to compound a debt
SPIN: Aren't you both as popular with white people as black people? L.L.: Oh, no question. But I've always said, that's why when people say, L.L., hey, like, on the last album, you sold out, I say, Yo, can I ask you a question, Mike Tyson sell out? No, he's a brother. I say, he's a cross-over artist. He went pop. You know what I'm saying? I mean, the rap audience … they have to understand that their music is for all people. Me personally, I don't think it's about being black or white, […]
L.L., hey, like, on the last album, you sold out,
Yo, can I ask you a question, Mike Tyson sell out?
No, he's a brother.
Elsewhere in the evening the young Iraqi-American trumpeter Amir ElSaffar, who has studied both jazz and traditional Arabic maqam patterns and combines them in modal pieces for improvisers, demonstrated with his sextet (including an oud and a santoor, the Persian hammered dulcimer) how hungry jazz still is for sources older than itself.
A novel like Sterne′s Tristram Shandy, however, simply embeds a number of different diegeses on the play-within-a-play model.
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