If you list the forces in 2021 working against jazz, and against an album like this one, it can feel overwhelming, depressing even. Do not despair. This is only a feeling. The truth is somewhere else, somewhere deeper. Let us list the forces anyway. First there is our shared understanding, taken as universal truth for at… Continue reading Jazz as a Social Force: Archie Shepp and Jason Moran’s “Let My People Go”
Bowes, John P. Land Too Good for Indians: Northern Indian Removal. Norman: University of Oklahoma Press, 2016. (Publisher link) Though settler colonialism has thoroughly re-shaped Native American historiography in the past twenty years, scholars still tend to view Indian removal as a discrete moment or era in American history--a tragic narrative beginning with the transition… Continue reading Review: Land Too Good for Indians: Northern Indian Removal.
Musonius Rufus, Gaius. That One Should Disdain Hardships: The Teachings of a Roman Stoic. New Haven, CT: Yale University Press, 2020. (Link to publisher) Here is a thought experiment to amuse you in quarantine. How long would you stay inside for a million dollars? Could you last two weeks? A month? Now, how long would… Continue reading Review: That One Should Disdain Hardships
Legend has it that Miami Vice was born when the President of NBC, whom I (unfairly and probably incorrectly) like to imagine deep in the throes of a head-spinning fugue state around 11:30 in the morning on day 3 of a coke binge in the summer of 1984, scrawled the words “MTV Cops” on… Continue reading Discount Movie Review: Thoughtless Violence in Hell’s Kitchen
Reminiscent simultaneously of everything since 1967 and nothing at all, this album underlines the band’s archival warrant in red ink.
Narrator Reginald Morse’s online screeds track the tensions underlining the end of the American century and mimic the twilight howls of the white American male.
From the irreverent spirit of Gainesville chill-punk to the anxious energy of the rust belt, Do You Feel Any Better? outlines the contours of punk rock better than any recent release.
Straight Outta Compton is a film obsessed with its own history, as though viewers are listening to a deep conversation between Dr. Dre, Ice Cube, and their own reflections in the bathroom mirror about where they’ve been and how they got there. But what is their argument?
The merest whisper of Atticus Finch being anything other than what he was in the eyes of his six-year-old child in the depression is enough to send adults in the twenty-first century stomping straight for the exits.
Dope captures the fracturing of the twentieth-century’s colonial order better than any film in recent memory. No, really.