Bob Seger’s song “Night Moves” is so famous that it scarcely needs an introduction. Having heard the song on the radio yesterday while runni...

Raymond Williams observed in his classic, The Country and the City , “’Country’ and ‘city’ are very powerful words, and this is not surprisi...

Yesterday, I came across this list put together by guitarist Jay Ferguson , in which the artist has assembled what he considers as the ten p...

The role of the teacher can be best understood as someone who provides the student with two kinds of knowledge. Following Gilbert Ryle , the...

An interesting comment left in response to my blog entry yesterday concerning popular musicians who have appeared in comic books indicated t...

Moments after posting my entry on Jack Kirby and Paul McCartney this morning, my friend Dion Cautrell sent me an email with a link to today’...

Early last month I wrote about the connection between comics and popular music, observing that it’s unusual to see a reference to comics in...

The Criterion Collection newsletter I received this afternoon contained the startling piece of information that François Truffaut’s The 400...

My previous post on the role of stuttering in music reminded me of Dadaist Kurt Schwitters (1887-1948) and his “primitive” sonata (sound poe...

One of the reasons The Who’s “My Generation” is so memorable is, of course, because of Roger Daltrey’s distinctive delivery—his stuttering: ...

Yesterday I discussed the way white male rockers have appropriated codes of black masculinity to define their identities. In the study I men...

Although the subject of his book, Black Magic: White Hollywood and African American Culture , is the racial appropriation of black culture i...