Blake Maddux
1965 was the year in which the leading artists in American and British popular music pushed themselves beyond making albums that mixed covers with subpar originals.
According to Shelby Steele, white liberals “dissociate” themselves from the past sins of white America by subscribing to the “poetic truth” that the United States is “characterologically evil.”
If James Madison was so verbose that his draft version of the First Amendment could be cut in half, then he can hardly be called an artist with words.
The most important takeaway from American Justice 2014 is the potential danger, from Epps’s perspective, of the growing influence of Justice Alito.
“To say that the occult ‘saved’ it is really to say that the spiritual agitation is at the heart of what was able to bring rock ‘n’ roll to its most interesting places.”
“I think a lot of people around town are fairly aware of the Red Sox’s checkered history in terms of race.”
“If you’re dead you won’t have a movement, and guns kept people alive. In particular, kept people who made the movement alive.”
Neuroplasticity is a bit more fleshed-out than its predecessor, but the album retains ample amounts of the slow to mid-tempo spookiness that Al Spx calls “doom soul.”
So how do four young guys successfully build upon two masterworks while simultaneously facing possible enervation due to record label woes and botched stateside promotion?
A People’s History of the New Boston takes the “grassroots” view and tries to give overdue credit to the role that community activists and neighborhood residents played in building the “New Boston.”
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