In a comment to my post The Stranger Alongside Me in September our friend Milania remarked on my being a rescuer. In reply my husband David Hughes said, “I guess you could say she rescued me forty-four years ago this month! We’ll have to have Andrea tell that tale some day.” Milania urged me to do so “sooner rather than later.” Okay, but I should say that “rescue” sounds more dramatic that it really was, although David and I agreed that this story could get a little bit personal. Continue reading “And He Never Left!”
Reading Jim Dooley’s invaluable Red Set: A History of Gang of Four1 last year I was fascinated with how some of the philosophical underpinnings of the band’s songs mirrored what I’ve been dealing with in writing materials with comrades in a labor group. What follows is not a review of Dooley’s book, but rather a commentary on the mirrored passages and also, to a much lesser degree, remarks on my exposure to theoretical thought through pop music (of all things). This post is based on the notes I took at my first (and only) full reading, and is not a comprehensive look at Gang of Four reasoning. Continue reading “Gang of Four Part 2: I Found That Essence Rare”
I’m a terrible interviewee for the most part. Recently I was contacted by a radio news editor about homophobia in hip-hop, based on my involvement in the 1980s rap group, Age of Consent. I can’t imagine any sound bites from that conversation will end up in the final piece, but the dialogue got me thinking. In the course of subsequent riffling through AOC archival material and updating our website I came across a profile of our group from 1983 in which I actually was cogent. And I was surprised that I articulated a notion I thought I’d only come to hold more recently. But I also was disappointed by my hubris.
The article, by Samir Hachem (1956–1992), provides a good introduction to what AOC was about, so I won’t duplicate that here. I knew Samir’s work from radio and his love for the Lebanese singer Fairouz. As KCRW’s Tom Schnabel (the station’s first music director and creator of Morning Becomes Eclectic) recalls in his tribute to Hachem, “Samir told me of how Fairouz could perform for one faction in the Lebanese civil war of the 1970s, then cross over to the other side and perform there, too. Such was her fame and the respect she commanded.” In addition to radio Samir wrote for The Hollywood Reporter and The Advocate, in which the AOC profile appeared.
