Readings

Pere Ubu's new album taps into an old fantasy—leaving your troubles behind on the open road—which is as comforting now as it always was doomed.

An investigation into lost spaces, secret cities, and other inscrutable geographies.

Notes on an evening of charming Canadian earnestness punctuated by at least one moment of indisputable triumph.

How millennials listen to music, and why genre still matters.

Butts, contrary to what the tastemakers at The New York Times might have you believe, have always been pretty popular. What’s unique about this particular vogue is that, for once, it’s women-driven.

The author of This Changes Everything on how the environmental movement went awry, and why it needs to rediscover its sense of radicalism—demanding deep change from the status quo.

The CRTC’s interrogation of Netflix may have lacked grace, but the fact that we like the service the way it is isn’t an argument against regulations that all Canadian broadcast media must follow.

Robert of Timothy Findley’s The Wars is a survivor, and he curses himself. What does it mean to be the sole survivor?

“Blurred Lines” may sound like “Got To Give It Up,” but the true connection between the two singers is revealed in the pages of Thicke’s strange and sad deposition: a tendency toward self-pity.