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...from Trinidad and Tobago. I do not romanticize the country, but neither do I denigrate it. Naipaul's attitude shows how well the colonial masters succeeded in their job of brainwashing. I am grateful that for every Naipaul, there is a Trinidadian writer like Earl Lovelace and a calypso musician like David Rudder. SUZETTE DE COTEAU Reading, England

Author: /time Magazine | Title: Letters: Nov. 12, 2001 | 11/12/2001 | See Source »

...moments. The first was a series of solos—initially, DJ Sid “#0” (who wears a gas-mask), a turntable master, scratched and spun in an ever-quickening crescendo as strobe lights flickered; the second spotlighted the drummer—the kabuki-masked musician drummed at a hellish pace while his drum set floated upside down and rotated above the stage. Slipknot’s second highlight was their final track, “Surfacing,” a song which they claim is the “new national anthem?...

Author: By Michael T. Packard, CONTRIBUTING WRITER | Title: Heavy Metal | 11/9/2001 | See Source »

...you’re a monitor, you try to avoid giving tickets—you always talk to the performers first. You get to know them all by names,” Acosta says. “One hard thing was to tell musicians to turn down their music. As a musician myself, it was just hard to go against my values of loud music...

Author: By Daniela J. Lamas, CRIMSON STAFF WRITER | Title: All The Square's A Stage | 11/5/2001 | See Source »

...sound-padded back room, Davy crouches in front of a drum set. Even sitting down he seems tall, but it may be just his hair, long and gelled straight up as though he's falling from a plane. A studio musician for pop stars like Kelly Chan and Leslie Cheung, Davy is the only LMFer who earns a living wage with his music. "I do pop music only for the money," Davy says, looking around the room, his neck tattooed with two dice rolling a hard eight. "But here it's my music. Here we do what we want...

Author: /time Magazine | Title: Hip-Hop Goes Canto | 10/15/2001 | See Source »

...provided a bigger contrast. Despite referring to Mapfumo as, “My elder brother,” Koité—a relative newcomer in West African music compared to superstars such as Baba Maal or Salif Keita—comes from a new generation of African musicians. The sound of Koité’s band escalated as each member arrived on stage and added their instruments to the burgeoning sound before Koité himself arrived and added his high-octane acoustic guitar playing and stunningly pure, flexible voice to the mix. After that, the energy...

Author: By Andrew R. Iliff, CRIMSON STAFF WRITER | Title: African-Do | 10/12/2001 | See Source »

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