At the precipice of a new year, there’s only ever one important question to be asked at this moment in December: What will we remember?
While “Jesus Christ Superstar” doesn’t necessarily rival “It’s A Wonderful Life” or “White Christmas” in terms of popularity during the holiday season, the film’s subject matter make it entirely appropriate during some family down time.
In the wake of Nelson Mandela’s death this week, an ignominious moment in 1980s pop culture has resurfaced along with it. That infamous moment is the well-intentioned but ill-conceived protest single, “Sun City.”
There’s something wonderfully disheveled, maybe even chaotic about this Miles Davis performance from the early 1970s.
Lou Reed might be remembered as a master songwriter, sonic pioneer and a bonafide Rock and Roll Hall of Famer, but he wasn’t perfect.
As rock gods go, Lou Reed remained an odd fit in rock music’s pantheon. In a popular art form that so persistently champions the thoughts and feelings of rebellious outsiders, Reed always stood far out from the pack.
Can you guess what is frightening me this Halloween? Like a ghost haunting my mind, I have an old, spooky Marilyn Manson in my head and I can’t get rid of it.
While 1960s-era garage rock remains a beloved touchstone to many in the underground-rock world, there are very few contemporary takes on the form that even come close to besting the originals.
The members of underground-rock trio Dinosaur Jr. might now sport gray hair (or none at all) and remain firmly ensconced on the oldies reunion circuit, but these guys remain a fierce live unit.
The latest installment of Bob Dylan’s archival release, “The Bootleg Series Vol. 10: Another Self Portrait (1969-71),” seeks to reverse opinions on one of the most reviled periods in Dylan’s creative life. Unfortunately, Dylan’s assistants obscure the true treasures of this period.