We turn now to a regular segment we call In Your Ear. That's when we invite previous guests to tell us some of the songs that inspire them. This time, we hear from R&B sensation, Miguel. He stopped by to tell us about his new album, "Kaleidoscope Dream," and we also found out what tracks he's been listening to.
Originally published on Wed January 9, 2013 1:47 pm
I'm not very good at keeping New Year's resolutions. One year I resolved to "get into yoga." I even wrote that down on a note card and kept it on the refrigerator. Two months later, after doing nothing, I crossed it out and wrote, "be AWARE of yoga."
This year I didn't bother making a list about health and fitness resolutions. But I do have a mental list of some personal improvements I'd like to make when it comes to music.
This week writers came back from the holiday break ready to play. From David Denby unloading in the New Yorker, to John Jeremiah Sullivan working a mention of the Fruit Jar Guzzlers into a Paris Review piece, Robert Christgau beating his breast over Das Racist's breakup and an examination of the visuals of extreme music, there wasn't a lot of taking it easy. Lucky you.
Believe it or not, Schoolhouse Rock is 40 years old. If you're a child of the 1970s or '80s, you probably sat in front of a television on Saturday morning watching those little animated lessons that told us why that scrap of paper was loitering on the Capitol steps or the finer points of grammar.
Years ago, without setting out to do so, the Afrobeat ensemble Antibalas jumped out ahead of the pop-culture curve in two ways. First, geography: The band was formed in Brooklyn in the 1990s, before the New York borough became the mecca of independent music that it is today. Second, the music itself: Afrobeat makes its way into lots of popular music today, but Antibalas was doing it before it had a mainstream foothold.
Just over 20 years ago, one of the most influential bands in the riot grrrl movement released its first album. Bikini Kill helped define a movement that grew up as an offshoot of punk in the early 1990s, when many women felt marginalized by society, and in some cases, even by the punk-rock community.
On the tough side of Terpsichore Street in New Orleans stands a duplex — a two-story, wood-framed building with wood floors, high ceilings and a nice fireplace. But this old house is empty: no furniture, no walls, no electricity, no toilet. Iron bars hide the windows; there's a lockbox on the door. The facade is three different shades of blecch, blurgh and blah.