The Music of the Isley Brothers

The Isley Brothers, featuring Ronnie, Rudy, and Marvin Isley, with support from Ernie Isley and Chris Jasper, recorded Brother, Brother, Brother, an album in which three of the eight songs were written by Carole King, whose record-breaking Tapestry album had man an impression on many performers of the time.   Brother was released in 1972 by T-Neck, and re-released in 1997 by Sony.  The collection, with notes by poet Nikki Giovanni about Cincinnati and Lincoln Heights (which she shared with the Isleys), contains “Work to Do,” a song written by the Isleys about the sacrifices (and understanding) required to accomplish a task, a song radio still plays.  The Isleys give Carole King’s “It’s Too Late” a ten-minute workout: slowed-down, anguished, with mournful piano and screaming guitar.

Delicate and Ferocious, Worldly and Mystical: Sinead O’Connor’s I Do Not Want What I Haven’t Got

Sinead O’Connor recalls the advice she received; revelation: “You must not try to be too pure./ You must fly closer to the sea.” On the more recent Throw Down Your Arms, there is a continuation: a collection of reggae songs, it is an affirmation of empathy with others and spiritual exploration, and her talent shows no diminishment; and I am drawn to “Downpressor Man,” a song of chastisement. Sinead O’Connor is one of the most significant talents to emerge in the last twenty years.

The documentary Trudell looks at noted Indian poet-activist John

Spirituality has been for Native Americans, as for African-Americans, a path to personal dignity, social morality, and public meaning; and in the film John Trudell talks about the importance of valuing the earth, of reconciling ourselves to the requirements of the land, and of being cognizant of what we leave to future generations. Robert Redford describes conversations with Trudell as exciting, and Wilma Mankiller talks about how essential Trudell has been to articulating Native American concerns.

A review of On the Waterfront directed by Elia Kazan

Brando’s ability to seem alive to feelings and ideas give the choices he is faced with in On the Waterfront vivid reality and moral dimension: one sees him, and remembers young men one has seen, known, in daily life, attractive men who might have gone in any direction, and many different kinds of actors seem Brando’s descendants. Brando seems unafraid to be onscreen, unafraid of observation or judgment: he is friendly, regretful, sad, charming, doltish, evasive, impulsive, and more.