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.
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.
The best new musical artists of 2019 are all pushing boundaries as popular music becomes less genre focused. New artists are forging new identities, rather than occupying the convenient marketing categories of the past.
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.
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.
Joni Mitchell's foray into jazz was not an impulsive change. Rather, jazz has been the constant, undulating beneath industry demands and topical concerns that called for the acoustic guitar or the Appalachian dulcimer.
Some of the best works of fiction here do not offer us a pretty view out of an open window; they drag us to the broken shards of glass scattered outside that window and force us to reflect upon each jagged piece.
Todd Phillips has planted a tantalizing trail of clues throughout Joker to upend viewers' most basic assumptions, presenting a film whose contradictory structure can cause as much mayhem as its titular character.