To help fill the knowledge gap, TIME asked historians and experts on Asian American history nationwide to pick one milestone from this history that they believe should be taught in K-12 schools, and to explain how it provides context for where America is today. Here are the moments they chose.
Coney Island Baby [RCA Victor, 1976]At first it's gratifying to ascertain that he's trying harder, but very soon that old cheapjack ennui begins to poke through. Oddly, though, most of the cheap stuff is near the surface--the songs sound warmer when you listen close. And not even in his most lyrical moments with the Velvets has he let his soft side show as nakedly as it does on the title cut. B+
Live in Italy [RCA, 1984]Unlike 1969 Velvet Underground Live, this isn't a song album, which is no surprise--a guitar album is what I was hoping for. But unlike Rock n Roll Animal it isn't a showoff showcase, either--it's a guitar ensemble album, which is subtler than I was hoping for. Reed and Robert Quine get their moments, but the matter at hand is the interaction of a crack rock and roll band. One of the things that makes Quine a great guitarist is his formal tact, and just as Fernando Saunders's bass defines Reed's recent music on record, the modulated anarchy of Quine's acerbic fills and background commentary defines the live stuff. Even so, I wish they'd arrived at a way for him to cut loose more within the structure, especially since Lou doesn't seem deeply interested in the well-worn classics that dominate the show. The function of crack rock and roll bands, after all, is to set songs. B+
Despite rubbing shoulders with all-time classic episodes Murder by the Book, Death Lends a Hand and Suitable for Framing, Lady in Waiting stands tall in its own right. But just what are its absolute best moments? Here are my top 5 picks.
When it comes to casual boozing, Columbo was in a world of its own. In the 70s especially, pretty much every character seemed to have a glass in hand. And with that in mind I give you 10 terrific booze-fuelled Columbo moments to raise a glass to.
Arthur Lee had every reason to feel disenchanted with his career in 1974, as his harder rock moves on 1970's False Start and his 1972 solo debut Vindicator didn't please critics or fans and his deal with the fledgling Buffalo Records label left him with an unreleased album, Black Beauty, when the company abruptly crashed and burned. Lee had started dipping his toes into material with a stronger R&B edge on Black Beauty, and when RSO Records gave him another chance at a major-label deal, he dove in headfirst: in a Rolling Stone interview, Lee said Reel to Real was his effort to get "as black and funky as I can, man, on my music." If folks hoping for another Da Capo or Forever Changes weren't pleased with False Start or Vindicator, they were simply confused by Reel to Real's funk grooves and banks of horns and keyboards (not to mention a lineup that featured no previous members of Love but Lee). However, while the album has often been written off as a failure, Reel to Real is an album with more than its share of great moments, even if it's inarguably uneven. Lee's vocals are tough but eloquent on these tunes, and though the music is often rooted in deep funk (especially on the percolating "Who Are You" and "With a Little Energy"), blues ("Which Witch is Which"), and vintage R&B ("Stop the Music"), the fierce guitar work from Lee, Melvan Whittington, and John Sterling makes it clear Lee hadn't cut his ties to rock & roll. Psychedelia doesn't really play a part in this music, but the introspective twists of Lee's lyrics confirm he still had plenty to say about the world around him and the universe inside his mind. And the closing acoustic version of "Everybody's Gotta Live" (which first appeared on Vindicator) offered a brief glimpse of the sly, thoughtful hippie who had recorded Forever Changes just seven years earlier. Reel to Real plays more like an Arthur Lee solo effort than a Love album (and was blighted with a singularly ugly cover), but it's a good Arthur Lee album, with a tighter focus and a more thoughtful perspective than Vindicator, proving Lee still had a great deal to say even if his audience didn't care to listen.
Often dubbed "the Oscars of fashion," the Met Gala has been delivering some of fashion's greatest red carpet moments for decades. Ahead of this year's event, we're taking a look back at some of the most outrageous and daring Met Gala looks of all time, from Cher's first naked dress in 1974 to Rihanna's many jaw-dropping gowns over the years. Click through to take them all in before this year's "Camp: Notes on Fashion" on Monday, May 6.
After all, the original film was bone-crushingly brutal. It was a movie that blended some real drama (prison race relations, prisoner abuse) with a lot of genuinely hilarious moments and a rousing football game. 2b1af7f3a8