DJ Ms DD: Introducing The Trannysphere
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About once a week, for as long as we can remember, one of the Phoenix's most senior critics, Michael Freedberg, would come into the office to pick up his check, and then, on his way out, as a way of saying "hello," he'd stop by the arts desk and launch into a monologue, often aimed at no one in particular. It wasn't idle conversation: he was professoring. He has one of those lawyer's voices (he being, in fact, a lawyer): the iron-plated, stentorian tone you'd associate with someone who'd watched old Abe Lincoln biographs from the 1950s. He would talk about Led Zeppelin, about electro, or spend an hour hectoring us to listen to some new Mylene Farmer album, or a Prince b-side, or an Arabic dance band he'd found on some European offshoot of Amazon.com. Michael Freedberg is one of those Rushmore-sized visages of the legendary-rock-crit days: although he spends his fruitful hours doing legal work, and is happy discoursing about the Greek and Latin classics, and has for 25 years or so voted conservative Republican, he has also been one of the most insightful and unique chroniclers of African American dance music of our time. At some crucial point in the '70s he ignored punk, embraced disco with both arms and both lobes of his brain, and ever since his has been a singular, lone voice in the wilderness -- his canon is no one else's canon, and as such he has sometimes found it difficult to communicate with his editors (except for the Phoenix's Matt Ashsare and Jon Garelick, who have given him the most work in recent years, and former Village Voice editor Chuck Eddy, whom Michael adores and who understood him completely). In the '70s Freedberg covered the greats of R&B, and had his Almost Famous moment touring with P-Funk for a week for the long-lost music rag Gig. In 1981, he discovered (then Roxbury-based) electro godfathers the Jonzun Brothers, and even provided the title for that group's most well-remembered song: they'd wanted to name it "Pac Man," but it was Freedberg, who knew what kind of legal trouble would come with that title, who convinced the label to call it "Pac Jam."