Culture Shot

Expressing yourself is hard. Expressing yourself to the tune of a musical cacophony is even harder. Taking someone else’s work and not completely butchering it? That might be the hardest task of all.

The rebellious spirit of the 60s has carried into the modern day, and though it can’t enact much change on its own, it does provide some much-needed hope, as well as a rough blueprint for those hoping to enact change. 

It is very apparent that being obstructed from owning one’s creative work is a traumatic infringement for artists.

Netflix’s new reality TV series “The Ultimatum: Queer Love” delivers explosive, sapphic representation, yet its pitfalls illustrate a misunderstanding of the queer community.

Just as “Almost Famous” is frustrating in its depiction of the music writer as a component of the rock ’n’ roll ecosystem, it also illustrates a key aspect of the 1970s scene: It was full of confusion and hypocrisy, but, for some people, it was life-changing.

Sit under the sun with this musical archive and embrace the bittersweet season.

Everyone talks about the magic of movies: how one wave of the filmmaker’s wand can create and innovate, reaching the depths of human imagination.

Complete with enchanting beats, wistful vocals and boppy drum tracks, these tracks are perfect to blast through your speaker on the Glade as you lay on a blanket, savoring the day with others

“MILF Manor” is to reality TV what the golden ratio is to art. 

Maya Angelou once said, “ I suggest that the great art belongs to all people, all the time — that indeed it is made for the people, by the people, to the people.”