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Matthew Yglesias

Matthew Yglesias - Matthew Yglesias is a fellow at the Center for American Progress Action Fund.
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Matthew Yglesias is a fellow at the Center for American Progress. His first book, with the working title Heads in the Sand: Iraq and the Strange Death of Liberal Internationalism, scheduled to be published next spring by John Wiley and co., deals with the Democratic Party's struggle to find a post-9/11 foreign policy, focusing primarily on the rise and (hopefully) fall of the liberal hawk movement.

Previously, he was a staff writer at The American Prospect and an Associate Editor at TPM Media, where he contributed to the group blogs Tapped and TPMCafe. His main blog, now at The Atlantic, has existed in various forms since the dark ages of the blogosphere in January 2002.

His writing has appeared in The Guardian, Slate, The New Republic, and The Washington Monthly, and he is a regular on BloggingHeads.tv and makes the occasional radio or television appearance.

Desperately out of touch with the American mainstream, Yglesias was born and raised in Manhattan and studied philosophy at Harvard where he was editor in chief of The Harvard Independent, a campus alternative weekly.

His latest writings can be found on the Matthew Yglesias blog.

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Killer of Sheep

By Matthew Yglesias

Jun 7 2007, 2:27 PM ET Comment

killer-of-sheep_01 1

I'm going to see this apparently legendary film tonight. I don't, however, really understand this:

Over the years, "Killer of Sheep" has been shown here and there in museums and at festivals, from a tattered 16-millimeter print. With a soundtrack dominated by classics from George Gershwin, Paul Robeson, Etta James and Dinah Washington, the music rights have made a wide release prohibitively expensive. Until now. Through the good offices of archivists at UCLA and the cinematic saints at Milestone Films, "Killer of Sheep" can now finally be seen -- and heard -- in all its glory.


That's some old music. I have a hard time seeing how the rights holders wouldn't be better off waving the fee, letting the movie go into wide release, and then selling a soundtrack album. I mean, how many Paul Robeson CDs sell in any given year? Certainly it seems like an odd reason for a celebrated film to be so hard to see.

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