Like political populism, punk’s traits and tenets are sufficiently vague, contradictory, and unmoored to be vulnerable to co-option by all political opportunists—including the fascist alt-right.
Situating his study at sites of conflict and interviewing artists, scholar John Lennon’s Conflict Graffiti gives readers new perspectives for interpreting the graffiti and street art they encounter.
Death Panel podcasters and Health Communism authors argue that the unemployed, maligned, “burdens” of the state are essential to capitalism’s ill-gotten profit.
William MacAskill’s What We Owe the Future is an audacious plea to help our future humans with longtermism thinking, but it is blind to what we need now.
Ten years after Parks and Recreation’s campaign-focused season 4, real-world female political candidates still liken themselves to Leslie Knope. Is that the kind of candidate 2022 needs?
The Viral Underclass digs into capitalism, Big Pharma, “Gay-Inc.” and other factors surrounding Covid-19 and HIV that force a greater toll on the already marginalized.
As extremist minorities corrode social liberties, it’s time to take our rusting democratic values to Joe’s Garage where Frank Zappa waits with his sleeves rolled up.
Iñárritu’s VR experience Carne y Arena, Vizcarra’s documentary La Línea, and Rivera’s sci-fi film Sleep Dealer create unconventional imaginings of the Mexico-US border.
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.
Director John Patton Ford discusses his debut feature Emily the Criminal, a critique of American society borne within the death of the American Dream.
Comics Artist Darryl Cunningham’s latest nonfiction graphic novel, Putin’s Russia, puts Vladimir Putin’s rise to power in simple and clear perspective.
