| Subject | Publication | Contents |
|---|---|---|
| I.M. Pei | Village Voice, 19 Sep 95 | In an article about the opening of the Rock and Roll Hall of Fame in Cleveland, there's a short segment on a Q&A session with the building's architect, I.M. Pei. The following exchange with reporters is described:
"Mr. Pei?" a guy from CNN asks. "When I look at your building I think I see something. Do you see what I see?" (It appears that ol' I.M.'s subconscious was cued on turntablism. SkratchPiklz bettuh watch out! DJ PEI iZ iN Da HouSe!!) |
| Jamez | Koream Journal, April 98, V9, N4, pp.24-25 |
Hard Kore; NYC rapper comes strong with a multicultural message (Steven Johng) |
| Beat Junkies, Japanese DJs, Mix Master Mike, DJ Disk | raygun Feb 99 (special dj issue) | |
| Kahimi Karie | Index magazine May/June 99, pp.14-23 (interviewed by Steve LaFreniere, photos by Cris Moor) | |
| Susie Ibarra | New York Times 30 May 99 | Susie Ibarra: Holding Her Own Among All the Guys (David Yaffe) Profile of the Pinay drummer on the occasion of a month-long series of performances at Tonic, a place on the Lower East Side of Manhattan. Ibarra organized the series, which featured jazz ensembles led by women. |
| Jeff Kashiwa | Windplayer, #59, pp.14-23 (A.J.S. Rayl) |
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A magazine, |
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| Shen Wen-cheng | Free China Journal, 25 June 99, p.5 (Shuling Ko) |
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| Cibo Matto, Henry Cowell | Pulse! July 99 |
Henry Cowell; Nurturer of American Experimental Music (Paul Griffiths, p.65): "Born in Menlo Park, California in 1897, Cowell began exploring new possibilities on the piano when he was still in his midteens: gigantic clusters of notes played with the forearms on the keyboard, unusual sounds created by leaning inside the instrument and brushing a hand across the strings... By the time he was in his early 20s he'd written a book, New Musical Resources, that virtually laid out the program for 20th-century music with its talk of free dissonance, complex rhythms, microtones and so on... And when he had pretty much run through the gamut of his new resources, he turned to look at some old ones from other musical cultures: Indonesian, Persian, Chinese, Japanese. He wrote symphonies in Asian scales and pieces for Asian instruments." |
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BUG Vol. 3 |
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| Panda Bear, Wendy Chien | Punk Planet, #32, July/August 99, |
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Giant Robot #15 |
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The Wire, August 99, pp.30-35 | This particular feature, titled "The Primer: Japanese Psychedelia" (by Alan Cummings), spans 30 years of a 'long, strange trip': "In the late 80s and early 90s it seemed as though some seismic fault deep beneath Japan had finally cracked, unleashing a tsunami of new and confusing groups onto an unsuspecting Western world... The fact that many of them were formed in the mid-80s out of the fallout from Japanese punk and New Wave might seem ironic to Western observers, confused by an apparent reconciliation of punk and its hippie enemy. But such a view doesn't account for the subtle changes that occur in the cultural assimilation process. Like the seemingly 'wrong' English slogans seen everywhere in Japan, assimilated imports primarily address Japanese needs. Despite any lingering similarities, they don't necessarily reflect their original meaning anymore. So with psychedelia after its absorption into the Japanese underground..."
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Cha Cha Charming #2 (1999) | Sheila B.'s "A Guide to Japanese Pop" section includes:
from the introduction:
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| Asian Dub Foundation, Vijay Iyer & Rudresh Mahanthappa | rungh Vol. 4, #4 (the journeys issue) |
Dub Mentality (Jasmyn Singh) Profile of Asian Dub Foundation
Bringing the Pleasure (Elizabeth Chakapan)
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| Susie Ibarra | The Musician's Planet Fall 99 | Susie Ibarra: Free for All (Ken Micallef) One of the better profiles of her, despite its brevity. Since the magazine is published by Mars music stores, it's only natural that the article gets into her approach to percussion, lists the pieces of her drumset, and lists other percussion instruments she owns. |
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