They're both incredibly hard workers whose ambitions were always greater than their talents (though they're both obv talented). Kobe and Justin's squeaky clean personas never fit either one of them. Those are a bunch of side-by-side comparisons that are hard to disagree with, but I have criticisms that are obviously more subjective. Kobe getting Shaq traded in 2004 so he could chase scoring titles (which he wouldn't have been able to do with O'Neal as a team-mater), and Justin in 2001 by going solo and ending N Sync. They both "broke up the band" so they could finally receive all the glory for themselves. The Jackson Jackson half-time show nipple scandal - a kind of rape (of the innocent). Timberlake tried, some might even say successfully, to act tougher and more like le bad boy circa 2002, with his album Justified. Kobe in 2003, after his rape case (previously he smiled for magazine covers - now he scowled and got some tattoos). Neither one stumbled on their career ambitions but both were raised, almost from birth, to excel in their fields.īreakout year for both was 1996 (Kobe entered the NBA Draft, and 1996 was the first year NSync charted)īoth had a squeaky clean image that they abandoned. Justin was a child actor on the Disney Channel and has always had child-actor precociousness about him. Since he was little he's been a basketball prodigy and grew up believing that he would be a super star one day. Kobe is the son of Joe "Jellybean" Bryant, a former LA Clipper. This was a drowsy night thought but when I thought about it the comparison held up.īoth have child-star or child-actor qualities. aspirationalism as classic film comfort blanket, shorn of the weird hard cold edges and triumphalism of his friends. W/r/t this - He gets a tremendous amount of mileage just for being a cool guy who’s willing to hang out with regular folk - it's true, but he's a luxe brand at the same 's very canny positioning, this sort of bridge between the increasingly remote gilded-cage opulence of kanye and jay-z, and "ordinariness". Timberlake radiating seriousness, lest you think his music making is frivolous. It also harks back to ’70s soul, Prince’s funk breakdowns and Michael Jackson’s hyper-ornate pop. In an era of Frank Ocean soul meditation, this could pass for artistry, but really it’s a gesture of conservatism, an argument for the album as a whole over whatever abbreviated singles will eventually be shipped to radio. Seven of the 10 songs are more than seven minutes. The result is a smallness of purpose, with only slight variation throughout, like the deeply wholesome soul of “That Girl” or the drowsy “Blue Ocean Floor,” which had it been released two or three years ago, might have been called chillwave’s pop breakthrough. Thumbs up to pretty much every point in that review, inc re the one great song
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