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...masterpiece, Beloved. Both would receive Pulitzer Prizes. In that same year, PBS aired Henry Hampton's Eyes on the Prize, the six-part documentary on the civil rights era, and Cornell scholar Martin Bernal published Black Athena, a highly controversial account of African sources of classical Greek civilization. Meanwhile, Spike Lee and Wynton Marsalis were establishing themselves as masters of film and jazz...

Author: /time Magazine | Title: Black Creativity: on the Cutting Edge | 10/10/1994 | See Source »

...shots he had to remove or trim in ( Natural Born Killers to secure an R rating from the classification board of the Motion Picture Association of America (MPAA). There was the bring-me-the- head-of-Tommy-Lee-Jones scene, where prisoners put the warden's head on a spike. There was the see-through-the-palm-of-Robert-Downey-Jr. shot, after Mallory blows a hole in the newsman's hand. Stone has more, if you want to hear them...

Author: /time Magazine | Title: CINEMA: Murder Gets an R; Bad Language Gets Nc-17 | 8/29/1994 | See Source »

...Music: Spike Jones' orchestrations called for pie pans...

Author: /time Magazine | Title: Time Magazine Contents Page | 6/13/1994 | See Source »

That was then, and it's now too. Jones is again the cult rage. Jordan R. Young's carefully researched biography Spike Jones: The Man Who Murdered Music (Past Times Publishing; 00 pages; $0.00) is making its own noise in book stores. Rhino Records has issued The Spike Jones Anthology, a handsome, 40- song dose of the band's top tunes, including the chirping, barking, cackling Love in Bloom and the magnificent Hawaiian War Chant, which climaxes with a wail of electric-guitar dissonance that predates Jimi Hendrix by 20 years. A quirkier collection -- Spiked!, on Catalyst -- has some prime...

Author: /time Magazine | Title: MUSIC: Spike Up the Band | 6/13/1994 | See Source »

...Spiked! arrives with a cultural pedigree: cover art by Art (Maus) Spiegelman and liner notes by author-recluse Thomas (Gravity's Rainbow) Pynchon. "Yet there remains about Spike's work what is sometimes an almost uncomfortable complexity," proclaims Pynchon, later anointing Jones as "a conceptual artist with a head for business." One would like to drag semiology in here too, for the Slickers never saw a text they couldn't subvert. But Jones' tactic was not deconstruction so much as demolition. His long-touring Musical Depreciation Revue was a frontal assault on sonic propriety. Even his nickname was an action...

Author: /time Magazine | Title: MUSIC: Spike Up the Band | 6/13/1994 | See Source »

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