When I first met Jeremy Greenspan in 1995, he was the personification of a pop cultural crisis. Shaped by Pop right down to the core of his being, steeped in Pop history, it seemed that there was only one thing he should be doing: making Pop records. But what point was there continuing to make Pop music if everything had already been done?
Then, suddenly, Pop jolted itself out of nostalgic rewind, and found Now again. In the US, Timbaland's hiccuping hip-hop infected the mainstream with a cartoon cubism while, in the UK, Speed Garage had mutated...
more
