Late in December 2o06, while most offices were closed for the holidays, the Independent Press Association (IPA) quietly sent an e-mail to its member publications announcing that the organization was closing its doors. Despite previous optimism expressed by the IPA’s board of directors, for many of the publishers whose tides the organization distributed, it came as little surprise. For them, the IPA’s sudden announcement was endemic of a total communications breakdown between the organization and its client publications that began in early 2005. Publications represented by the IPA continue to contend with the likelihood that thousands of dollars they are owed will never be seen. For some, such as Kitchen Sink (and Punk Planet itself), this comes as the IPA’s final, and fatal, blow.
Early in Louis Armstrong's New Orleans, Thomas Brothers takes direct aim at the accepted historical reading of Louis Armstrong and his musical legacy — nearly a century since Armstrong first made a name for himself as a hot young trumpet player, the musician has reached a sanctified state in American history and become a figure, like countless titans of American culture beside him, without a context, background, or historical mooring.