><http://nypress.com/17/25/film/ArmondWhite.cfm>
>Armond, your FrontPage debut awaits.
>DP
how about his psychoanalysis debut? white is even less credible than hitch. although he started out as an unusually insightful critic in the late 80's/early 90's, in the city sun and elsewhere (his collection of essays, "the resistance," is still insightful reading, and demonstrates how far he's fallen), he went off the deep end sometime early into his ny press gig. to paraphrase c.h., calling him a polemicist should offend polemics -- calling him contrary should offend the contrary.
when not shilling for EVERY damned inch of self-important, underwhelming celluloid shot by his idols (speilberg, depalma, alan freaking rudolph, for goodness' sake), he rails against the immorality of today's cinema and the debased aesthetics of post-mtv filmmaking. again. and again. and a third time. while this can provide a warm sense of shared shadenfreude when he tears into someone asking for it -- lars von trier, say -- in the main, this is a man more worthy of your concerned sympathy than your considered attention. his railing against moore (someone, time and again, truly asking for it, given his head-scratching elisions and truth-strecthing) is predictably tedious, hectoring and pretty much worthless.
ny press has surely seen better days -- despite their conservative publisher, they used to publish good writers like alex cockburn, godfrey cheshire, tom gogola, & others in the 90's (they ARE publishing paul krassner, and jeff "crank" koyen is now editor-in-chief, which doesn't take up that much of the slack from their heyday) -- it has no real music coverage anymore and leveraging armond white's ravings into cover story material shows just how debased it's become, itself. caveat reader.
===== ________________________________james keepnews
Art is algebra plus fire.
-- Borges
_____music+writing+webart+multimedia performance
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