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Every now and then, a song swarms into pop culture, dominates the music scene, and fizzles out gently into the background.
Netflix is on a roll with successful rom-coms, and “To All the Boys I’ve Loved Before” is no exception.
Big Red Machine is by no means offensive. Its best moments, of which there are maybe two or three, blend electronic beats with acoustic sketches to create impactful emotion.
Moviepass is the deal that was too good to be true.
Spike Lee has been known for over three decades for his brash, unapologetic race-related films, challenging his audience to dive deeper into today’s issues through brilliant writing and direction. “BlacKkKlansman” tells the story of Ron Stallworth (John David Washington), who becomes the first African-American detective in the Colorado Springs Police Department.
For the sake of its own survival in an increasingly interconnected world, the music industry is adapting.
Duke’s alumni network is far-reaching, with hundreds of thousands of alumni in over 160 different countries. That network even extends to the fictional world, with characters in a variety of TV shows, as well as books, claiming Duke affiliations.
America’s fascination with violent crime is not a uniquely millennial phenomenon, though true crime documentary series seem to have exploded almost overnight. This summer saw the Netflix release of the docu-series “The Staircase”, which tells a story close to home.
While Central has been notorious for student complaints, many current and former residents of the apartments do think the campus still has its perks.
Within the crystalline opening notes of “Geyser” — the first track on Mitski’s fifth and arguably best album “Be The Cowboy” — it is already apparent that Mitski Miyawaki has greatly matured since her second puberty.
Adapted from Gillian Flynn’s debut novel of the same name, “Sharp Objects” seemingly tells the story of crime reporter Camille Preaker (played by Amy Adams), who returns to her hometown of Wind Gap to investigate the recent murders of two young girls.
I live in a music vacuum. Ask any of my friends, and they'll tell you: I'm not at all musically inclined. Out of all forms of art, it's what I've always appreciated the least.
This summer, hip-hop artists are dominating the charts, claiming more than half of the spots in the Top 10. Radio listeners can’t seem to catch a break from Cardi B’s “I Like It” or Drake’s hit “God’s Plan.”
All good things must come to an end, and Vans Warped Tour is no exception. Founded by Kevin Lyman in 1995, the festival is credited with propelling bands like Blink-182, Taking Back Sunday and My Chemical Romance to global success.
Summer tends to get a bad rap in the cinema calendar, full of blockbusters and superhero flicks. And, yes, we’ve got yet another movie that features Chris Pratt running from dinosaurs, but there’s no shortage of great cinema to be had this season.
Just in time for summer binge-watching, the second season of “Queer Eye” dropped on Netflix June 15. Season two enhances what is good about “Queer Eye,” all while showing how a makeover show can be about so much more than physical appearance.
I was 14 when I first watched Janelle Monae’s unabashed, unflinching “Q.U.E.E.N.” Although the music video doesn’t make any explicit references to LGBTQ+ identity, its unapologetic flourishing of abnormal selfdom earned it the honor of being deemed “queer,” at least in my eyes.
About three and a half weeks ago, I landed in Charlotte, N.C., the Queen City. At first, I was swept up by the novelty of a new place — this is my first time in Charlotte, and I wanted to see everything.
It’s sort of amusing that “Man on the Moon II” was the album that I gravitated toward as a 12-year-old. (Imagine me bobbing my head along to lyrics about alcohol and marijuana while I worked on my algebra homework.)
The rollout of “ye,” the eighth album from Kanye West, followed the script that has come to define new releases from the artist.
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