I’m actually surprised that with the marching Xx does that he doesn’t see cut time all the time.I would really suggest before doing that, you should considering broadening your viewpoint - and look at much folk music, most all pop music before 1960, classical music, marches, polkas, cumbias, sambas, jazz, country music....
I think you'll discover that our common usage of 16th's in 4/4 to describe 16th note feels wasn't common till way into the 70's. "Funky" 16th note music was nearly universally referred to a 2/2 in a halftime feel. Literally all of our modern popular music grew out of previous popular musics that would just as often as not would be written in 2.
Modern drummers really need to suss this out. For example, I constantly hear guys referring to "train beats" as being in 16ths - 16th's in 4/4. But 99% of the time, they aren't. They are in 2/2 with 1/8ths. And thinking of them in 4/4 leads one to the wrong feel.
To explain.... in 2/2 from a jazz/pop/rock perspective, the half equals the big "stomp or feet in 2" feel, but the 1/4 retains it's "walking bass" up-tempo feel. And we have to feel that, even if were not actually going to lunch into 4.... it is still there.... an under-current. And it effects how we play the fast notes. Are they 4 notes per beat? Or are they 2? Historically - they are 2 8th notes to that fast 4 undercurrent. Which is going to feel different than 4 1/16th's over one beat.
So much of what we play today as 16th's - is based on music that was originally felt in 2 - as a fat two beat, with a undertone surface fast 1/4 with 1/8th's against that.
I really can't stress how important this concept is. When it comes to really grasping groove in 4/4 - being totally versed in the feels and history of 2/2 or cut-time is absolutely essential.