Japandroids rolled through Charlottesville Saturday night to remind the audience how much kinetic energy two guys can bring when given the stage.
Shakespeare on the Lawn adapted "Two Gentlemen of Verona" to a more modern context, emphasizing elements of the comedy through its tragic undertones.
The evening began with Felix Mendelssohn’s “Sonata in F Major.”
The underground music scene of Charlottesville and the University may be just beginning to gain traction, but with the support from fellow students and community members that it deserves, it can flourish.
In reality, the real mystery is why "The Snowman" was made in the first place.
Taylor Swift's new single “Gorgeous” begins to trace back to her “1989” roots — it’s a catchy pop tune with her signature chorus and lyrics about boys.
“Super Slimey” is a caricature of both artists’ careers, playing to their strengths as they bombard listeners with song after song of high-octane trap music.
The DCEU was originally envisioned as a darker counterpoint to the light-hearted Marvel films.
There are few musicians in the modern hip-hop scene who even come close to matching the prolific consistency and sheer output of Gucci Mane.
“Beautiful Trauma” employs resistance in a vastly different way than her other albums, however. In this album, the personal and political planes collide.
Despite the complexity and abstraction of the arrangements, this is Beck’s first album that can simply be classified as “pop” in the modern sense.
FLUX, while a contracted independent organization at the University, is as much a community as it an organization.
Although “The Foreigner” is backdropped against contemporary politics, the film is not a work of political commentary.
Baker is a queer Southerner in the Trump era — an identity in need of visibility today more than ever.
“Blade Runner 2049” is an unquestionably stunning film, but one wishes it was a little more human.
The celebration featured speeches and musical and artistic performances.
Interview with Goo Goo Dolls founders John Rzeznik and Robby Takac showed how clearly Charlottesville represents a larger trend of political uncertainty plaguing the country.
The new series needs to address its glaring flaws if it ever wants to hit the mainstream like its predecessors.
Although Cyrus is no longer Hannah Montana, she is also no longer the try-hard rebel she formerly so desperately wanted to be.
Not every comic book property needs computer-generated special effects. “Inhumans” goes in the opposite direction.
