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>territories like that, it's not always because there's no
>creative wiggle room left there.
>
not the argument I'm making
>Sometimes an artist can, understandably, imo, feel like no
>matter how crazy you flip a jazz record, for example, people
>will ALWAYS say "TROY better".
if you're doing it so people can you flipped something better than someone else, you're doing it for the wrong reasons
>It happens, whether it's warranted or not.
>Even if What Goes Around was 400% better than it is (and I
>really like it), legacy wise? It'll never go in the same
>sentence as Low End Theory or Mecca & the Soul Brother. & if
>he repeated that feat several times over, Statik still would
>never join the ranks of Q-Tip or Pete Rock. We hip hop heads
>don't believe in that kind of post-golden era upward
>mobility.
>
it shouldn't
that's why you do different shit
you don't have to flip jazz records like Tip and Pete, bring your own shit to it
>Just like how any poppin, lockin pop/r&b dude, no matter how
>much he elevates the game, will ALWAYS be considered a MJ
>wannabe at best.
>
mostly because all of them bite Mike's moves instead of adding on, and less because of public sentiment
Mike added shit to the James Brown method, but nobody has come along and added to Mike's shit because they're content just taking his shit
>I'm just sayin, maybe the jazz that's dead is the culture
>(including the amount of critical & commercial props available
>to even the most exemplary practitioners), not just the
>music.
when the court of public opinion has moved on, the culture will still be here
anybody that lives and dies by mass recognition is doomed to not have much of a career anyhow __________________________________________
CHOP-THESE-BITCHES!!!!
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Garhart Ivanhoe Poppwell
Un-OK'd moderator for The Lesson and Make The Music (yes, I do's work up in here, and in your asscrease if you run foul of this
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