archives

 

Scroll down for categories and listings. Click listings below or graphics in right column to access individual pages. Click on Politics, Pentecost, Potboilers, Poems, or Page One to access those pages. Click Archives graphic above to return to Pop Culture main page.

 

Schlock, Rock, Pop, Punk, Funk, Folk, Soul & Salsa

 

Carpenters: Forbidden Fruit, 1974

 

Percy Faith's Challenge to Mewzick, 1975
 
Anne Murray: The Woman Who Would Be Schlock, 1976

 

Debby Boone: The Song They Said Couldn't Be Reviewed, 1978

 

P-Funk: Parlentelecy v. the Placebo
Syndrome, 1978

 

Remembering Kraftwerk, 1978

 

Pearl: Act of Contrition, Evie Sands, 1978
 
A Kinks Review Live! 1980

 

A Joan Jett Fantasy, 1982

 

India: Reverse Crossover, 2000

 

My Favorite Song In German, 2002

 

Al Green: Playing the Audience, 2003

 

The Review of Norah, 2004

 

Iris DeMent: The Okie Aretha, 2005

 

The Four Seasons: Jersey Boys, 2010

 

Bobby Darin and Bobby Kennedy, 2010

 

 

Country

 

Willie Nelson's Historical Burden, 1980

 

Merle Haggard
The Right Crowd, 1999
His Own Kind of Guilt, 2000

 

Johnny Cash 1932-2003

 

Loretta Lynn
A Manner of Speaking, 2004
 
 

Disco

 

Cerrone: An Open Letter, 1978

 

Weird Post-Disco Bee Gees, 1979

 

Gino Soccio's Ameridisco High, 1979

 

Disco Defense, In These Times 1979

 

Village People 1979

 

More Disco Defense, ITT 1980

 

Diana reviewed in The Nation, 1980

 

 

Gangster Movies, Jersey Boys, Gagsta Rappers, and Casinos

UNDER CONSTRUCTION

 

 To stretch the point – the gangsta rapper dies young or survives and parlays his fame into a career as a multifaceted entrepreneur.  Crack dealing as prototype for making it into the business world, or dropping right on through the bottom.  Rap as a representation and rehearsal for dealing with the urban world of class.

The western may have once played out our Desperado/Sheriff inner life and foreign policy.  But the gangster movie unfolds inside a context that has a top, a middle, and a bottom, with opportunities for advancement and threats of ruin, requiring some energy and moral ambiguity.  One might say the gangster movie takes the always popular American story of transformative personal violence and places it inside an industrialized, urbanized hierarchy.

 

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