New York Times' Ken Belson couldn’t confine himself to reporting on the Super Bowl itself, feeling obligated to tell readers how the spectacle failed by not embracing the social justice agenda of former NFL quarterback Colin Kaepernick: "The presence of the civil rights leaders did not seem to win over supporters of the player, Colin Kaepernick, the former San Francisco 49ers quarterback who in 2016 began taking a knee during the national anthem to protest racism and police brutality against people of color." And music critic Jon Caramanica revealingly called Maroon 5’s refusal to play the left's political game “stubborn resistance.”
New York Times music critic Jon Caramanica pompously condemned an entire genre of music for not writing about what he cares about: Gun violence. It follows the paper’s recent expressed annoyance that country isn’t on the entertainment industry’s ineffectual gun-control bandwagon: "It should be neither remarkable nor courageous for a country singer to address the plague of gun violence in this country. That mass shootings tore apart a country music festival a year ago and a country-music bar just two days ago makes the genre’s silence on the matter irresponsible and infuriating."
Having handed over its already pretentious arts pages wholly to ethnic and gender-based virtue signaling, the New York Times certainly wasn’t going to let the racially charged Grammys pass without commentary. Jon Caramanica celebrated an onstage rappers' revolt while slamming Adele for beating Beyonce for album of the year, in “Dealing With #GrammysSoWhite," and Joe Coscarelli fanned the Grammy flames on the same page with a conspiracy theory, “Was Beyonce Robbed of Best Album?”
New York Times music critic Jon Caramanica transparently sounded like an angry Democrat in reviewing the concert titled the "Making America Great Again! Welcome Celebration." He began by complaining that the Trump organizers didn't even ask rapper Kanye West to appear, despite his kind words for Trump.
Instead, Caramanica uncorked a classic leftist attack, that the event "veered between jingoism and vaudevillian fluff and largely ignored the contribution of African-Americans to popular music (which is to say, almost all of popular music)."
New York Times music writer Jon Caramanica wrote about former Nickelodeon TV star Ariana Grande’s second album last Sunday with the simply inaccurate headline “Staying Safe, Exploring Sassy.” It’s a misleading headline, because Grande is beginning to walk the path to what might be called “the full Xxxtina,” when Christina Aguilera felt the need to “grow up” and sing very overt sexual songs.
Caramanica just grew silly by arguing Grande’s first album last year was some sort of throwback to Fifties “Puritanism,” as if she was singing Annette Funicello songs about pineapple princesses (okay, that was early Sixties):
Egotistical musicians often exaggerate their political influence, none moreso than the nattering, narcissistic rapper Kanye West. He has compared himself in global stature to Apple founder Steve Jobs, and has titled his latest album “Yeesus.”
Rolling Stone magazine has posted part of a West song titled “I Am a God,” where West raps that Jesus is the “Most High,” but he’s a “close high.”
Music critic Jon Caramanica reviewed country star Brad Paisley's latest album "Wheelhouse," in "Taking Country Less Conservative" for the Arts section of Wednesday's New York Times. Caramanica gave Paisley backhanded compliments for "openmindedness" while insulting the genre of country music as rigidly conservative (Caramanica has previously given backhanded praised to country music itself, for not being as homophobic as some people think).
These are country music’s postmilitarization years. A decade ago, there were songs about strong soldiers and a just war, weeping soldiers and unimpeachable ideology -- the genre latched onto the political moment and held fast like a remora.