The Culture Journalist

Epizodes

• The story of vaporwave 21.05.2026 1h 32min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription. Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains.If you were on the music internet at all during the 2010s, you’re probably familiar with vaporwave. You know, that archival-obsessed musical microgenre based on synthy, hypnotic samples paired with aesthetics like classical sculptures, retro corporate imagery, and Japanese kanji.It’s almost a meme at this point, but vaporwave was one the first internet-born genres and art movements created entirely using digital tools, plundered from online archives. And beneath the placid, detached surface of vaporwave—somehow both nostalgic and ironic—there was a passionate community of musicians and fans creating something that in retrospect was actually quite political and subversive—if not in subject matter, then in form.A new documentary called Nobody Here: The Story of Vaporwave captures the evolution and cultural impact of vaporwave, told from the perspective of more than 50 artists, producers, and other key figures from across the scene, including Daniel Lopatin, 猫 シ Corp. (Cat System Corp.), Luxury Elite, George Clanton, Saint Pepsi. In keeping with the spirit of the movement, you can watch it for free on YouTube.Director Christian Britten and producer and artist Enzo Van Baelen, who’s also co-founder of the label My Pet Flamingo, join us to talk about the genre’s origins, including as an outgrowth of noise music, the role of anonymity in the scene, and how its use of meme-able visual iconography foreshadowed visual communication on the internet today. Plus, we discuss what we can learn from the story of a musical movement that was by definition unmonetizable (unless you’re creating your own samples, that is).Watch Nobody Here: The Story of Vaporwave for free on YouTube.Download the film here.Check out the Nobody Here companion sampler over at Bandcamp. 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
• The slow cancellation of the future: A Mark Fisher primer 08.05.2026 1h 35min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription. Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains.We are making a film about Mark Fisher. Or at least, that’s what artists Sophie Mellor and Simon Poulter say we are doing by interviewing them about We Are Making a Film About Mark Fisher, an experimental documentary about the late British intellectual Mark Fisher that is currently making its way in decentralized fashion through cities across the globe. (You can set up a screening in your town if you want). They made the film with the help of over 70 pro bono collaborators and produced it entirely via Instagram, with no budget, studio, or institutional support. We’ve never seen anything quite like it.Fisher was a political and cultural theorist, music critic, and philosopher who first gained notoriety blogging under the alias K-punk in the early 2000s, before becoming known for penning some of this century’s most clear-eyed and affecting analyses of capitalism, popular culture, and our collective political future (or lack thereof). That includes his wildly influential 2009 book Capitalist Realism: Is There No Alternative?, which explores the idea that capitalism has become so dominant we struggle to even imagine alternatives. Fisher has been a big influence on us, so we decided to invited Sophie and Simon on the show to tell us about the film and offer us a little primer on his ideas. We dig in to concepts that were central to Fisher’s work, including hauntology, hyperstition, and capitalist realism; why his work seems to be having a moment right now, especially among Gen Z; and how it reflected both the utopian promise of the internet and its eventual descent into today’s commoditized, culture-war nightmare. We also discuss how Fisher’s working-class background and refusal to accept hierarchies between fields like critical theory and music blogging shaped his unique perspective on the world—and how this “decapitalized film,” and the larger art project of which it is part, doubles as an invitation to gather offline and imagine new artistic and political futures together.Follow the project on Instagram, or attend a screening near youCheck out more of Sophie and Simon’s work at Close and RemoteListen to our Hauntology retrospective with Simon Reynolds, Fisher’s friend and contemporary 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
