From marketing manipulation to all-out psychological warfare, Stories Are Weapons clarifies how our world – and worldview – is seldom our own.
Dissident Iranian rapper Toomaj Salehi – an heir to the legacies of Persian rap’s founders – carries a torch for Women, Life, Freedom as death looms.
Today’s discord and desperation over abortion in America has roots in Philip Dunne’s faded Blue Denim, one of the first Hollywood films to address the issue.
Hyper-masculinity, sexism, homophobia, offensive speech and distrust of institutions are some of the traits shared by rap culture and the American far right.
Rachel Maddow’s latest book on political history, Prequel: An American Fight Against Fascism, weaves varying players past into a singular danger present.
You can smell the cigarette ash and Johnnie Walker Black Label on the pages of A Hitch in Time, a gleefully pugilistic posthumous Christopher Hitchens anthology.
Blade Runner serves our vision of an inevitable dystopian future because we live in a “stuck future”, refusing to heed cyberpunk’s warning.
As with the Nazis and Goebbels and the Ku Klux Klan, the alt-right’s desire to co-opt pop music for their purposes requires ideological and ethical gymnastics.
With the end of her Archetypes podcast, Meghan Markle’s first exposure to the meritocracy of the customer has been cruel.
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.
