The Culture Journalist

Malcolm Harris, a writer and progressive thinker known for his book 'What's Left: Three Paths Through the Planetary Crisis', dives into urgent strategies to tackle the climate crisis. He outlines three leftist approaches: marketcraft, public power, and communism, advocating for their simultaneous use. Harris critiques mainstream ideas like 'Abundance' for neglecting class politics, and questions the future of political opposition amid escalating environmental challenges. The conversation emphasizes unity within diverse movements for effective action.

During the pandemic, it seemed like the internet, and specifically TikTok, was coughing up one fringe aesthetic after the next: Cottagecore! Trad Cath Coquette! Old Money! Coastal Grandmother! And of course, our personal fave, Dark Academia. We even did a whole episode on it, as part of a larger examinatin of post-pandemic aesthetics. Fast forward to today, and the churn of social media-born aesthetics seems to have slowed somewhat, leaving behind a landscape that feels more fragmented and difficult to parse. So we’ve brought back our guest for that episode — style writer, trend forecaster, and bonafide Cool Girl Biz Sherbert — to give us a lay of the sartorial land. Along with continuing to co-host the influential fashion and culture podcast Nymphet Alumni, and writing for places like The Face and AnOther Magazine, Biz recently launched a new publication called American Style on Substack (subscribe!), which she says is about “what people are really wearing and why.”If you’re a CUJO subscriber, you already got a little taste via our Coachella collab with American Style a couple weeks ago. Either way, you’re in for a treat: Biz joins us to talk about American Style’s origin story and what’s she’s learned from documenting what young people are wearing out in the real world, at places ranging from a Deftones concert in Atlanta, to Disney World in Orlando, to a rave in North London. We also get into the state of countercultural and subcultural fashion in 2025; why men and boys seem, for the first time in a long time, to be leading the style conversation; the role that festivals like Coachella play in the wider image-making ecosystem; and the strange staying power of the festival cowgirl.Subscribe to American Style and follow Biz on Instagram (fka @marcfisherquotes). Listen to Nymphet Alumni on your pod platform of choice. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theculturejournalist.substack.com/subscribe

Franchises, reboots, crossovers, live-action remakes, interpolations… Why does the entertainment industry keep churning out content that is derivative of something that came before, like Nicki Minaj rapping over “Barbie Girl” at the end of the Barbie movie on an endless loop? According to Andrew deWaard, a professor of media and popular culture at UC San Diego, it’s because of Wall Street. In his brain-expanding new book, Derivative Media: How Wall Street Devours Culture, Andrew pulls back the curtain on how popular culture has become derivative in a deeper, more insidious way: it’s private equity buying up entire song catalogs, activist hedge funds staging hostile takeovers of entertainment conglomerates, and the cultural industries getting consumed wholesale by the financial sector — actual derivatives trading included. That wave of financialization is having an increasingly palpable effect on what we see and hear when we open up apps like Spotify and Netflix — not just in terms of the kinds of works that get funded, but increasingly, in the character of the works themselves, leading Andrew to posit that “the stock exchange has been embedded within the media text.”Andrew joins us to talk about how finance-world strategies impact both the companies that fund the culture we consume and the labor of those who produce it — and how they result in an entertainment landscape that is increasingly inhospitable to taking big risks. And we get into how the logic of the derivative has become embedded in media products themselves, from Jay Z turning lyrical wordplay into a champagne empire, to The White Lotus casting K-pop star LISA.Order a copy of Derivative Media — or download an open-access PDF for free.Read more by Andrew:The Cinema of Steven Soderbergh: Indie Sex, Corporate Lies, and Digital Videotape (Columbia University Press)“Independent Canadian Music in the Streaming Age: The Sound from above (Critical Political Economy) and below (Ethnography of Musicians)” (Popular Music and Society) This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theculturejournalist.substack.com/subscribe

Since Trump took office in January, you may have picked up on a certain, shall we say, visual vibe. Think: AI slop memes, gilded neoclassical decor, men clad in dark suits and red ties, women decked out in high heels and flowing hair—not to mention an ambiguous blend of plastic surgery and contoured make-up that the Hollywood Reporter recently dubbed “Mar-A-Lago Face.”If you’ve noticed some of these recurring themes, you’re not alone. The arts journalist and critic Carolina Miranda has been keeping tabs on the intersection of visual culture, society, and politics for years, and she recently came up with a name for the look and feel of the current administration: Trump Trad. Her recent column for the Washington Post, “Welcome to the Era of Trump Trad,” is worth a read—and it’s the first in a monthly series providing an ongoing aesthetic analysis of the Trump era, which is among her new endeavors since taking a buyout from her longtime role at the LA Times last year. (She also writes the Arts Insider newsletter for KCRW, which Andrea edits.)Carolina joins us to explain the three core pillars of Trump Trad: a yearning for the past (architecturally and otherwise), traditional gender roles, and—fascinatingly—professional wrestling. We also get into how to reconcile all the trad-ness with this administration’s simultaneous embrace of Silicon Valley and AI, whether or not Biden or Kamala aesthetics exist, and how Trump’s obsession with taking control of the programming at the Kennedy Center and issuing executive orders about architecture fits in with his politics of resentment against so-called “cultural elites.”Want to continue the conversation? For access to our member-only Discord (and all our bonus episodes), sign up for a paid subscription.Sign up for Carolina’s KCRW newsletterRead more from Carolina:“How Silicon Valley boys came to rule politics” (WaPo)“Influencer Jenny69 calls herself a ‘buchona.’ How a narco-inspired style came to rule social media” (LA Times) This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theculturejournalist.substack.com/subscribe