• Coachella trend report 2026: Let's watch YouTube together 24.04.2026 1h 16min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription. Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains.Andrea just got back from Coachella, so it’s time for our annual report where we use the festival as a crystal ball for talking about where contemporary culture is going. And this year was particularly interesting — not just because of Justin Bieber and his laptop, but also because of Coachella’s marked transformation into a mass televisual couch spectator event.Joining us for the debrief is Billboard editor Andrew Unterberger, who was in the trenches with Andrea for Weekend 1 and hosts the Greatest Pop Stars podcast. (He also moonlights as a basketball guy) We talk about how Coachella is actually three festivals now — Weekend 1, Weekend 2, and the livestream — and how the latter is transforming everything from the festival’s booking strategy, the performances, to what the experience feels like on the ground. We also get into an overall aesthetic shift from influencer polish to rawness and imperfection, how the Bieber’s set functioned as a metacommentary on how YouTube is TV now, and how the Strokes’ performance visuals on Weekend 2 — which featured imagery of the wars in Gaza and Iran — touched a third rail in what was otherwise a surprisingly apolitical scene. Listen to the end for Andrea’s dispatch on this year’s style highs and lows, including the fate of the infamous boho circle belt.Follow Andrew on Bluesky Listen to his Coachella episode of Greatest Pop StarsRead Andrea’s L.A. Times column “Inside Coachella’s fractured world: Weekend 1, Weekend 2 and the livestream that changed everything”Read Andrea’s L.A. Times story about how people are affording Coachella Check out Andrea’s full style report over at Biz Sherbert’s American Style 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
• The experience economy arms race and the end of the recording artist 10.04.2026 1h 24min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription. Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains.It sounds strange to say it, but the notion of the recording artist seems to be becoming increasingly a thing of the past. Artists are still releasing albums, sure, but our experience as music fans and the industry as a whole seems to be increasingly centered around live music — at least in terms of where people are actually spending their money. Today’s guest, writer and musician Jaime Brooks (you may remember her from our episode on the geopolitics of pop culture), joins us to discuss what that means for artists and the future of music itself. We dig into Jaime’s recent viral essay, “Why do so many big artists hate touring?,” which draws on her own touring experiences as part of the electronic duo Elite Gymnastics to explore how the music business seems to be in the midst of an experience economy arms race. Artists are risking serious money on ever-bigger spectacles, ticket prices keep climbing, and all roads — even for indie artists — seem to lead to Live Nation and AEG. Meanwhile, the psychological tolls of life on the road, combined with the near-constant surveillance of being a celebrity in 2026, has led to a growing wave of cancellations and burnout. All leading Jaime to ask: Is it time to let go of the idea of pop stars (or at least human ones) entirely?We dig into why touring seems to become more stressful for artists as they become more successful, what happens when scarcity pivots from music recordings to tickets, and how even early and mid-career artists are feeling the pressure to manufacture the illusion of endless growth. Jaime also raises a spicy possibility: If the music industry continues down this path, the future of pop stardom might belong more to animated or AI-generated performers in the mold of K-Pop Demon Hunters than real people. Read “Why Do So Many Big Artists Hate Touring?” Subscribe to Jaime’s Substack, The Seat of Loss 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
• Opinionated software: AI and the arts, revisited 20.03.2026 1h 37min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription. Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains.Hi pals. In 2022, we did an episode with artist, technologist, and friend-of-the-pod Mat Dryhurst to discuss a question that now feels almost quaint: Is AI good or bad for art? This was back in the days (pre-ChatGPT) when everybody was freaking out about text-to-image generators like Dall-E and Midjourney, and we discussed what they might mean for working artists. Obviously, a lot has happened since then, so it felt like time to check back in with Mat.Mat is the rare artist and leftist we know who’s also an outspoken proponent of AI tools, if not the broader economic structures shaping their creation and deployment. While we don’t agree on everything, we share a core perspective: This tech isn’t going away, and artists and creative people need to understand it if they want to have a say in what the future will look like.Having worked with AI in his practice for over a decade alongside his partner Holly Herndon — they’ve even co-authored a book about AI and cultural production — Mat brings a deeply informed perspective to the ethical implications and creative possibilities of these tools. Given that conversations about AI tend to fall into polarized culture war-style faceoffs, we wanted to dig into the fine print of what’s actually going on, where the AI industry is heading, and where creative workers should be focusing their attention.Mat talks with us about what running a start-up focused on giving artists more power over their training data taught him about the limits of current copyright debates, and whether slop is as big as a problem for culture as people are making it out to be. We also get into why blanket bans of AI-generated art and music are not only impractical, but bad for artists. Plus, we discuss why Mat thinks open models are critical to creative control in a landscape that is increasingly consolidated around a handful of powerful companies.Follow Mat on Instagram and XSubscribe to Mat’s Substack, Token dumpCheck out works and events by Mat and Holly on their studio website 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
• Brooklyn's lost indie decade 06.03.2026 1h 18min

  Hello! Emilie here. For most of my adult life, Lizzy Goodman’s Meet Me In the Bathroom has been the only definitive book about the New York music scene of my youth. The trouble is that a lot of important stuff happened alongside and after that, particularly across the river in Brooklyn. So, thank God for Ronen Givony. The founder of longtime concert series Wordless Music and former Le Poisson Rouge booker braved the wilds of the publishing industry to bring us the first comprehensive history of the Brooklyn music scene: Us vs. Them: The Age of Indie Music and a Decade in New York (out now via Abrams).Us vs. Them traces the years 2004 to 2014 and a wide cast of artists and other characters, some familiar, many not. But part of the point is to look past the usual suspects to talk about the lesser-known artists and promoters who built the scene, often with their very own hands. The book traces how Bush-era political dissatisfaction, cheap rents, and digital technology gave rise to one of those uniquely fertile cultural moments in music history that only come around every so often—you know, where great gigs felt endless, scenes felt possible, and you and your friends were the ones making it happen.Ronen joins us to discuss what it was like to chronicle a scene that, unlike the Manhattan scene of the Strokes, the Yeah Yeah Yeahs, and Interpol, was geographically far-flung and features a lot of characters who never became household names or whose careers have been lost to time. We also get into what conditions made it possible for north Brooklyn to become home to a creative ecosystem that, in Ronen’s words, “existed for a reason other than profit” and its complicated relationship to commerce, the media, and selling out. And we talk about what this history teaches us about how we might go about fostering culture in New York—and cities like it—today.Ronen was also kind enough to make us a playlist featuring artists from the book. Cue it up for a great companion listen to the episode.Buy Us vs. ThemFollow Us vs. Them on Substack and Instagram 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
• Welcome to the reality exchange 13.02.2026 1h 36min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription. Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains.Besides the Bad Bunny vs. Kid Rock faceoff, arguably the biggest headline to come out of Superbowl LX was the sheer volume of money being traded on prediction markets, online exchanges where anyone 18 and older can bet on event outcomes. Fans exchanged a whopping $1.5 billion on the winning team alone through prediction platforms like Kalshi and PolyMarket. But these markets aren’t just limited to sports: During the game itself, more than $100 million changed hands every three minutes over which song Bad Bunny would drop first in the halftime show.John Herrman, New York Magazine tech columnist and our guest on last year’s episode about the future of the internet, has been all over how prediction markets are creeping into just about every area of life. And in our 2026 culture predictions episode (with zero dollars on the line), he forecast that politics is next — bringing all the sponsorship, gamification, and corruption risks we’ve already seen with the rise sports betting. John joins us to discuss how, in his words, prediction markets serve as “a new way to narrativize the world.” We explore what prediction markets have in store for politics and the historical conditions that have converged to make prediction markets so popular, from young people’s flatlining economic prospects to having a former casino owner as our president; why prediction market true believers see markets as the most effective way of adjudicating reality, and how the prediction market “sharp” — or whale — became an aspirational career path for young people in the 2020s, not unlike Wall Street traders in the '1980s or the influencer in the 2010s.Follow John on BlueskyRead “Screen Time” at New York Magazine’s IntelligencerMore by John:“Gambling Ate Sports Media. Is Politics Next?”“What Good Are Prediction Markets If Nobody Can Agree on What Happened?” 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
