The World Doesn’t Require You, with its fabulist interrogations of American history, imagines a Maryland town founded by members of the only successful American slave revolt.
The writer discusses his personal, political, and critical assessment of hip-hop’s golden age.
A taste of what’s to come at Manhattan’s new space for multidisciplinary programming.
Featuring selections by Jem Cohen, Keith Connolly, Britton Powell, Alan Courtis, Byron Westbrook, and more.
This is the type of record that will slap cultural essentialists in the face.
Paper Clip is a weekly compilation of online articles, artifacts and other—old, new, and sometimes BOMB-related.
Jenn Joy is confronted by the distorted anatomy and face of Heather Kravas’s Kassidy Chism.
What did that most verbose of all musical art forms have to say about the defining event of the last decade? Many rappers said a little, while one rapper said a lot. Juelz Santana, unknown on Sept. 11, 2001, has proved for better or worse to be its chief memorializer in hip-hop.
Michael Schmelling made a book called Atlanta, a photo book about the Atlanta hip-hop scene. Then Richard Maxwell wrote a review of it.
On first impression, Noisemakers was simple, a sort of a homespun, basement version of Inside the Actor’s Studio.
In 1985, Sandy Denton and Cheryl James were working dead-end jobs at Sears when Hurby Azor, a coworker and audio production student, asked for help on a college project.
International Hip-Hop choreographer Rennie Harris on his inspiration and education through dance.
The handsome, CD-size book of lyrics accompanying Aesop Rock’s new EP Fast Cars, Danger, Fire, and Knives is titled The Living Human Curiosity Sideshow, an apt caption for a rapper whose 1999 debut album Float became an underground classic so instantly that by his next album he would rap, “Dwarfed by the lights, bewildered by the fan base, bound by an idea but skeptical of the handshakes.”
As a jazz musician always looking for cutting-edge, exciting, and thoughtful collaborators to expand my concept of music with, I was instantly struck by rapper and producer El-P, aka Jaime Meline, when I met him last year.
Danny Hoch hauled his one-man entourage to the room upstairs at PS122 for a solo performance of Jails, Hospitals, and Hip-Hop.
This First Proof contains a written reflection on featured Brooklyn Moon Cafe Poets by Zoë Anglesey.
“They saw that poetry had something to add to the world, but they also feel that they’re owed.”
“If the beats ain’t right, you ain’t right. But I can take a little bit of one thing and make it big. You can give me anything and I’ll know what to do with it.”