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A review of Why Lasker Matters by Andrew Soltis

Yet surely the chief reason, the darkest cloud obscuring Lasker’s greatness, is to be found in the myths concerning his play. It has been said that he would deliberately play “bad” moves to unbalance the position in a game, that…

Interview with Tracy Repchuk

The author of The Poetry of Business talks about her book, the power of poetry, the corporate crisis of meaning, her intended audience, Poetry Canada, and lots more.

Essential: The Art, Emotion, and Limitations of Luther Vandross

Vandross’s background singers—some of the industry’s best—are his true human witnesses, his most impressive collaborators. (I imagine some of his background singers may think they are responsible for Luther Vandross’s success.) Vandross’s sensibility and voice—a sensibility and voice created out of choices, influences, and ambitions—are so unique that the otherworldly music that accompanies him may be absolutely necessary.

The Force Behind The Power: Jazz, Joy, and Social Vision in the Work of Diana Ross

My reconsideration of Ross and Stolen Moments has been not only aesthetic and intellectual. In a time of personal trouble, I found she was one of the few singers I could listen to, and that the joy in her work gave me comfort. Pleasure is usually circumstantial and momentary, but joy is usually rooted in something deeper—a sense of self, great belief, a tested system of thought, love, and even trusted and proven community. Is there anything wiser than joy?

In the Margins, Truth: Ani DiFranco’s Carnegie Hall 4-6-02 and Reprieve

The fact is that there’s not much consistently intelligent political comment in popular music, and I do like much of what I hear in her work. She remembers things that others forget, even though those things are very important. She reads her own poetry, which contain significant perceptions and well-known politically progressive ideas, and she also reads the poetry of Judy Grahn.