Theodore Witcher’s Paean to Hip-Hop ‘Love Jones’ Charms and Seduces
In 1997, you could call Love Jones a small, curious drama that won many critics over. Today, it stands as a cornerstone of Black narrative in cinema.
In 1997, you could call Love Jones a small, curious drama that won many critics over. Today, it stands as a cornerstone of Black narrative in cinema.
Astrid Williamson’s songwriting prowess as both a classically trained artist and an alternative rock maven makes the earth tremble on Into the Mountain.
UK MC Figure of Speech talks about his debut album, a judicious bridging between current affairs and the socially-conscious erudition of hip-hop’s early days.
For Melvin Van Peebles good cheer and cool heads prevail against the tirade of ill-will and malevolence. His wide-ranging filmmaking style conveys that overarching sentiment.
Plucking chords with steel-tipped determination, Buffalo Nichols brandishes his songs with the worn sentimentality that has had many scarred souls in lonely bars crying into their beers.
Michael J. Sheehy sings of transcendence and resolve and, driven by a poignancy that can only be of the preserve of songwriters everywhere.
“Stay Down” is an unfussy, short but sweet delight, in which Blu trades his conversational rhymes with the ruminative verses of Mickey Factz.
Sultry, hypnotic, and quietly ruthless, Jacques Deray’s La Piscine is a slow-burner rife with impossible beauty and turbulent emotion.
John Edgar Wideman’s You Made Me Love You features an array of impressive, thought-provoking stories of considerable depth.
Mike Ladd with producer Rough pulls up a wealth of succulent groove on The Dead Can Rap, nudging the think tank of his polemic poetry onto the dancefloor.
The OBGMs generate a sound that’s altogether brutal, sensual, raucous, and hungry on The Ends. It’s been long-listed for the Polaris Music Prize.
Céline and Julie Go Boating transcends its mystic device of hijacked cinéma verité to present an authentic idea of truth in the contrived world of celluloid.