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?"
  Mr. Pei looks confused.
  "I see a turntable, a needle, an arm..."
  "I really hadn't thought of it that way," says Mr. Pei.
  "Mr. Pei," another reporter ventures. "When you designed this building, were you familiar with rock and roll?"
  "I was familiar," the stately architect answers, "because I had two children at home at the time."
  "There were reports that you didn't really like rock music then."
  Mr. Pei chuckles. "As I get familiar, it changes. I just got used to the Beatles a few years ago. Now, they are passé."

(It appears that ol' I.M.'s subconscious was cued on turntablism. SkratchPiklz bettuh watch out! DJ PEI  iZ iN Da HouSe!!)


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)

  • Billy Crawford
  • Key Kool and DJ Rhettmatic
  • Vijay Iyer
  • Buffalo Daughter
  • Emm Gryner
  • David Pajo
  • Asian Dub Foundation
  • Tatyana Ali
  • Ann Carli
  • Mike Park
  • Joseph Kahn
  • Dan Nakamura

A magazine,

Shen Wen-cheng

Free China Journal, 25 June 99, p.5 (Shuling Ko)

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."

  • Yi Paksa
  • Droop
  • Uh Uh Boo Project Sound
  • Exile Osaka
  • Japanese Noise

BUG Vol. 3
(special Korea-Japan issue)

  • interview of pongchak singer Yi Paksa ("over 50,000 songs locked in his head")
  • interview of Droop, a 4-female band in Japan
  • interview of Uh Uh Boo Project Sound, 3-man band in Korea that plays rock tinged with blues, and includes the sounds of traditional Korean instruments
  • Matt Kaufman writes about his Japanese punkzine in "The History of Exile Osaka"
  • David Public writes about the late Japanese noise music scene ("What was that Noise")
Panda Bear, Wendy Chien

Punk Planet, #32, July/August 99,

  • Cibo Matto
  • Melt Banana
  • Nic Endo
  • Beat Junkies
  • DJ Symphony
  • DJ Kuttin Kandi
  • Automator
  • DJ Krush
  • Money Mark & Kid Koala
  • Mountain Bros.
  • Asian Dub Foundation
  • Maywa Denki
  • Sweet Trip
  • karaoke
  • Jacky Cheung
  • Cinnamon
  • Kween
  • The Damones
  • Fantastic Plastic Machine
  • Seam
  • IQU
  • Tae Won Yu
  • Asian Man Records
  • Marginal Man
  • Nekron 99
  • Blonde Redhead
  • Kodo
  • Death Angel
  • Swarm
  • Russell Quan
  • Electric Summer

Giant Robot #15

  • The Mops
  • The Golden Cups
  • Jacks
  • Kan Mikami
  • Kazuki Tomokawa
  • Shuji Terayama, JA Seazer
  • Tenjo Sajiki
  • Les Railizes Denudes
  • Keiji Haino, Fushitsushu, Nijiumu
  • High Rise
  • White Heaven
  • Ghost
  • Taj Mahal Travellers
  • Ché-Shizu
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..."

  • Bonnie Pink
  • Judy and Mary
  • JAM
  • Shena Ringo
  • Miho Komatsu
  • Petty Booka
  • Benten label bands
  • Lolita No. 18
  • Puffy
  • Kiroro
  • Utada Hikaru
  • Say a Little Prayer
  • My Little Lover
  • Every Little Thing
  • visual kei bands
    • X Japan
    • Glay
    • L'Arc En Ciel
  • Chara
  • Chocolat
  • Heaco
Cha Cha Charming #2 (1999) Sheila B.'s "A Guide to Japanese Pop" section includes:
  • introduction
  • profiles
  • a night of J-pop in NYC (17 Mar 99)
  • Japanese CD shopping in NY, NJ, and on the web
  • J-pop websites

from the introduction:

   "Let's face it, in the last ten years American pop music has made a serious turn for the worse. In the early eighties, artists like Puff Daddy and Mariah Carey would never have had a chance in the spotlight. The essence of pop music has gotten lost in this shuffle of rap, techno, hip hop, and emotionless ballads. Even most independent music today (the supposed 'alternative' to mainstream) churns out equally bland sounds...
   The wonderful thing about Japanese pop is its diversity; there really is something for everyone. Whether your pick is goth, indie, rock 'n roll, or pop, the Japanese have got a handful for you...
   To an outsider, the extreme nature of Japanese pop can almost come across as cheesy. They have no qualms about using synthesizers, singing in extremely high squeaky voices, and switching musical genres ten times on one record..."

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)
interview of jazz musicians, Vijay Iyer (piano) and Rudy Mahanthappa (sax)

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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