• The network state moment 29.01.2026 1h 26min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription. Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains. Hey guys. Following our 2026 predictions episode (thanks to everyone for all the love), we’re back to our regularly scheduled programming. And speaking of things we think everybody should be paying attention to this year, today we’re talking about network states.Popularized by Twitter-famous VC philosopher and former Coinbase CTO Balaji Srinivasan, the network state is basically what happens when a bunch of crypto bros and entrepreneurs pool their money, buy land, negotiate regulatory exceptions, and attempt to start a new nation-state around an ideology or practice, like life-extension research or the keto diet. Until recently, network states felt like a fringe libertarian concern—a kind of 2020s remix of seasteading, super-charged by crypto and AI tooling. But especially since finding a receptive ear in the second Trump administration, the movement and its guiding ideas have quietly mutated into an influential ideological force in American politics, both domestically and abroad. To help us get a grip on the whole thing, we brought on fellow culture journo Sam Venis, who’s been reporting on it for places like The Guardian, Playboy, The Guardian, The Point, and Mars Review of Books. He takes us inside his travels documenting network-state experiments across the globe, from the medical research enclave of Próspera in Honduras, to a hacker house full of urbit engineers hanging in Bukele’s inner circle in El Salvador, to Trump’s vision of deregulated “Freedom Cities” on “unused” federal land in the US.We discuss why someone would want to found or join a network state in the first place — i.e., how much of it is ideological, and how much of it is tax evasion — what life is actually like at places like Próspera on the ground, and how the network state movement represents both a mechanism of American imperialism under Trump and a possible blueprint for the US economy’s next phase.Sign up for Sam’s Substack, Technical PersonaeRead Sam: “Could new countries be started – on the internet?” (The Guardian)“The island of eternal Life” (The Mars Review of Books)“Turbo America” (The Point)“Waiting for the End of the World In El Salvador” (Playboy) 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
• 36 predictions about culture in 2026 16.01.2026 1h 4min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription.Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains. As special treat, you can now listen to our 2025 retrospective with Ruby Justice Thelot for free.Hey pals. Welcome to our first annual cultural predictions episode. To kick off 2026, we asked some of our favorite culture critics, media theorists, filmmakers, technologists, journalists, fashion bloggers and more to send us a voice note with their best guess about where the zeitgeist will take us this year. To our surprise and delight, 34 people got back to us with their predictions. Plus, Andrea predicts the return of club culture (think: film clubs and salons, not dance parties) in response to attention economy fatigue, and Emilie goes long on “elite midcult” in music and movies as a culture-industry counter-reaction to poptimism.Topics range from writer and podcaster Steven Phillips-Horst talking the end of bright white lighting and a return to warmer, yellower hues, to New York Mag tech columnist John Herrman talking about how prediction markets are coming for politics and political media, to New Models co-host Carly Busta talking about the rise of a neo-oral culture. You’ll find the full list of contributors (with time stamps) below. Sound design and music by Andrea.Arts & culture (10:30)Drew Millard on the return of the buzzbandSam Valenti on no longer complaining that nobody is making good music and listening to music instead Biz Sherbert on the rise of the beautiful white boy rapperTony Lashley on the West London rapper SlewMano Sundaresan on the inevitability of somebody releasing an AI-generated or assisted song that gets critical acclaimPhilip Sherburne on the coming mass streaming exodusW. David Marx on a return to organic and analog aestheticsJaime Brooks on the rise of “techno nihilism” as an aesthetic movementRuby Justice Thelot on Timothée Chalamet winning an Oscar — and ushering