Thirty years on, They Might Be Giants Apollo 18 prevails as an eclectically nerdy collage of accordion ballads, college-rock anthems, and found soundbites.
The soundtrack for Todd Haynes’ new documentary on Velvet Underground contains unimpeachable music but fails to offer a cohesive argument about the iconic band.
This deep look into Donna Summer’s “I Feel Love” explores how synthpop and new wave opened up new possibilities for genre and synth experimentation and more.
How one regional concert hall is working to meet community needs, attract and sustain an audience, remain solvent, and evolve – all while carrying on decades-old traditions.
Cruz considers the melancholia of working-class artists like Jason Molina and Amy Winehouse who find a way into a middle-class world but lose their sense of self.
In his analysis of Guns n’ Roses legacy, Tavana considers the recklessness, decadence, and Kurt Cobain feud that overshadowed the brilliance of Appetite for Destruction.
Punk rockers Johnny Thunders and Wayne Kramer exist on a continuum of wild-eyed, angle-headed anarchists—a continuum filled with poets and artists and guitar-pickers, living and dead, who show us how to resist The Man.
Like Aaron Sorkin, the veteran rock band U2 has been making ambitious, iconic art for decades—art that can be soaring but occasionally self-important. Sorkin and U2's work draws parallels in comfort and struggle.
One Day at a Time, Bojack Horseman, and Unbreakable Kimmy Schmidt each offer insight and understanding into mental illness quite unlike television shows we've seen before.