Lyricist Aaron Weiss of post-punk Christian band mewithoutyou used the F-word in a song and it got banned from radio and the album got pulled from record stores. Meanwhile, his fans ponder his parodying of cultural mores.
The first book from Switched on Pop hosts Charlie Harding and Nate Sloan leans into the podcast's academic tendencies, as it makes the case for music fans to take all music a bit more seriously.
Camille Billops moved beyond predictable and well-tread ground to open up space for new narratives in her films—about Black families, Black women, and Black middle-class life—that pulled on her distinctive and unapologetic worldview.
On John Badham's Dracula. Because the director of Saturday Night Fever is the first person you would think of to direct Dracula, right?
In a brave new world dominated by platforms such as Facebook, Uber, and Airbnb, and marked by anxiety in the Age of the Anthropocene, McKenzie Wark's Capital Is Dead eschews digital utopianism for a sense of urgency that recognizes things have gotten serious.
Punk's idea(l)s may have been fostered in Art schools, but its musical foundations were cultivated in garages.
Based on William Faulkner’s Sanctuary, The Story of Temple Drake grapples with the unbidden, unsettling force of emergent sexuality.
Rush drummer and lyricist Neil Peart, one of the most technically gifted rock musician of his - or any - generation - passed away from brain cancer on 7 January, leaving behind an incredible legacy.
Critics and audiences have made much fun of Tom Hooper’s Cats. The laugh is on them.
The Ealing name has been revived in the new century, but film buffs will always regard its incandescent era as that period when it held up a scrappy and schizoid mirror to postwar England's depressions and aspirations.
Social historian Sam Wasson's The Big Goodbye: Chinatown and the Last Years of Hollywood, is a graceful and compelling elegy to both Roman Polanski's landmark film, and the end times of old Hollywood.
