America, thanks in large part to its economic strength, has an outsize voice in worldwide pop culture, making it easy for subcultures and aging traditions to get swept into its melting pot. Thibodeaux and others make a compelling case for preserving our individual cultures, and filmmakers Abby Berendt Lavoi (director/producer), husband Jeremy Lavoi (director/producer) and Stephen Thorpe (sound producer) foster the conversation with gorgeous cinematography and a soundtrack that is always sharp and compelling.

A film about such a folk legend must include highlights of performances to satisfy the fans, especially those whose own lives have witnessed the messy, yet often glorious days that Baez’s own life reflects. These clips are golden moments, surely, with memorable songs performed by Joan and Mimi; one of Dylan’s hits sung by the pair at the height of their performing together; and on the Farewell Tour, “There But For Fortune” by Phil Ochs.

In the weeks when Swift was dating Healy, a vocal minority of Swifties came head-to-head with a vocal minority of Healy’s defenders. Then the celebrity pair ended their relationship, and collective attention moved on from that topic almost immediately. Several weeks of nonstop debate, attacks, and hand-wringing ended up being utterly meaningless – except to social media companies that converted this brief obsession into clicks, engagement, and ad revenue.

In his earlier sets of home recordings, Armstrong would line the front of the tape box with photos from his life, often of obscure origins. They were photos of him on the road, with other famous musicians, of his wife Lucille and family, and some of fans who had visited "pops" at home. When he started this set, he didn't decorate the boxes, presumably because he was still too weak.

It has even paved the path for other forms of rock, such as rapcore, metal, and emo. The latter is a shortened version of the subgenre’s true nature: emotional. It originated in the 1980s with the band Rites of Spring and has since caused a cultural phenomenon -- one that influenced an obsession with long bangs and red highlights, caused a run on black hair dye, and sparked the style of black skinny jeans and oversized T-shirts.

We may pretend we prefer the starving artist, a real Kurt Cobain type, brooding and writing raw emotional lyrics; but, there are plenty of terrific covers that challenge the originals in both quality and popularity. The most famous covers that come to mind are Johnny Cash’s versions of “Personal Jesus,” originally by Depeche Mode, and “Hurt” by Nine Inch Nails. Cash’s cover of “Hurt” possibly being the most iconic of all time.

The Computer Accent follows the dance-pop band YACHT as they embark to create their seventh studio album. The kicker? The members hand over the creative process to artificial intelligence, as to better understand their musical style, interests, and along the way, gain a further sense of self-discovery. To achieve this, YACHT enlists the help of technologists, AI scientists, groundbreaking machines, data analysis programs, gadgets, and a plethora of other scientific mumbo jumbo to create the first musical collaboration between mankind and robot.

“Devil Trigger” is the battle theme for one of the game’s three protagonists Nero. “Devil Trigger” stands in stark contrast to the series norm with a sound that can almost be described as EDM. The song has an explosive, energetic attitude to it that matches the chaotic action associated with Nero’s fighting style. The female vocalist gives the piece an overall pop feel; however, under the surface, a solid hard rock base accompanied with hard rock backup vocals is reminiscent of songs from earlier games in the franchise. 

In the documentary Like a Rolling Stone: The Life and Times of Ben Fong-Torres, Fong-Torres recounts the feeling of flipping through the jukebox at his father’s restaurant stating, “Inside jukeboxes, there was no segregation…Rock and Roll was an equalizer.” Music gave voice to the disenfranchised as a form of protest. These principles of rock and roll shaped Fong-Torres’s writing sensibilities, making him a rockstar journalist within the music industry.

The mainstream press was quick to celebrate the concert and Ellington’s legacy, but danced around the merits of “Black, Brown, and Beige” itself. Praising the piece for being jazz’s longest-running tone painting, Time magazine concluded nonetheless that the composition “often seemed too ambitious. Likewise, the New York Times, while admitting “Black, Brown, and Beige” had “many exciting passages," stated that it was the shorter dance numbers where Ellington, as a bandleader, "seemed most himself."