Word: claims
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Kudos for interviewing 50 Cent [Sept. 24.] Learning that his nickname is "a metaphor for change" gives me greater respect for him. But I take issue with his claim that Kanye West's music is "aimed at a straight pop audience." West's hip-hop is less gangsta and therefore softer, but it is also more substantive. If anything, gangsta rap is more pop. I love a good 50 Cent beat, but I keep waiting for him to say something more meaningful. Instead of competing, 50 Cent and West should collaborate and sell even more...
...disheartened to see your 10 questions for 50 Cent. People like him are the reason I don't subscribe to pop-culture magazines. You degrade your publication when you print anything remotely related to beefs between people who claim to be artists yet who appear to be nothing but street thugs. The more we glorify the gangsta lifestyle, the more it will pervade everyday life. I prefer not to have to bulletproof my car, thank you very much...
...wrong.” Columnists were no more amenable to the race discussion. John Feinstein of The Washington Post declared, “Those who want to make excuses for him…entirely miss the point. So do those who want to play the race card and claim that Vick would have been treated differently if he had been white.” Even ESPN's Jemele Hill, who is black, set aside the race issue when speaking about Vick: “Now that we know of his guilt and complicity, let’s be honest...
...suppose. But there is something eerily chilly about them that demonstrates a very bad trend for race relations. For columns that appear to be taking the “black side,” they are oddly similar to the ones that don’t. The dismissals claim that blacks are irrationally supporting Vick because they want to make excuses for one of their own (and that’s just what they do). These others claim that blacks are irrationally supporting Vick because they’ve been trained to see racism and are still very sensitive...
...navigation. For all the helpful explanations that the exhibits provided, the museum itself is difficult, confusing, even incomprehensible. This tension is ultimately the museum’s greatest success: it subtly, yet candidly, evokes the strange paradox that the more we know about the Holocaust, the less we can claim to understand it. Libeskind’s building is deconstructionist in the fullest sense of the word—challenging those who deny or discount the evil inherent in the Jewish genocide, as well as those who believe that they have found a way to comprehend it. The Jewish Museum...