Tuesday, May 3, 2016
Certain questions come to mind when I think of the term progression as it relates to the music industry. Is it not truly a fantastic time to be alive as an artist or likely any individual who gets to listen to such music? So much so, that shouldn't we be immensely thankful? Do we not exist presently within the greatest era for artistry in music? Or can we just simply always state, outside of an apocalypse or vast change in democracy as we know it, that the future will always be better than the past?
Maybe that's a metaphysical topic for a much deeper piece. Or maybe moguls like Diddy who know first hand the killing raked in by platinum record sales in the nineties will laugh at this very notion. Clearly Drake and Future would utmost concur that now is a great time to be alive. There are two more artists that may also agree with me for various reasons, but most definitely regarding their present works; Kanye West and Beyoncé.
The metaphorical white smoke as it were of the charring fire that was Kanye's The Life of Pablo release and subsequent chart topping, and the still aflame scorched music industry Beyoncé has slayed as she slashes that to which we previously knew to be the way of releasing a body of work. The two artists share a chariot, and that chariot is an interface befitting of kings, a carriage born from the spoils of war like litigation of an industry that shared far too less, thought unappreciative, and lacking the very creative freedoms now rife upon their own individual trails and headings into their respective futures.
***Thanks to Str8OutDaDen for sending***