in the era of “theater kid energy”Javier Cabral on how 2026 will be the year of heirloom corn tortillas — in all the colors of the rainbowTechnology (21:20)Taylor Lorenz on the coming mass cultural revolt against technologyLil Internet on how the escalating theological conflict between luddites and AI true believers could spin out into something resembling the 30 Years WarYuri Rybak on the vertical integration of everything and prediction market traders becoming religious oraclesRachel Meade Smith on how 2026 will be the year where writers find out if the robots are really coming for their jobsJacob Hurwitz-Goodman on a shift in AI discourse toward military and surveillance applicationsMike Pepi on a renewed societal yearning for trad media institutionsTrevor McFedries on how AI advances may actually lead to more opportunities for people with good tasteCarly Busta on the rise of a neo-oral cultureMedia (33:15)Ock Sportello on the death of Twitter as a cultural forceAnthony Di Mieri on the end of the era of shortform vertical videoMatt Pearce on a shift from individualism to collectivism among independent content creatorsHarry Krinsky on 2026 as the year of the (antimemetic) stuntBen Dietz on the return of low-cost ephemera (zines, stickers, promo CDs) in marketingT.M. Brown on journalists fleeing SubstackJoshua Rivera on the rise of hyper-niche media and courting “security through obscurity”John Herrman on how prediction marks will transform political media—and eventually politicsSociety (49:27)Steven Phillips-Horst on the end of bright white lightingCarolina Miranda on “the trollification of governance”Devon Hansen on a coming vogue for esoteric spirituality, the paranormal, and the occultKieran Press-Reynolds on the inevitable confrontation between Nick Fuentes and Donald TrumpKevin Munger on the Left finally grappling with the political consequences of declining birth ratesDouglas Rushkoff on how things are going to get weird — in a good wayGideon Jacobs on how 2026 will be our rock-bottom moment as a speciesLuke O’Neil on one single good day 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
• The agony and the ecstasy of the modern job hunt 23.12.2025 1h 11min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription.Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains. Stay tuned for our 2025 retrospective in late December with Ruby Justice Thelot. You’ll also get an invite to our second reading group meet-up: a discussion of Richard Barbrook and Andy Cameron’s seminal 1995 essay, “The Californian Ideology,” and Fred Turner’s recent article for The Baffler, “The Texan Ideology.” That’s going down on Sunday, January 11.Between the looming menace of automation and job search platforms that feel even less effective than dating apps, you’ve probably heard that trying to find work right now is brutal. And while there’s no shortage of speculation about why the labor market is so broken (see our recent episode with economist Richard D. Wolff), there’s far less (public) chatter about what the experience of searching for gainful employment in late 2025 actually looks and feels like.Rachel Meade Smith, creator of the wildly popular weekly job search newsletter Words of Mouth, wants to change that. Her forthcoming book Search Work: A Collective Inquiry into the Job Hunt (out April 7, 2026 via OR Books!) draws on contributions from 30 voices sourced from the WoM community to explore how job searching is actually one of the most existentially significant experiences we can have. And while the book zooms in on the more difficult emotions that can come up when we perform “search work” — her term for the unique labor associated with finding a job — it also captures how the process can be a vector for desire, inspiration, and even joy.We discuss how the newsletter grew out of her own experiences with search work, including the strange emotional contortions that go into trying on different possible futures and having most of them vanish into the ether. We also discuss what sets this era apart from past eras of search work, the difficulties of squaring our identities and aspirations with the opportunities that are actually available to us, and how navigating the contemporary labor market means accepting that our careers may look less like ladders and more like waves. Pre-order Search Work now exclusively through OR Books and get 15% off.Explore and subscribe to Words of MouthCheck out more of Rachel’s work here 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
