On the fine arts-heavy “Picasso Baby,” Jay refers to Basquiat at least three times by three names, once saying “I’m the new Jean-Michel.” He begins the song claiming, “I just want a Picasso” and ends saying “I’m the modern day Pablo Picasso, baby.” Taken linearly, it’s a mess of ego. But comprehensively, it’s all insatiable radiant child cubism — poignant signifiers of ghetto brashness juxtaposed with impressionistic images of intergenerational wealth creating the collage of an identity that’s yearning to be accepted, but unwilling to be acceptable.
I’m too much dope dealer for rap niggas/ Too much closer to every trap nigga/ I’m just preaching facts, nigga/ I’m more biased to the coke-dealing coupe drivers/ And bad bitches steered wrong by their loose mamas…
Naturally, I’m referring to this guy.
Because there’s definitely something off about both men. But there’s also something very on. And I don’t think the people who are referring to Sheen as bi-polar have the credentials to do so. And those who do are not referring to him as such because, well, that would be irresponsible. You don’t watch a 15-minute interview, listen to a few radio interviews and come up with a professional diagnosis. Not in the real world, anyway. Maybe on Lie to Me or some other procedural where they have to squeeze a story into a formula, but not here. This is the Charlie Sheen show. And it probably won’t last for long.
Stuff like this upsets me, mainly because Steve Stoute, whose creatively profitable career has been based on getting a percentage of the profitably creative careers of musicians, should know better than most people that the people producing the Grammy show and the voting body behind the Awards themselves are entirely different entities with separate goals in mind.* He even says as much. Which makes his whole argument pretty much bullshit.