‘People of the City’ Is an Unrelenting Critique of Colonial Ideology and Praxis
Cyprian Ekwensi's People of the City is a vivid tale of class struggle and identity reclamation in the shadows of colonialism's reign.
Elisabeth Woronzoff
Elisabeth earned her doctorate in American Culture Studies at Bowling Green State University, Bowling Green Ohio. Her research identified eighteenth century women who used music as a trade. She wrote her master thesis on the Smiths and Morrissey and published a chapter in the book "Morrissey: Fandom, Representations and Identities." Her areas of interest include gender, music, history, and popular culture. You can find her on Twitter @cupcakeharborer
The Cradle’s ‘Laughing in My Sleep’ Is an Off-kilter Reflection of Musical Curiosity
The Cradle's Paco Cathcart has curated a thoughtfully multifarious album. Laughing in My Sleep is an impressive collection of 21 tracks, each unapologetic in their rejection of expectations.
Shirley Collins’ ’Heart’s Ease’ Affirms Her Musical Prowess
Shirley Collins' Heart's Ease makes it apparent these songs do not belong to her as they are ownerless. Collins is the conveyor of their power while ensuring the music maintains cultural importance.
My Morning Jacket’s ‘The Waterfall II’ Can Hypnotize
Whereas My Morning Jacket's The Waterfall contemplated conflict, The Waterfall II identifies healing and personal transformation as the next stage of being.
The Killers’ ‘Imploding the Mirage’ Promises Dynamite Rock Yet Delivers Tepid Synthpop
Imploding the Mirage marginally reinvents the Killers' sound, but the lyrics problematically redesign archaic ideology, resulting in a regressive album.
Sheena Kamal’s ‘No Going Back’ Unfurls a Thrilling Noir
Kamal's psychological thriller, No Going Back, utilizes crime-noir tropes but with purposeful deviations.
The Pretenders’ ‘Hate for Sale’ Maintains a Formidability That Rejects Compromise
On Hate for Sale, the Pretenders maintain an unapologetic devotion to the sound which defined their success.
The Band’s Discontented Third LP, 1970’s ‘Stage Fright’, Represented a World Braving Calamity
Released 50 years ago this month, the Band's Stage Fright remains a marker of cultural unrest not yet remedied.
Alanis Morissette’s ‘Such Pretty Forks in the Road’ Is a Quest for Validation
Alanis Morissette's Such Pretty Forks in the Road is an exposition of dolorous truths, revelatory in its unmasking of imperfection.
Beyoncé’s ‘Black Is King’ Builds Identity From Afrofuturism
Beyoncé's Black Is King's reliance on Afrofuturism recuperates the film from Disney's clutches while reclaiming Black excellence.
Halle Butler’s ‘Jillian’ Is a Frank Account of Discontent
Evoking both sarcasm and empathy, Butler paints Jillian and Megan as harbingers of a relatable alienation.
The Chicks Boldly Reclaim Their Relevance on ‘Gaslighter’
Gaslighter is bold and incendiary, finding the Chicks reclaiming their relevance. Thankfully, the Chicks reject silencing as Gaslighter reestablishes their penchant for vocalizing raw truths.