Word: musicalities
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...make music because we like to,” says Drummey, noting that in the event of absolute and crushing defeat, the men of Chester French are still sitting pretty when it comes to a fallback plan. “It’s not like we’re underqualified for day jobs...
...fourth and final night of SXSW, Chester French is slated to perform at an exclusive party thrown by celebrity gossip blogger Perez Hilton, an early fan of the band. With a guest list sure to only include critics, journalists, and members of the music industry’s upper crust, the Perez Hilton crowd is likely to be a tough one. When I arrive, Wallach is already stationed at the entrance, passing out what appear to be giant condoms. When I get closer, I see that these objects are actuallly cleverly packaged copies of Chester French’s first...
...album. This isn’t to say that 2006’s “St. Elsewhere” didn’t have some great songs, but it was hard to look past the duo’s gimmicky nature and appreciate the album solely for its music. The immense stardom of Gnarls Barkley was built on goofy movie-inspired press photos, thousands of “Who Is Gnarls Barkley?” posters plastered across New York, and one insanely popular single. However, two years later, Danger Mouse and Cee-Lo have successfully faced the challenge...
...DeGraw shows that he won’t go farther than what the average 10-year-old is allowed to watch on YouTube, and the rest of the video is filled with naughty behavior appropriate for “The Little Rascals.” This is why this music video fails as a rock video, although it makes a decent pop video: it fits all ages, showing a clean-cut singer-protagonist and a blonde TV star with a girl-next-door appeal. But the viewer is left feeling much like the girl in the video, waiting for satisfaction...
...avenue for gangsters to obtain wealth and status, Marcus Reeves provides the necessary reminder in “Somebody Scream!” that hip-hop is much more: a potent political force that releases the latent energies of black poverty, violence, and frustration. Reeves, a film and music critic who has worked for The Source magazine, Rolling Stone, and The New York Times, sees hip-hop as filling the void left by the collapse of the 1960s Black Power movement in defining black identity. The book makes the case, through biographical examination of certain representative artists, that Black Power...