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Here, this is perfect, let me play the game. I have two eternal gripes with the Joker saga which is Joker obviously being a Grime guy (supposedly he even had a production mixtape of his tunes with vocals that exists... SOMEWHERE IN THE WORLD) and was discovered both by the Grime and Dubstep...

The south is too wide a region to become a school proper. California is essentially LA and The Bay as a collective of cities. NYC is a series of boroughs/neighborhoods. Those form pockets that are, despite certain threads, inherently linked and easy to bounce back between one another. The south...

Genius if anything is overrated and actually more frequent than people think.

The productions aren't irrelevant at all, but he's not recognized. Recognition is a dying art. I bitch about this routinely but history of rap is basically shot full of holes from 98 onto 08. Part of this is because this is a time where a lot of rap coverage outside of the rap world fell apart...

Personally I'm more interested in how Blake was never properly recognized for being a gentrified version of Joker before the thought of a art student liking Arthur Russell would give me pause but hey

To make Lo-Fi Black Metal without any musical direction is basically cosplay with soundtracking which a lot of those guys are doing. Most of metal does that these days. There's a easy connection to that aesthetic and the infantilization of consumerism (and of metal) or what haves but sleep...

I see that you're in a place of great internal turmoil to continue with these 4chan type rejoinders, so I'll let your flights of fancy with regards to consistent arguments be free. Ribbing aside, it was more of an analogous statement Not About Preference but when there's a collaborative pair...

Flockavelli is about as equally important as Lil Jon's production streak was, which given how both got thoroughly erased in relevance once completed feels tragic.

Hey, I am not Damon.

I opined that Ornette's innovations are actually him being credited for decisions Cherry made. You opined Don Cherry's too silly. I pointed out that how an artist carries themselves as a performer or persona doesn't have anything to do with the work. You're now bringing up Art Blakey for reasons...

Dizzy Gillespie wasn't as serious as Charlie Parker but at the end of the day one of those men actually made Bebop happen and it wasn't Bird.

To be fair, The Kinks are to The Stooges what say... The Yardbirds are to Black Sabbath. <iframe width="560" height="315" src="https://www.youtube.com/embed/SRzOL2gbc94" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>

This is a lot of talk to ignore Don Cherry was the real genius in that team.

Oh he probably meant Jazz properly, which is fine somehow? He recognized that Jazz at it's basic form serves as dancefloor 'environmental' music. I bet he hated Satie because the idea of music in service to a situation rather than being the spectacle itself is capitalism in effect kinda...

<iframe width="560" height="315" src="https://www.youtube.com/embed/ydCX-3tq9XI" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe> Never would've taken Luka for a Jefferson fan

Leave being a cunt to me in this thread m8.

You really made your taste as an arbiter of your spiritual vastitude.

Oh man you're genuinely more depressed about this stuff than you let on.

Funny thing about that...

Nah that's cop music.