Monday, September 16 2013
Maybe if one writes reviews like they're the only things that matter, the way Pauline Kael and Lester Bangs did, then writing reviews is enough.
Thursday, November 18 2010
Why do we write about music? Why do we try to surround ourselves with people who either share that love or are at the very least part of the reason we feel the way we do? And why, if we sincerely love when those lines cross, can't we do something about it?
Wednesday, September 22 2010
The author is expected to not only justify the album’s existence, but to justify the need to write about it in the first place. Is it any wonder then that such an intensely personal (and often defensive) writing tends to veer towards positivism?
Monday, April 5 2010
Noted pop music critic Jim DeRogatis discusses much with PopMatters, including getting into fights with Wayne Coyne, why Lou Reed is frustrating to talk to, and why Lollapalooza is Wal-Mart ...
Tuesday, March 30 2010
If, like me, you’re a plebe who doesn’t go in for this sort of analysis, go listen to Permanent Waves.
Monday, January 7 2008
Story of a Sound isn't just the story of a sound. It's a piece of jazz criticism that passionately questions and enhances the role of jazz criticism.
Monday, April 23 2007
Sunday, April 22 2007
Despite reading like a book set on random, Myers is a fantastic writer with a great ear for rhythm.
Wednesday, March 28 2007
It's the ultimate in the band A = band B + band C style of music criticism, and it grows old quickly.
Tuesday, December 5 2006
How do the "artist" and "critic" reconcile each other's presence? How literally must one walk this way in order to talk that way?