Pop Culture

“Best get new dreams, these old dreams won’t last.”“Soon enough, work and love will make a man out of you.” After their self-titled debut and Sub Pop-released follow-up Shine a Light, Constantines seemed primed for a significant breakthrough. The Guelph, Ontario-based band’s fiery, energetic brand of punk was indebted to greats like Fugazi and the
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Hodari is “Iradoh” spelled backwards – a wordplay on “irado”, Brazilian slang for something dope or badass, though it literally means “angry”. This duality of naughty playfulness and raw emotion runs through Hodari’s music. Based in Brasília, the capital of Brazil, Hodari is a singer, songwriter, musician, and model whose music lies at the intersection
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The Cinema of Extractions: Film Materials and Their Forms Brian Jacobson Columbia University Press February 2025 There is a scene in the first third of Brady Corbet’s The Brutalist (2024), which sees László Tóth (Adrien Brody) shoveling coal after being fired from a remodeling project by an irate Harrison Lee Van Buren (Guy Pearce). Knowing
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Drew Lustman may be electronic music’s most restless experimentalist. Since he first burst onto the scene with 2009’s Love Is a Liability in the first flush of the post-dubstep implosion, he’s worked in everything from big room house anthems to steely glam post-punk over the last 16 years. His restless, relentless innovation means there’s simply
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Canadian television has long wrestled with the paradox of national identity: Are we the friendly, quietly quirky neighbor to the north of America, or are we something stranger, rawer, and more fractured? Two of Canada’s most iconic rural comedies, Corner Gas and Trailer Park Boys, seem to answer that question in opposing ways. Both shows,
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While the African heavy metal scene may not be as developed as other regions, the underground movement has steadily gained traction in recent years, offering a unique and powerful countercultural voice that rejects mainstream norms. From the politically charged lyrics of Tunisian thrashers Znous to the atmospheric post-metal soundscapes of South Africa’s Chaos Doctrine, African
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When Cruising was released in 1980, it was reviled. Protested by the gay community, dismissed by critics, and largely ignored by awards bodies, it was seen as exploitative and grotesque. Yet today it stands as one of William Friedkin’s most provocative and enduring works: a film whose ambiguity, physicality, and bold aesthetic choices mark it
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“Light-spirited hard rock” isn’t what you expect from a band ornery enough to call themselves Shitbaby Mammals. Yet it’s hard to describe the crudely named Swedish band’s latest, Godspeed, any other way. The album springs up, humbly and suddenly, from a heretofore unknown confluence of militant goofiness and earnest impressionistic nonsense—scrappy songs about British crime
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One Way Homeintimately understands a primal fear. Jimmy Taylor, waking up after a bus crash to find his hometown transformed, taps directly into a specific subset of childhood horror: the purgatorial space where trauma suspends children between life and death, reality and nightmare. This liminal horror has deep roots across media, yet its evolution reveals
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Before Rob Halford of Judas Priest came out publicly in 1998, he was already channeling his identity into the band’s lyrics and imagery. The heavy metal community—often fixated on aggression, masculinity, and spectacle—rarely noticed the deep subtext woven throughout his work. From coded BDSM references to vivid homoerotic imagery, Halford’s lyrics form a complex, emotionally
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