“Hip-hop, after beginning as a site of resistance, has become, in some sense, the new disco. The signifiers are different, of course. Hip-hop has come to know itself largely via certain notions of capitalist aspiration, braggadocio, and macho posturing, which are different notes than those struck in disco. But the aesthetic ruthlessness, the streamlining of concept, is similar. What began as a music animated mainly by a spirit of innovation now has factory specifications. Hip-hop, more product than process, means something increasingly predictable, which means that it means less and less. Again, this is a trap situated within a prison. By the time disco came around, black music was already in a sex-and-dancing pigeonhole; disco represented not escape from that spot, but a nearly perfect refinement. Hip-hop finds itself not very far away from that corner. Just look around the rest of the room. The most popular music these days, EDM, is nothing if not a modern disco — just as artificial, just as geared toward the party, but with the product of the record replaced by the product of the concert experience. Hip-hop thought it was picking up the pieces of the shattered disco genre when in fact it was picking up seeds that had been dispersed. Disco regrew. Hip-hop got overgrown. It is not what it was, and it’s once again surrounded by what it wasn’t. It may be crashin’ your brain, but it’s not changin’ ways.”—From ?uestlove’s six-part essay, "When The People Cheer: How Hip-Hop Failed Black America"
“Doing less meaningless work, so that you can focus on things of greater personal importance is NOT laziness. This is hard for most to accept, because our culture tends to reward personal sacrifice instead of personal productivity.”—Timothy Ferriss