>its not cultural politics, its whats right and whats wrong. hahaha ho-kay
>he should have said "this is wrong, i am not the king of rock and >roll, this is all nonsense, these are the people who made this music, >they should be getting paid and be popular". obviously, he never did >anything of the sort. he was all too happy to continue the >bamboozlement because it put cash in his pocket. which is why i dont >give a sh*t about elvis. haha you are crazy. >> if everybody thought like that, people would have dismissed techno >> (ahem) as just some black guys trying to sound like german guys. > >but thats obviously not true. oh no? maybe you aren't aware of things that aren't so obvious? >was he trying to white wash a sound to make it popular for people who >are outside of its usual audience? obviously you fall into the same yes >category, you come from this culture, you make the music. there's no >problem with that. i was listening to indie rock all the time in 1996 and there is no real dance music culture in the south outside of hiphop >but the artists are the ones who control how they are marketed and who says who? are you kidding? i didnt even control how i was marketed with mo'wax/platinum projects, hence, they spelled my name wrong >their crowds are and what the perception of their music is. its how do we control who our crowds are? i wish! >possible to do it the right way without being a bullsh*t artist. ahh the "right" way! who do i get ahold of for this? >his music is a joke, that has nothing to do with why i dont like these >other aspects of it. but the fact that people equate his joke music to >club music is what really irritates me. you're a joke with this hater stuff man. taco, his music was truly a joke. >no, theyre selling an image of that music to people who peddle in >irony instead of good music. its even worse than being an imitator >IMO. gimme a break. surprise tom -- in general party music is popular. including in bmore. >street cred? what are you talking about? all music is part of a i'm talking about all your talk about the "real" artists not playing/making the same sort of stuff as spank/ayres hence they are not credible on da streets and deserve no respect! it's your whole point as far as i can tell >culture that shapes the sounds. if someone is not part of that culture >and just jacks the sounds, theyre just pirates. which is what titface come on!! these aren't soul-less 60 year old record producers making this stuff to cash in, it's people who heard the music and honestly loved it. neither ayres nor spank just walked into major label deals either! come on! >i cant disagree more. watered down crap isnt going to sound as good as >the stuff its ripping off, it never does. maybe if youve never heard >the real stuff, knock offs sound okay. i've heard plenty of the real stuff, LOADS AND LOADS of it SUCKS!! SUCKS HARD! >i like el-p's beats because he came from hiphop culture and his can you please distinguish how he came from hiphop culture any more than ayres, and is it really necessary to distinguish hiphop from bmore from house etc etc? so if somebody who is a dope hiphop producer falls in love with house, they can know to stay away because they are not "real"? >whatever or spank rock. sh*t, what they do could be being done solely >by black artists and i would still think it was just as weak. of wow, no kidding? >course i dont think its a coincidence that these kinds of things are >almost always perpetrated by white "artists". what sorts of things? race is sometimes an issue, but why is it here? why would it be so different if spank rock were all black instead of 1/2 black? and you are leaving out the rest of the damn globe. all this hispanic hiphop, kuduro, baile, kwaito, on and on..i guess because they arent white, their massive inspiration from hiphop culture is a different matter... >tom dum
