― miccio (miccio), Saturday, 28 May 2005 18:55 (eighteen years ago) link
― j blount (papa la bas), Saturday, 28 May 2005 18:56 (eighteen years ago) link
― miccio (miccio), Saturday, 28 May 2005 19:00 (eighteen years ago) link
― Sterling Clover (s_clover), Saturday, 28 May 2005 19:02 (eighteen years ago) link
― miccio (miccio), Saturday, 28 May 2005 19:02 (eighteen years ago) link
― j blount (papa la bas), Saturday, 28 May 2005 19:03 (eighteen years ago) link
― miccio (miccio), Saturday, 28 May 2005 19:04 (eighteen years ago) link
― miccio (miccio), Saturday, 28 May 2005 19:05 (eighteen years ago) link
― j blount (papa la bas), Saturday, 28 May 2005 19:06 (eighteen years ago) link
― miccio (miccio), Saturday, 28 May 2005 19:08 (eighteen years ago) link
― miccio (miccio), Saturday, 28 May 2005 19:09 (eighteen years ago) link
― j blount (papa la bas), Saturday, 28 May 2005 19:10 (eighteen years ago) link
― miccio (miccio), Saturday, 28 May 2005 19:12 (eighteen years ago) link
― deej., Saturday, 28 May 2005 19:20 (eighteen years ago) link
― nah, Saturday, 28 May 2005 19:25 (eighteen years ago) link
― jones (actual), Saturday, 28 May 2005 19:56 (eighteen years ago) link
The comeback to this would be, I think, that a shortage of white rappers might be a small price to pay to see a black-dominated culture finally to get to take a dominant place in American entertainment, and it might be smart not to try to rush past this stage in the name of integration, lest that end up being just a shortcut back to white hegemony. I mean, Eminem's good, but the reason he got so much bigger than nearly all other rappers was not because he was that much better than all other rappers, y'know what I mean?
― carl w (carl w), Saturday, 28 May 2005 20:04 (eighteen years ago) link
― nah, Saturday, 28 May 2005 20:12 (eighteen years ago) link
― nah, Saturday, 28 May 2005 20:23 (eighteen years ago) link
― jones (actual), Saturday, 28 May 2005 20:38 (eighteen years ago) link
― nah, Saturday, 28 May 2005 21:34 (eighteen years ago) link
― j blount (papa la bas), Saturday, 28 May 2005 21:41 (eighteen years ago) link
― Orange (Orange), Saturday, 28 May 2005 22:00 (eighteen years ago) link
― jones (actual), Saturday, 28 May 2005 22:03 (eighteen years ago) link
yeah, bullseye. the Diplo baile funk mixtape doesn't have one, and it just seems to go against the entire point of DJ'ing--educating the audience, as corny as it sounds, is and/or should be the first impulse of the practice, not dangling a carrot in front of you.
― Matos-Webster Dictionary (M Matos), Saturday, 28 May 2005 22:11 (eighteen years ago) link
xpost And he's a shitty DJ anyways. The Hollertronix party were some of the most painful I've ever been to. The tracklist thing isn't that surprising since their whole scene hinges on "look how cool we are!" rather than any sense of craft or acknowledgement to the music they play.
― Candicissima (candicissima), Saturday, 28 May 2005 22:16 (eighteen years ago) link
― tremendoid (tremendoid), Saturday, 28 May 2005 22:37 (eighteen years ago) link
― miccio (miccio), Saturday, 28 May 2005 22:56 (eighteen years ago) link
― miccio (miccio), Saturday, 28 May 2005 23:03 (eighteen years ago) link
― Candicissima (candicissima), Saturday, 28 May 2005 23:11 (eighteen years ago) link
― miccio (miccio), Saturday, 28 May 2005 23:13 (eighteen years ago) link
― jones (actual), Saturday, 28 May 2005 23:16 (eighteen years ago) link
― Matos-Webster Dictionary (M Matos), Saturday, 28 May 2005 23:22 (eighteen years ago) link
― jones (actual), Sunday, 29 May 2005 00:10 (eighteen years ago) link
― Al (sitcom), Sunday, 29 May 2005 00:42 (eighteen years ago) link
― mike h. (mike h.), Sunday, 29 May 2005 06:20 (eighteen years ago) link
― deej., Sunday, 29 May 2005 06:39 (eighteen years ago) link
― deej., Sunday, 29 May 2005 06:58 (eighteen years ago) link
― deej., Sunday, 29 May 2005 06:59 (eighteen years ago) link
― j blount (papa la bas), Sunday, 29 May 2005 07:20 (eighteen years ago) link
― j blount (papa la bas), Sunday, 29 May 2005 07:21 (eighteen years ago) link
('we' = people in general)
― deej., Sunday, 29 May 2005 07:23 (eighteen years ago) link
― deej., Sunday, 29 May 2005 07:24 (eighteen years ago) link
― j blount (papa la bas), Sunday, 29 May 2005 07:24 (eighteen years ago) link
― j blount (papa la bas), Sunday, 29 May 2005 07:25 (eighteen years ago) link
― deej., Sunday, 29 May 2005 07:37 (eighteen years ago) link
― j blount (papa la bas), Sunday, 29 May 2005 07:39 (eighteen years ago) link
xp: i donno maybe im wrong but i swear i saw sales figures for '84 that showed thriller and can't slow down as having very similar numbers. i'm sure thriller's outsold it since.
― deej., Sunday, 29 May 2005 07:40 (eighteen years ago) link
I've posted this before, its an excerpt from elijah wood's book on the blues but i think it applies to critics too. Certainly not in the exact same way, but i do think that writers are constantly distorting the way we see the past.
The neo-ethnic movement was nourished by a spate of LP reissues that for the first time made it possible to find hillbilly and country blues recordings in white, middle-class, urban stores. The bible was Harry Smith's Anthology of American Folk Music...Smith was specifically interested in the oldest and most-rural sounding styles, and set a pattern for any future folk-blues reissue projects by intentionally avoiding any artist who seemed consciously modern or commercial...
Far from balancing this taste, the other record collectors tended to be even more conservative. Much as they loved the music, they were driven by the same mania for rarity that drives collectors of old stamps or coins, and many turned up their noses at Jefferson or the Carters, since those records were common. (Ed. note: Like Rick James, bitch!) To such men, the perfect blues artist was someone like Son House or Skip James, an unrecognized genius whose 78s had sold so badly that at most one or two copies survived. Since the collectors were the only people with access to the original records or any broad knowledge of the field, they functioned to a great extent as gatekeepers of the past and had a profound influence on what the broader audience heard. (Ed. note: Like Freestyle Fellowship or Bun B, bitch!) By emphasizing obscurity as a virtue unto itself, they essentially turned the hierarchy of blues-stardom upside-down: The more records an artist had sold in 1928, the less he or she was valued in 1958.
― deej., Sunday, 29 May 2005 07:45 (eighteen years ago) link
― deej., Sunday, 29 May 2005 07:46 (eighteen years ago) link