Saturday, November 2 2002
[W]ithin the context of hip-hop music and culture the killing of Jam Master Jay is comparable to someone walking up to Ray Charles and Aretha Franklin and shooting them in the head. It is cultural treason.
Monday, October 28 2002
This past weekend's TV (25-27 Oct 2002) has been rife with efforts to describe, reframe, and sensationalize the sniper story.
Tuesday, October 22 2002
What the public and the music industry have forgotten is that the people can still make things happen. The Attack of the Glue Albums may seem like a silly, innocuous act by itself, but it's part of a bigger plan to beat the music buyers into submission. If the music industry doesn't watch it, the buyers are going to rebel, and if that happens, both the labels and the media would lose.
Friday, October 11 2002
I ask myself, 'Are you sitting at the Ritz doing interviews or are you working on that 9-11 film you're supposed to be making, to make sure that Bush isn't returned?'
Wednesday, October 9 2002
The Future Sound of London talk to PopMatters about what they've been doing for the past six years since 1996's Dead Cities and tell us about their newest release, The Isness.
Tuesday, October 8 2002
The world on the ground is a house of blues, made worse by compliance, made better by songs and heart and -- most un-punk -- civic-mindedness. Tweedy might take seriously the Woody Guthrie mantle he inherited with Billy Bragg during the 'Mermaid Avenue' sessions.
Thursday, September 26 2002
Hope for the future of filmmaking seems, this year at least, to reside not in epics but in short films.
Wednesday, September 18 2002
Let's face it: you have a musical past and it can't be buried.
Tuesday, September 10 2002
Unlike Arab-Americans, the flag that African-Americans know is so heavily drenched in blood and tears that it can never flutter lightly anywhere. Looking at how Arab-Americans use flags reminds me of the Biblical story when the God of Moses instructed the Hebrews to mark their doors with blood so that the wrath of God bypasses their homes.
At his office in Lower Manhattan, Lewis Lapham, the editor of 'Harper's Magazine', took time this week to discuss the nation's reaction to September 11, his problems with the current caretakers of 1600 Pennsylvania Ave. and the onslaught of media coverage that threatens to obscure the real truths of 9/11.
Thursday, September 5 2002
In the land of milk and honey, Beckerman sets out to sour an oversexed youth contingent.
Tuesday, September 3 2002
Axl Rose delighted mature viewers but left much of MTV's new target audience -- those who think the Backstreet Boys are old -- thinking the 40something's antics were a bit sad.
Tuesday, August 27 2002
For some reason (possibly the urban secularism of both forms) jazz and hip-hop have generally made sympathetic partners.
Wednesday, August 21 2002
In a perfect world, the Big Five would all go to bed one night and wake up to find the Internet had been destroyed while they were sleeping. What they don't realize is that the Internet is their salvation.
Thursday, August 15 2002
Reeling 2002 provides an opportunity to investigate how audiences create their movies and how movies create their audiences.
Wednesday, August 14 2002
It’s the same old story, really. Band that’s huge in Britain and in other countries across the globe, try as they might, can’
While Newport reveled in going against the grain it was never a place for musical revolutions. That is why Dylan made such a big splash when he used it as a place to introduce his new sound. But now, there is no establishment.
Tuesday, August 13 2002
Bruce Springsteen is said to have saved rock and roll. Despite the fact at 52 he remains one of the most engaging performers in the history of the genre, it's not his to save anymore.
Monday, August 5 2002
It's a pretty good time to be a jazz vocalist -- particularly a female one. If your name is Diana Krall, it is of course even better.
The intricate four-part harmonies that were the bedrock of the black gospel quartet tradition, were honed over centuries in the work songs that enslaved blacks incorporated into their daily activities as exploited laborers. These harmonies have always had a 'public' visibility that connected them more to the secular world, though so many of the narratives were 'other-worldly', which would also include visions of emancipation and a return to the 'homeland'.