You are absolutely right BUT thats your job if you want to be in that position of popularity. Jay knows how to slowly change his image over time and maintain attention. 50 apparently does not. It is what it is really.
that is more,...
fiddy is attached to the legacy of two culturally responsible artist, in jmj and Eminem.
whereas jay is attached in legacy to artists and a draw that had no cultural responsibility.
plus, jay is directly linked to the mca model.
which never showed any cultural responsibility past the signings of heavy d, and chubb ruck, damn near.
where those two signings were made to give the label cred.
similar, to melle mel on the old school way of thought sellout label sugar hill.
so, jay does not have the same constrictive binds culturally, that fiddy has.
plus, when fiddy tries to emulate artist from the mca model turned badboy model.
like originally when he drew biting mase, in the pod era.
plus, later on started to pr his record sales and not ramp up skills.
to acceptable levels flanking Eminem.
it hurt his permeation and his argument, as a top draw.
as Eminem was staunchly against mase, as a debut artist.
to eminem , becoming actualized as one of the most skilled pop rap artist all time.
along with the drawback of healthy paid for pr.
which occurred,
around the time the grodt the movie dropped.
which, I am under the assumption aftermath drew back on Eminem during 8mile the movie.
then, mirrored that decision wrongly and dually.
during fiddy's run on grodt the movie.
so, as to limit their permeation into oversaturation as a negative.
when, the incarnation of the highest drawing era of fiddy.
was, as an active mca/badboy mase clone meets deathrow's incarnation of reckless pac.
which was bound to cause a conflict of interest.
if, the pr was subsided.
as it gave the fanbase and naysayers enough time to process and make their own mindstate and idea of what fiddy should be.
when, fiddy should never have agreed to lesser pr support or permeation.
as he was built on the saturation method, that jay's applied to become relevant on volume ii, hardknock life.
if you study the activity he had on the gunit radio series.
as a quality saturation method does not allow the consumer base, an oppurtunity to think.
that little window to switch is what hurt fiddy.
to where he could not draw and keep it at the level, it was at.
as he is the mixtape king and stopped making mixtapes in the volume, quality and frequency.
as, fiddy did to take over.
as the second highest drawing artist in rap, behind Eminem.
on top of ruining, the ruined the legacy of the dre club single first marketing plan of aftermath on the massscre.
by using disco inferno and candy shop, as the lead saturation method singles.
instead of the sure fire result of the club directed dr dre lead first single.
fiddy violated the first rule.
you never change what isn't broke.
right now, he is marketing us this dr dre produced smoke record.
when that record is of the twenty one questions, in simple scope.
or, what should be the follow up feature rnb hook single.
if judged by the formula that worked for him as an artist, on grodt.
with an artist that is making a change in overall scope and direction.
as a hit hook melody maker like nate dog on twenty one question.
by having tre songz on the hook....
automatically because it is fiddy.
with a feature with tre songz.
it will be judged against fiddy's legacy.
including tre's songz's quality legacy as a rap hook feature.
which will draw the comparison to records like jim jones summer in miami.
of which, this new record will fail in that comparison quality wise.
when, it is judged off of how quickly it resonates, in a room like a record like summer in miami.
plus, the production and sonic landscape the smoke records does not match with the current sonic landscape commercially.
this new record and all his new records sounds like an old outdated g unit record of the world music drawing variety.
when, if fiddy uses artist as a feature to do hooks.
they have to supply him with performances that equal and outdo the quality of past records in their legacy as features.
of which tre songz definately does not do.
plus, the record has to sonically fit into the marketplace.
it is just like kenny parker said on the beeline interview.
when discussing remixing records and how, if i remember right.
it was how the sound of the police record were made.
where kenny parker, judged the bpm's of the original mix.
where it was thirty bpm's to fast.
when compared to the market place and of a different variety than the consumer's ear.
so, they got a new beat that fit more in the current sonic landscape.
which is why the record was able to be what it was quality and draw wise.
fiddy is currently making music away from the sweet spot.
of what the current sonic landscape is.
plus, not getting the actual highest quality features performances, on collab.
which could be from said artist having a letdown, from the magnitude of a fiddy record.
plus, trying to execute under pressure.
including the record does not fit into the sonic landscape the consumer of pop records, currently has been programmed for.
which is southern horrorcore or trap disco based records.
fiddy, has to fix that.
fiddy is not above using the southern formula.
plus, had a draw from using elements of it.
while, also lengthening the draw of the south from his mixtape draw, single-handidly.
so, i don't know why he is so resistant to doing what he did to take over the dance.
art barr