In this excerpt from Paul Gorman’s history of music magazines, Totally Wired we experience the heady ascent of “rock and pop culture journalism” fueled by the seemingly endless energy of music fans.
British Vogue editor Edward Enninful tells the story of his career swerves as straightforwardly as possible in his absorbing memoir, A Visible Man.
How the Russo-Ukraine War generated a media dimension of its own and how it linked the myths of the past century to the challenges of our own.
Simultaneously inside and outside by either choice or circumstance, punk has always had paradoxical – sometimes hostile – relations with TV, radio, and the internet.
More than 50 years since the Grateful Dead’s debut, how is it imaginable that they are still touring and the “jam band” scene has mushroomed? This is where it started.
Did the internet kill the music industry? Is cable television dead? Media scholar Amanda D. Lotz explores these concepts and their misconceptions in Media Disrupted.
Jazz guitar legend Pat Metheny discusses his relationship with a new generation of players and reflects on his place in the legacy of the music.
Recently, three prominent jazz saxophonists emerged with unaccompanied solo LPs: J.D. Allen, Jon Irabagon, and Jaleel Shaw. Each of these new Covid-era recordings suggests new possibilities.
Scepanski’s Tragedy Plus Time takes a serious look at how comedy and satire in American media make light of dark matters.
Vijay Iyer Trio’s Uneasy is a set of modern piano jazz covering a remarkable range, featuring three brilliant musical imaginations playing well together.
Fandom, powered by nostalgia, is gigantic, uncloseted, and unfortunately, argumentative.
Wouldn't it be funny if Beetle Bailey spent his time describing his Harry Potter fanfiction to Sarge, or if Blondie's Dagwood spoke like an alienated Beckett character about godlessness and ennui while he assembled an overstuffed sandwich?
