Power Ballots
Dozens of rockers, rappers, and pop stars have been hitting the campaign trail this year, singing, dancing, speaking, smiling, and waving for their favorite presidential candidates. But is anyone paying attention?
By David Peisner 03.26.08 7:34 PM
Deafening screams echo off the walls of the large gymnasium at South Carolina State University on this evening in late January. Flashbulbs pop. People jump up and down, shaking hand-lettered signs reading WE WANT CHANGE and S.C. STATE LOVES BARACK over their heads.
Who's Next '08: B.O.B.
The next hip-hop eccentric. With bonus live video.
By David Peisner 02.01.08 10:47 AM
Bobby Ray Simmons was an early bloomer. At an age when most kids are still mastering the finer points of tag, the man who would later be known as B.O.B. was mapping his future.
The View, 'Hats Off to the Buskers' (1965/ Columbia)
Searching for hope - or at least booze and chicks - in a dead-end town.
By David Peisner 01.18.08 4:17 AM
Like the Jam before them, the Libertines were a phenomenon in Britain that never clicked on this side of the pond. The View descend directly from that pissed-off, working-class punk-pop tradition -- in fact, their debut owes such a debt to the Libertines, it's tempting to dismiss them as imitators.
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Story of the Year: The October Surprise
With Radiohead, Madonna, and Nine Inch Nails leading the charge against major labels, one month in 2007 may be remembered as birthing a revolution that shook the industry to its core. But have they truly created a brave new world?
By David Peisner 01.05.08 2:53 AM
October 10, 2007, is a day that will live in infamy in the hearts of major-label executives. That was the day Radiohead, after more than a decade with Capitol Records, self-released their seventh album, In Rainbows, digitally, without a price tag.
Wiley, 'Playtime Is Over' (Big Dada)
Grime pioneer broadens his worldview - just a touch.
By David Peisner 10.31.07 3:00 AM
Grime's relative nonimpact on America isn't puzzling: With its disorienting beats, unfamiliar slang, and melody-averse choruses, the U.K.-born genre has always felt forbiddingly local. Wiley only occasionally departs from that script on an album he's threatened will be his last.
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