Word: debutants
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That is not the sort of question often asked about Disney cartoons, but Wurfel’s cynicism reflects the indignation of a small but vocal movement against Snow White and her animated peers. Since the animated heroine’s 1937 debut, nearly every Disney cartoon has been accused of sexism or racism. The criticism peaked during the 1990s, when Aladdin and Pocahontas drew the wrath of advocacy groups enraged by the films’ racist stereotyping and revisionist history...
...shuffled its way towards the door, the thumping sound of the opening set by DJ and founding Gorilla Dan “The Automator” Nakamura throbbed out on to the street. Inside, the crowd was as hip, diverse and giddy as the band’s eponymous debut album: slightly ostentatious, but mostly with a self-deprecating sense of humor. As Nakamura’s set finished, Gorillaz cartoonist (and Tank Girl creator) Jamie Hewlett sipped his beer nervously behind his banks of projectors ranged on a platform at the back of the room. Unlike the first couple...
...long awaited album, produced by the experienced Stephen Harris (Dave Matthews, U2), is an original, catchy and downright enjoyable debut that lives up to Kweller’s immense potential. Kweller displays his versatility with song styles ranging from acoustic folk on “Family Tree” to pop on “Walk On Me” to rock with “Commerce, TX”, effectively defying categorization. Some songs, particularly “Wasted and Ready” are reminiscent of Weezer, but the most apt comparison is to singer-pianist Ben Folds, particularly...
SOiL’s major label debut, Scars, explodes from the Windy City with a hard-rock radio blend of melodic hooks and crunching riffs. This nu-metal outfit manages to temper the simplicity of drop-d tuned chunk metal with alt-rock and cock-rock attitude. The band keeps it simple. They don’t blend hip-hop, they don’t dose tracks with techno-loops, but stick to simple meat and potatoes rock-metal power, with an occasional decrease in distortion for a few seconds of sensitivity. Catapulted by their debut single...
Many of Lord’s fans view the live album as a refreshing follow-up to her major label debut in 1998, which was produced in a studio with a band. One purist commented, “Mary Lou Lord is best just stripped down to an acoustic guitar. You can’t get any closer to real sound than that. Overproduction ruins music.” The intimate street performances allow Lord’s audience to connect with her on a level that other venues do not permit. To know the effect of her playing...