• Revisiting Hauntology, or the sound of lost futures 04.12.2025 1h 17min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience, we recommend signing up for a paid subscription.Paid subscribers also get access to our CUJOPLEX Discord and The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains. On our latest installment, filmmaker and Zohran Video Guy Anthony DiMieri joins us to talk to tell us about the wild twists and turns of his career as an indie filmmaker turned key contributor to the Zohran & SubwayTakes cinematic universes, dark woke, and why everyone is obsessed with Geese. We’re removing the paywall for the next week so you can give it a listen.You’ll also get an invite to our second reading group meet-up: a discussion of Richard Barbrook and Andy Cameron’s seminal 1995 year essay, “The Californian Ideology,” and Fred Turner’s recent article for The Baffler, “The Texan Ideology.” That’s going down on Sunday, January 11.In 2005, the music and culture critics Simon Reynolds and Mark Fisher (RIP) began using the term hauntology — a riff on “ontology” — to describe an emergent genre in UK music, built from archival recordings from post-war England, vinyl crackle, and haunted, elegiac atmospherics. (Think: Burial, The Caretaker, and the eerie catalog of the label Ghost Box.) They borrowed the term from Jacques Derrida, who used it to describe a present haunted by futures that had never arrived; Reynolds and Fisher heard that idea vibrating through a generation of musicians excavating Britain’s cultural memory.Fisher explored hauntology’s political dimension, rooting the movement in a longing for Britain’s pre-Thatcherite social democratic past and an affection for cultural touchstones like the BBC Radiophonic Workshop, Brutalist architecture, and films like The Wickerman. Reynolds, meanwhile, mapped its musical lineage—back to ’90s hauntology predecessors like Boards of Canada and Broadcast, and across the pond to J Dilla-era hip-hop and underground movements like freak folk, hypnagogic pop, and chillwave.A recent CUJO reading group on the topic inspired us to invite Simon—the author of books like Rip It Up and Start Again, Retromania, and Futuromania (listen to our ep about it!)—to help us mark the 20th anniversary of hauntology and explore what it has to teach us about mobilizing the culture of the past in a way that feels meaningful and even forward-lookingSimon joins us to dig into the cultural factors that gave rise to hauntology, the 21st-century fetish for obsolete media, and the differences between hauntology and simple nostalgia or “retro.” We also talk about the pasts that continue to haunt us—from rave culture to Marxism—and he gives us a sneak peek at his forthcoming book, Still in a Dream: Shoegaze, Slackers and the Reinvention of Rock, 1984–1994, arriving in 2026.Listen to our HAUNTOLOGY PLAYLIST on Apple Music and YouTubeRead more of Simon on hauntology in Retromania: Pop Culture’s Addiction to Its Own Past and over at ReynoldsRetroKeep up with Simon and his writing on blissblogFollow Simon on XAdditional reading:Jacques Derrida, Specters of Marx, The State of the Debt, the Work of Mourning and the New International, 1993.Mark Fisher, “October 6, 1979: Capitalism and Bipolar Disorder,” 2005.Simon Reynolds, “Haunted Audio, a/k/a Society of the Spectral: Ghost Box, Mordant Music, and Hauntology,” director’s cut of an article in the November 2006 issue of The Wire.Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology, and Lost Futures, chapter 2, 2014. 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
• Mayor Mamdani and the new image politics 14.11.2025 1h 15min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience — including access to our CUJOPLEX Discord and reading group meetings — we recommend signing up for a paid subscription.Paid subscribers also get access to The Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains. On our latest installment, we chat with Billboard editor Katie Bain, author of a new history of Coachella, about what the festival’s 2026 line-up tells us about where culture is headed, the rise of anti-sellout discourse, and the AI industry’s nostalgic, artisanal rebrand. Since our last episode, something historic happened: Zohran Kwame Mamdani was elected mayor of New York City, marking the American left’s most significant electoral victory since the Bernie movement took off in the 2010s. While his team will credit his win to bold, populist economic policies, there’s no denying another factor at play: Zohran’s extraordinary command of images. He grew up in a film-director household, rapped as Young Cardamom before pivoting to politics, and hired a crew of indie filmmakers to create a video campaign that unfolded like a documentary love letter to the NYC of halal carts, bodega cats, and ordinary working people. Zohran’s media fluency is also why people are calling him the Left’s answer to Trump. Which all raises some big questions: Is politics in the information economy becoming indistinguishable from theatrical world-building? And what does that mean for our offline lives?This week’s guest, writer and artist Gideon Jacobs, has thought