Word: musics
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Dates: during 1990-1999
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Sadly, however, the venue in which most of the world's hip hop listeners live the music is at the shows where signed artists come to a town near you to perform their album material. Put simply, next to the cozier, more covert settings of what we can loosely term the "underground," such shows are just weak-wack. Typical rap artists either stand on stage with nothing entertaining to deliver except the mere presence of their stardom (e.g., Jay-Z), or they riddle their acts with gimmicky stage props or too many cohorts (e.g., Nas, Wu-Tang). Or they repeat...
...future of hip hop, other than my hope that I'll get to see a real, full-length KRS show. I don't think KRS would be any lesser or better an emcee if we still lived in the days when everybody listened to same hip hop music and when questions of hip hop's "Golden Age" or demise would be irrelevant. To my boy, myself and probably our Golden Age cohort, KRS is just illy. Who cares if others swallow up the limelight and clutter up the airwaves with garbage? As long as there's enough...
...liquefied our hearts, he then covered Peter Gabriel's "In Your Eyes," again with just his acoustic guitar and Ghegan's sax. Not overly talkative at the mic, Pat maintained a continual dialogue with his audiences through his music and his presence...
...fury of guilt and reproach as the valiant Richmond moves to retake the throne. Parris perfectly complements Clarke as the righteous force of good that inevitably defeats the evil Richard. The play ends with a gloriously choreographed battle between the forces of Richard and Richmond. But although the choreography, music and set are spectacular, the real engine that moves Richard III to success is the solid, intense, and complementary performances of the three Richards...
...case with the greater master-piece, the Fantasy Op. 17. Although Zimerman seemed marginally less comfortable here than in the Chopin idiom and sometimes shortchanged Schumann's dotted rhythms, the middle movements especially were full of fresh phrasings and well-judged rubato. The finale is fun music, and Zimerman seemed to be having fun with it. For an encore he gave the F-sharp Romance, Op. 28 No. 2, informing the audience that it was the last thing Clara Schumann heard before she died. This was amazing, drop-dead gorgeous playing, but with little trace of the rhetorical duet-like...