Around 18 short months ago the singer Chris Brown released the Toto-sampling single “She Ain’t You” and later had the planet on smash. The move was a unique look for Chris Brown, coming off a domestic violence scandal that rocked the industry, potentially lost marketing revenue, and left the nation jaded on celebrity relationships. Now, Chris Brown, performing in a tan outfit and with a wide-brimmed hat that was not really a cowboy hat but looked kind of like something that Michael Jackson might wear. He modeled certain parts of his new song on the original Michael Jackson song and another part on Sisters With Voices, and sold ringtones. Chris Brown hit #5 on the R&B charts and went gold in Australia in what some characterized as a turning point for his career.
This web blog sometimes speaks openly on topics including ageism, the arrow of time, and futuristic battlefields littered with the limbs of damaged ‘mechs, some brought down by SRMs aimed at the groin. One can try and mentally prepare for the unknowable, spinning curveballs that life places upon you, but only so much. So it was that longtime watchers of Mike Carroll encountered several surprises in recent months — one, hints and several suggestions of gray hairs along the sides of his head during the Eric Koston Epicly Later’ds. The second was a revelation that he had not long ago been diagnosed with that feral-sounding disorder that brought down J Dilla, lupus.
On the cusp of this new decade’s full-length offering from the Crailtap camp the hype cycle is unsurprisingly focused on any potential star turn from the reinvigorated Guy Mariano and whether this may be enough to achieve a magazine trophy, some limb-risking efforts on behalf of this crop of would-be torch-picker-uppers such as Elijah Berle, the length of Marc Johnson’s er video section and whether an allegedly more relaxed filming schedule might manifest itself in a movie that doesn’t carry the weight of the world in terms of production effects and moody techno. I have not heard a great deal about Koston. And though there have been offstage mutterings to the effect of ‘this is really the last hurrah for some of these dudes’ you have to wonder in the year 2012 whether it is really the last hurrah for some of these dudes.
Versus the clockwork-like recording of NBDs that Eric Koston has been able to turn in over the past two decades, Carroll’s career has always been a subtler affair with less fussing involved, that synthesizes the EMB cool-guy envelope-pushing with the self-deprecating launch ramp antics that Girl got into along with some rap CDs and crew cuts and sometimes a rave event. But if one or the other retires effectively upon publication of the “Pretty Sweet” video project, which would deal the heavier blow to an industry already disenchanted with slowing board sales, widespread (alleged) doping and the twin career flame-outs of Pappalardo and Wenning?
Has Mike Carroll ever made a bad video part, over what is almost a quarter of a century now? Recently he issues the same sort of weary commentary as Gino Iannucci around any further footage being largely given over to recycling old tricks at new spots, but when it comes to those frontside flips and backside tailslides, should that matter? Eric Koston’s Epicly Later’d series suggested that his pro career represents a rare bird that continues to peak, but what of Mike Carroll’s — across the Plan B and Girl catalogues, is there any easily identifiable high point?