A. or New York-based major label inside of six months.