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...this election there has been a great deal of talk about representing the "people, not the powerful." Unfortunately, in the context of the past legislative session, this phrase represents more than just charged rhetoric. In the last two years, Congress has been remarkably concerned with the welfare of businesses and employers, and has repeatedly attempted to limit access to justice for the poor and disadvantaged. Three bills stand out as examples of how this past Congress--and specifically the more partisan House of Representatives--has gone out of its way to hand out judicial plums to those who need them...
...complaints are a minor litany and not uncommon. For other Americans of Asian descent, there are sharper reminders that we are not yet considered part of the American context, that our presence is unidiomatic, all too easily aped, too often perceived as too alien to be appreciated as anything other than caricature. When the focus is on the "un-American-ness" of public figures, yellowface can generate the quick laugh. It was the route chosen by the National Review in 1997 when it lampooned the Clintons and Al Gore on its cover during the campaign-finance "Asian money" scandals...
...that no matter where we were enslaved in the Western Hemisphere, be it Jamaica, Brazil or South Carolina, we as Black people held on to modes of speech, dance movements, and attitudes (what some call "cool") that formed the foundation for hip-hop's emergence in an African-American context...
...apparently simplistic story but because its medium is so original, its dancing so masterful, and its dramatic structure so solid, its story seems rich and universal. Its final moments are surprising and surprisingly moving. But Contact is greater than the sum of its parts: the three pieces, within the context of the entire performance, take on even greater meaning. Experiences so entertaining, so moving, and so original are rare and should not be missed...
There's also a lot of electronica ballads on the CD--and it's in the context of these ballads that Madonna has made the most progress. Her weakness has traditionally been shallow lyrics; regardless of what emotions she tries to conjure, Madonna always comes off as slightly pretentious, coolly arrogant, and almost never genuine or warm. But Mirwais solves this problem by eliminating the electric contortions on these slower tracks and leaving Madonna's voice naked and credible against the synthesizers...