Today we explore how many of the habits and customs we associate with American bourgeois life — religiously reading the Sunday Times, buying organic produce, building your entire identify around excelling at a career you love, etc. — stem from one generation in particular. Friends, we’re talking about the yuppies, that notoriously status-obsessed, hyper-educated cohort of young urban professionals who came to cultural prominence in the ’80s and ’90s, setting off a series of transformations in our cities, media, and consumer culture that we’re still witnessing to this day.It’s easy to see the Boomer worldview as a reflection of the fact that they had it much easier than us Millennials, economically speaking. But a new book called Triumph of the Yuppies: America, the Eighties, and the Creation of an Unequal Nation, by Philadelphia journalist and author Tom McGrath, subtly challenges that idea, reframing the yuppie obsession with money, achievement, and unimpeachable good taste as a response to the rough economic headwinds of the 1970s and ’80s. Along the way, it explores how yuppiedom was equally a reaction to suburban post-war monoculture — and perhaps most perplexingly, a kind of impossible attempt to reconcile a newfound love of capitalism with the egalitarian values of the hippie era.Tom joins us to discuss the yuppie origin story and the historical factors that rerouted a generation from protesting the Vietnam War to working on Wall Street. We get into who — and what — the yuppies were rebelling against, and how their emphasis on not just consumption, but consuming the right things, laid the blueprint for everything from urban gentrification, to contemporary food culture, to the news and television we consume.We also talk about whether or not the yuppie still exists — perhaps in the form of Millennials? — and, of course, where Trump, then and now, fits into all of this.Purchase Triumph of the Yuppies.Follow Tom on Substack. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theculturejournalist.substack.com/subscribe

In a thought-provoking discussion, Matt Pearce, a former LA Times reporter turned Substack writer focused on local news, and Emma Kemp, a researcher and professor specializing in environmental media, delve into the shifting landscape of journalism during climate disasters. They explore the emotional impact of events like the LA wildfires and Hurricane Helene, emphasizing the role of technology and community in accurate information dissemination. The pair outlines the importance of local journalism, the challenges of social media in crisis communication, and innovative strategies for community resilience.

This is a free preview of a paid episode. To hear more, visit theculturejournalist.substack.comFrom AI song generators like SUNO and Udio to “knob-free,” browser-based DAWs like BandLab, a rash of new music production apps and software is wooing creators with the promise of shortcutting the time and elbow grease it traditionally takes to make music. But is quicker and more effortless necessarily better? Montreal-based writer and musician Devon Ha…

Mike Pepi, author of "Against Platforms: Surviving Digital Utopia," critiques the blind optimism surrounding technology's societal role. He argues that techno-utopianism, often seen as a path to a better society, is flawed and ideologically loaded. The conversation explores the dangerous alliance between tech and politics, the complexities of data neutrality, and how young idealists navigate power dynamics. Pepi emphasizes the necessity to question who truly benefits from technological advancements and advocates for a more measured approach to harnessing tech for positive change.

This is a free preview of a paid episode. To hear more, visit theculturejournalist.substack.comAre algorithms actually making culture boring? It’s easy to point to the Spotifys and Instagrams the world and blame them for what we perceive to be stagnant cultural production, flattened tastes, and generally bad vibes. But, in a recent piece for the Atlantic titled “The Technology That Actually Runs Our World,” journalist T.M. Brown argues that the a…

Let’s take a step back in time to the halcyon days of late 2011, back when a little Swedish music app called Spotify landed in our app stores.Its arrival, alongside the rise of early smartphones and “public square” platforms like Twitter, seemed to herald the utopian ideals of a democratizing tech future just on the horizon. Here was an app that professed to level the playing field for music fans and artists alike via what Spotify imagined to be a “data-driven democracy”: For fans, it put pretty much any music you wanted at your fingertips, anytime. On the artist side, it promised to replace industry gatekeepers with a system where anyone who wrote a good enough song could land a viral hit — while also righting the compensatory wrongs of technological predecessors like Napster.That’s…. not exactly how it’s played out.Today, Spotify’s myth of meritocracy has been supplanted by a system where major labels make millions of dollars a day from streaming while artists make less than a penny per stream; where AI DJs do the choosing for you within an algorithmic echo chamber; and where “vibe”-oriented playlists are filled with music by ghost artists designed to keep you listening longer while paying attention less.How all of this came to pass — and its far-reaching ripple effects on everything from cultural taste and aesthetics to the very meaning of being an “independent” artist — is the subject of Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist, a new book by independent music journalist Liz Pelly. The work culminates a decade of dogged reporting covering Spotify’s rise from democratizing platform to corporate behemoth, and how, in the process, it has eroded the vast majority of artist’s ability to make a living off of their work.Liz joins us to discuss how independent artists got swept up in a system that was clearly never built with them in mind, and how it managed to devalue their work to almost nothing. We also get into Spotify’s flattening impact on music, in both an aesthetic and economic sense. And we break down the platform’s push towards “lean-back” listening — you know, beats to study and chill to — and how it’s reshaped the very meaning of being a fan.Follow Liz on Instagram.Get Mood Machine and check out more of Liz’s work here.Read an excerpt, "The Ghosts in the Machine," at Harper's This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit theculturejournalist.substack.com/subscribe