Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
Latest editorial
A timely warning from an ominous past
This is a pertinent reminder of what the government is capable of doing to those who popularise a vision that runs counter to a capitalist economy, its wars and its racism, writes ROB JACOBS
BITTER RIFT: Burl Ives (right) was castigated by Pete Seeger (left) for collaborating with Joseph McCarthy
[Library of Congress/Creative Commons]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
The Folk Singers and the Bureau: The FBI, the Folk Artists and the Suppression of the Communist Party USA, 1939-1956
by Aaron J Leonard (Repeater Books, £10.99)
MY dad played music a lot when I was a young child. He would come home from work and put an album on his record player, change out of his uniform and drink a beer while he listened.
Usually, his listening fare was show tunes or big band music. On occasion, he would play a Nat King Cole record or something from the Ink Spots. Sometimes, he would put on a record by the folk singer Burl Ives.
Similar stories
RON JACOBS is enthralled by an account of the surveillance and political repression on the left in the US
Ben Cowles speaks with IAN ‘TREE’ ROBINSON and ANDY DAVIES, two of the string pullers behind the Manchester Punk Festival, ahead of its 10th year show later this month
This is poetry in paint, spectacular but never spectacle for its own sake, writes JAN WOOLF
Two new releases from Burkina Faso and Niger, one from French-based Afro Latin The Bongo Hop, and rare Mexican bootlegs