Film

Short Cuts - Forgotten Gems: Prince of Darkness (1987)

After a series of highly ambitious, but financially unrewarding efforts – including his gross out revamp of The Thing, an adaptation of Stephen King's classic killer car novel Christine, Starman's stellar sci-fi romanticism and that unique take on the martial arts comedy known as Big Trouble in Little China – John Carpenter wanted to get back to his low budget genre roots. His idea? Make a movie using both a theological and a scientific basis for the existence of evil. Mixing physics with the supernatural and arguing that Satan's potential return to Earth for Armageddon may just be a provable mathematical theorem, we follow a group of graduate students as they try to unlock the secrets of viscous liquid swirling around in an abandoned church basement. Toss in a little unconscious bi-location, rocker Alice Cooper as the leader of a zombie-like clan of homeless people, and a smart, intelligent script, and you've got all the makings for a highbrow horror classic. Naturally, it bombed at the box office.

Yet brains are only part of the reason why Prince of Darkness is so special. Throwing away the typical conventions of your standard dumb monster movie, and dealing with fear and evil in engaging philosophical debates, Carpenter created as much a comment on the nature of wickedness as he does an illustration of same. In fact, the last act of the film could easily be mistaken for a standard scarefest, with the possessed servant of Satan (or his actual disembodied son) looking for minions, as well as a way to bring his dethroned Dad back to prominence. With a stellar cast including Donald Pleasance, Victor Wong, Jameson Parker and Lisa Blount, Carpenter argued that there were still some major motion picture shivers left in the old shockmeister. Sadly, after the fun social satire of They Live, and the uneven if effective In the Mouth of Madness, this would be the last significant Carpenter creepfest. But it is clearly one of his best.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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Culture

Net Neutrality and the Music Ecosystem: Defending the Last Mile

Still from Whiplash (2014) (Photo by Daniel McFadden - © Courtesy of Sundance Institute) (IMDB)

"...when the history books get written about this era, they'll show that the music community recognized the potential impacts and were strong leaders." An interview with Kevin Erickson of Future of Music Coalition.

Last week, the musician Phil Elverum, a.k.a. Mount Eerie, celebrated the fact that his album A Crow Looked at Me had been ranked #3 on the New York Times' Best of 2017 list. You might expect that high praise from the prestigious newspaper would result in a significant spike in album sales. In a tweet, Elverum divulged that since making the list, he'd sold…six. Six copies.

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Tokyo Nights shines a light on the roots of vaporwave with a neon-lit collection of peak '80s dance music.

If Tokyo Nights sounds like a cheesy name for an album, it's only fitting. A collection of Japanese city pop from the daring vintage record collectors over at Cultures of Soul, this is an album coated in Pepto-Bismol pink, the peak of saccharine '80s dance music, a whole world of garish neon from which there is no respite.

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Jamie Lythcott-Haims gives a voice to the internal dialogue—the self-loathing, really—of living a life as a biracial woman who, for most of her life, wasn't quite sure if she was allowed to call herself black.

About 25 pages in, I realized the irony of my hesitation to review Real American, a new memoir about one's place within the spectrum of race by Jamie Lythcott-Haims, a former Standford dean and successful public speaker.

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