Imagine if Thoreau emerged from the woods, listened exclusively to Kanye West and Frank Ocean for a couple of years, then wrote the sequel to “Walden.” Now go listen to Bon Iver’s “22, A Million” and imagine no more.
Emerging from New York’s anti-folk movement in the early 2000s, Spektor broke through the mainstream with her quirky turns of phrase, direct and genuine lyrics and gorgeous piano tracks with orchestral backings. She overflows with personality and honesty, which together make it hard not to smile listening to her, even in her darkest moments.
For many, listening to the band Yellowcard releases a wave of nostalgia. A generation of middle schoolers rode the bus home every day, listening to Yellowcard on portable CD players, reveling in the band’s brand of light and catchy teenage rebellion.
Filled with monsters, time loops and peculiar children, “Miss Peregrine’s Home for Peculiar Children” would seem to be another quintessential Tim Burton film — dark, fantastical and fun.
“Bob’s Burgers” is something of an anomaly. It’s certainly not a kid’s cartoon, but it is also nowhere near as profane as shows like “Family Guy” and “South Park.” “Bob’s Burgers” is in a category of its own, and it excels in this uniqueness as it enters its seventh season, which premiered Sunday.
Twice a semester, Arts and Entertainment staffers pick the songs they cannot stop listening to.
There is no denying that Idina Menzel is a dynamic and multifaceted performer. Ask anyone from the six-year-old who has been belting out “Frozen” tunes for the past two years to the avid theater lover who saw Menzel perform on Broadway in “Wicked” and “Rent.”
Unobtrusively set at the end of the Downtown Mall, six photographs comprise an exhibit titled “Landscapes of Slavery and Segregation.”
On Tuesday at the Jefferson Theater, Virginia Film Festival director Jody Kielbasa announced the lineup for the 29th annual event, which will take place in Charlottesville Nov. 3 to 6.
In an age when the casual music fan often thinks of hip-hop culture as merely comprised of violence, misogyny and drugs, Jenkins is a shining example of the contrary.
Classic Western films had a sort of inherent charm which allowed them to be as popular as they were back in their Golden Age in the early 20th century.
When creator Jill Soloway accepted the the best comedy award at the Golden Globes for season one of “Transparent,” she expressed hope the show could “teach the world something about authenticity and truth and love.” Indeed, those three virtues form the pillars of this show.
Beach Slang has never been a band to pull punches. On their sophomore full-length album, “A Loud Bash of Teenage Feelings,” these Philly-based punk-rockers tackle the heady experience of adolescence with all the blistering, bare-knuckled zeal the album title suggests.
“MacGyver” (2016) isn’t really “MacGyver” (1985). The MacGyver of 1985 wore jeans and tennis shoes, never used a gun and occasionally stole a kiss from the damsel in distress.
Jam packed with nearly every cliché in the genre, “The Hollars” fails to distinguish itself from its peers.
“Scream Queens” is back with a bizarre premise, swapping last year’s college campus for a haunted hospital in which none of the employees seem qualified.
Any fan of Devendra Banhart knows that conventional rules of music don’t apply to his work — even the flexible, ever-changing rules of indie rock.
There is an audience for a show like “This is Us.” They’re the type who cry during Nicholas Sparks movies. Honestly, they’re probably buying premiere tickets in advance for every single Nicholas Sparks movie.
Within the first 10 seconds of “The Good Place,” main character Eleanor Shellstrop (Kristen Bell) reads this message: “Welcome! Everything is fine.” It’s a message that rings incredibly true to the quality of the show itself.
Mac Miller has truly come a long way. After bursting onto the hip-hop scene in 2011, the rapper has since distanced himself from his debut album, opting instead for deeper introspection and more experimentation.
