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Originally posted by Yellow Feets@May 27 2005, 03:28 PM

I like me some Common. I don't see why all the hate though. Hey ABC, you suck ballZ kid.

 

 

 

 

yeah you heard me.

 

 

 

edit* I had to capitalize the "Z" in ballz. Anywho, Common is dope. So shut up. k?

 

 

 

C0MM0n 5UcKzZ0rZzZzSss!!!!11!1!

 

now YOU shut up

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Guest KING BLING

Here's what I think

 

I think its funny people are so specific about what they listen to...and go so out of there way to prove it to everyone else.

 

I've been checking out indi-rock and even some emo (but not that crazy screaming shit) stuff I would never have listened to 2 years ago, a lot of it because of this site. I listen to that G-unit stuff and I while don't particularly like 50 anymore, I still think the Game is a good rapper. I think Kanye Wests album was dope and his beats are head nodders, not revolutionary just good to listen to. I think MOP has delivery solid. I like the less pretencious and contrived underground rap from MF Doom through select songs by Slug. Pigeon John is my favorite MC right now. The Roots newest was ridiculously good. Opio had a new album lately that was a dope representation of what the Hiero camp was...and now that I've downloaded some of the new Common, I'll listen to that too...

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Originally posted by The Leader+Jun 2 2005, 10:23 AM--><div class='quotetop'>QUOTE (The Leader - Jun 2 2005, 10:23 AM)</div><div class='quotemain'>
Originally posted by Mr. ABC@May 30 2005, 08:48 PM

Originally posted by The Leader@May 30 2005, 06:40 PM

<!--QuoteBegin-Mr. ABC@May 27 2005, 12:05 AM

yuh-huh

 

nuh-uh

 

yuh-huh

 

nuh-uh

[/b]

 

yuh-huh

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  • 3 weeks later...

I can't believe I even remotely believed the people in this thread.

 

I wasted time listening to this album yesterday, and got the exact same "I need a strong nubian princess by my side" bullshit all throughout the album.

 

I thing there was only two songs that I liked, and they weren't even that good, really.

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Originally posted by fatlaces+May 26 2005, 04:35 PM--><div class='quotetop'>QUOTE (fatlaces - May 26 2005, 04:35 PM)</div><div class='quotemain'><!--QuoteBegin-Mr. ABC@May 25 2005, 03:05 AM

fuck that hippy touchy-feely homo gay rap shit. go buy an MOP album

 

coming from the dude who likes space alien nerd rapper quasimoto :clown2:

[/b]

 

anyone wanna talk shit on quasimoto, i kill htem!!

 

mother fuckers

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Guest Pilau Hands

http://crankcrunk.blogspot.com/2005/06/common-vs-mj.html

 

Two albums.

 

Both at similar spots on the charts.

 

One has gotten all sorts of critical adoration. (One example of the hyperbole the release has garnered: "The lack of instant-gratification couplets may disappoint at first, but each verse's rewarding intricacies become more evident with multiple listens.")

 

Mike Jones, on the other hand, has recieved a less-than-favorable response from critics. Or been ignored by them - it has no listing on Metacritc and has not been reviewed by the Village Voice.

 

The general critical line on Jones' album is that its just a warning shot for the eventual H-town takeover, that Jones is merely a cipher who was lucky enough to release a track with far more talented collaborators Slim Thug and Paul Wall. At least, when critics are feeling generous; otherwise critics are just downright mean: "Mike Jones is a nonentity, with no history, no mic skills, no friends, no beats. . . I mean, fuck, the dude’s ugly, too."

 

This wouldn't be a particularly big deal to me if 1) I didn't like Who Is Mike Jones? more than Be, and more importantly 2) Who Is Mike Jones? wasn't as popular as Be, which, judging by album sales, it is. I always find the disparity between critics and the buying public to be telling, and although critics tend to point fingers at the public ("the masses") I'm more likely to point fingers at critics. Why is Common's album - surely a lock for Pazz and Jop's top five this year - so much more worthy of critical acclaim than Mike Jones'?

 

The answer, in my mind, is a combination of factors that all sort of dovetail into one neat answer, which may be a bit convenient for my purposes but I think it is mostly true. The difference in audience is CULTURAL, and in my mind, critics are quick to identify with the cultural perspective Common espouses, the audience with which he identifies, and the aesthetic he has established, rather than that of Mike Jones. Common spits lyrics with poetic coffeehouse inflection, using abstract imagery and purely descriptive langauge about people around him in the city. This is not bad, per se; certainly it worked for him in the past, on Resurrection which remains one of my favorite albums. But these days, that method no longer carries the same countercultural cachet it once did, the same thrilling newness of narrative innovation; instead, it all seems rather tired, fitting critical expectations of POETRY rather than actually being interesting. Mike Jones, on the other hand is INTERESTING. Complaints about "subject matter" always seemed rather lazy to me, when applied to hip-hop in general; its not WHAT music is about that interests me, its HOW it is about it, to paraphrase Roger Ebert. (Or, to be more precise, WHAT it is about only matters within the limitations of HOW it is presented; boring presentation, when it comes to pop music, means boring pop music, period.) And Mike Jones' highly stylized, wildly entertaining persona is far more fascinating; his songs celebrate a very specific localized youth culture, the beats are more bizarre, and Jones' use of langauge considerably more significant and well-defined than another coffeehouse rapper over rather tired neo-soul production.

 

I think part of the critical fascination is simply that old rockist bogeyman of recieved wisdom: one time it was decided that Common was a Great Rapper and since then, unless a rapper is also considered a Great Rapper, Common's work is going to be automatically better. Look at how Elizabeth Mendez Berry (and I'm not calling her out here, its a very well-written piece) talks about Common and Kanye here. By positioning himself as a "serious" MC, Common's clearly a superior MC; Kanye just cracks jokes, Mike Jones just talks about candy paint and turning corners, but Common is SERIOUS. No matter how much more engaging Kanye's "Diamonds" is than anything on the new Common album, no matter how much more entertaining Mike Jones' shouted southern drawl is, he can't compete with the Important MC.

 

This is hardly a unique position on my part, but the new Common album is gearing up to be one of the most overrated of the year. Considerably more so than M.I.A., which, despite the critical feeding frenzy, is hardly blanketing the music press to the extent that Common's album is. I just wish people would interrogate their approach to hip-hop further. Not that I'm saying it's "wrong" to like Common's album; it certainly has its moments. But for the most part, the appeal seems like a sort of lite downtempo hip-hop thang for upwardly mobile professionals, people who like to have a glass of pinot grigio while wearing well-knit sweaters. For all the "revolutionary" rhetoric in Common's music, he's not a very shocking performer these days.

 

MIIIIIIIIIIIIIIIIIIIIIIIIIIKE JOOOOOOOOOONES

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