Culture

Parallel Worlds: An Interview with Artist, Gaku Tsutaja

Images of Surrender

Priapic Ambitions: Notes on George Washington

Iran: The Veil, the Beard and the Bomb

Mokka-Hits and Milk-Bar Dreams

Tow: Victims of a Heartless Society

The Sexual Politics of Allen Ginsberg 

Biking Berlin, Walking Watkins Glen

I Am Not a “Pussy” and Never Was

Ritual, Power and the Weekend Arena

My AI Comrade

Buying a Reputation

Homage to Cockburn and Vidal

From Hitler’s Olympics to Trump’s World Cup

On Seeing Will Self Again

Emperor of Iceland, Titan of the Tutu

Unfamiliar: the New World of Espionage

My Discovery of Howl!

Ginsberg at 100

Pentecostal Epic and Opera

Up and Out on Ascension

Haydn’s “Sun” Quartets Light up Berlin

Fred Anderson, North American Writer

Bach and Bitcoin

On Chuck Klosterman’s “Football”

Sound History

The Invisible Forest

The Etymology of 420

NATO Yes, EU No:  Euro-Turkish Music in Berlin

Venice Restored

Young Communists Grow Older

Political Tinsel Town in the Mid-1970s

Is AI Born Biased?

The Most Original Modernist Painting in Venice

Jessica Mitford and Me

Letter From Skopje, North Macedonia

Sound Police at the Oscars

Thomas Crow’s Radical Political Art History

Letter From Peć: The “Lost” Monasteries

The Epstein Affair, Again: “What about the Victims?”

Letter From Peja, Kosovo

World of Art Dutch Painting

In a Dark Wood with Don Giovanni: Mozart in Berlin

Super Bowl Simulcast

An Epic About Capitalism and Detroit

Church Disruptions are Justified

Winter Woes: Dancing to Schubert in Berlin

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Immigrant Songs

Fire from Shadows: Tareq Baconi’s Memoir

Sound Grammar: The Best Jazz Albums of 2025

Sing a Song of $1.5 Trillion

To Each According to His Bank Account

Mud, Poetry and Political Imagination

The Rat Cage is NSPM-7: On Raoul Peck’s Orwell: 2+2=5

Sound Grammar: the Best Albums of 2025

Cinema Beyond Cinemas: the Best Films of 2025

Booked Up: The Best Books of 2025

Guns and More Guns

My Favorites of 2025

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Read the Room

Poet Anne Waldman’s Star Turn

The Line Between the Sacred and the Profane

In Praise of Art Collecting