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What the box set makes adamantly, abundantly clear is how egalitarian Joe Strummer’s musical vision truly was. If you don’t already know his solo work, you should.
One of Barry’s strongest attributes is its brand of dark, surreal, and unexpectedly witty satire.
Conceptual and abstract as David Byrne can often be, he’s one art schooler who isn’t afraid to get down.
What we don’t learn very much about is Elvis’ inner life, his motivations, and his deeper ambitions.
Gary Shandling’s life and art are both given the redeeming appreciation they deserve.
Sorry to Bother You is a doozy -- vividly shot, morally vigorous, and consistently funny.
Being able to comfortably shift gears between “high” and “low” culture is one of the easiest ways in which a contemporary critic can gain the reader’s trust.
The privilege Edith Wharton’s characters swim in has not disappeared. If anything, it’s expanded farther into the social stratosphere.
Roberta Silman’s engaging and deeply felt novel is a reminder of what it means to carry a historical burden on both a personal and national level.
Even after decades, The Damned is still grandly flying its freak flag.
In a culture that seems hell-bent on distracting us from painful realities, the intimacy of this production comes off as redemptive and inspiring.
We built this form of democracy and now we must stand up to what it’s become and say “I don’t consent to this.”
Wild Wild Country details the insane clusterfuck that results when faith, fundamentalism, and media hype intersect.
Susan Sontag wrote short stories as a hobby; she saved more of her enormous intellectual energy for her novels and essays.
Del Toro creates a visually intriguing world, but the story’s premise is too farfetched to work.
For all his literary fecundity, Ezra Loomis Pound was also more than a little bonkers.
In his earliest memory, my grandfather is four years old. The year is 1919 and he stands on his tenement building in the Lower East Side of Manhattan, where he watches an army parade. Soldie…