about these questions for years. A former creative director at Magnum Photos, child actor, and native New Yorker, Gideon has explored our cultural relationship to images in outlets like The New Yorker, The New York Times, Artforum, and Los Angeles Review of Books, for whom he penned an excellent piece earlier this year called “Player One and Main Character,” which contends that political reality, post-Trump and post-Musk, is beginning to bend to the rules of fiction. We talk about the aesthetic politics of the Zohran campaign and what it tells us about what successful counter-programming to MAGA’s vision of America might look like. We also discuss what Gideon’s study of the role of images in ancient cultures and religions can tell us about navigating the image world of the present, how the rise of populism (on both the left and the right) is inextricable from our current technological moment, and whether Zohran’s victory marks the start of a political future more grounded in material conditions—or the next phase of the image arms race.Follow Gideon on InstagramRead Gideon:“Player One and Main Character” (Los Angeles Review of Books)“Trump l’Oeil” (Los Angeles Review of Books)“Thou shalt not make images—but what if AI does?” (Document Journal)“Aliens” (The Drift)Additional reading:“Selling Zohran” by Corey Atad (Defector) 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
• How 21st century culture lost its way, with W. David Marx 23.10.2025 1h 13min

  Just in time for Halloween, we’re hosting a virtual hauntology reading group (specifically, hauntology the music genre) at 4pm ET next Thursday, October 30. If you want to join in, sign up for a paid subscription, or toss a few bucks into our haunted tip jar, and we’ll send you the readings and a link to log into the conversation. We hope it’ll be the first of more group reading sessions to come.Paid subscribers also get access to our CUJOPLEX Discord, an online hangout zone where folks who like talking about the evolving state of independent music, culture, and media can talk about the news of the day; and the Weather Report, a monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains.We spend a lot of time here talking about the structural forces that turned pop culture into an endless churn of sequels, remakes, and nostalgia plays. But what if the blame for our current “creative recession” lies on more than just economics or platforms? What if our cultural values themselves have shifted in ways that make true innovation harder to sustain?That’s the focus of Blank Space: A Cultural History of the Twenty-First Century, the forthcoming book from Tokyo-based culture critic W. David Marx—and probably the first major exhaustive account of the last 25 years in music, film/TV, internet culture, and fashion. He doesn’t just look at the technological, political, and economic forces that that created a winner-take-all landscape where billionaires and centi-millionaires like Taylor Swift, Kanye West, Paris Hilton, MrBeast, Jay-Z and frankly Donald Trump took up all of the cultural oxygen in the room, making it harder and harder for the next generation of innovators to break through. He zeroes in on the cultural attitudes that have led us here—and that set us apart from our 20th-century forebears—including poptimism, the valorization of entrepreneurial heroism, cultural omnivorism, and more.In addition to Blank Space, David the author of the mega-influential books Status and Culture: How Our Desire for Social Rank Creates Taste, Identity, Art, Fashion, and Constant Change and Ametora: How Japan Saved American Style. He joins us to talk about the mind-boggling task of summing up the past quarter-century of culture, and why most of the coolest, most innovative outputs ended up getting pushed to the margins. We also get into what originality means in a climate of constant churn, and why he believes that fighting for it is still important, even in a postmodern landscape where “everything has already been done.”Finally, David makes the case that building a healthier cultural ecosystem starts with changing our cultural attitudes. That means embracing and reinforcing social norms that have fallen to the wayside in the past quarter century, like normalizing giving credit to smaller artists, learning the canon so we can break it, and yes, making it lame to sell out again.Pre-order Blank Space, which is out November 18 via Penguin Random House. Subscribe to David’s newsletter, CULTURE: An Owner’s ManualFollow David on X 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
• How the job market got so broken 10.10.2025 1h 12min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience — including access to our CUJOPLEX Discord and the Weather Report, a new monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains — we recommend signing up for a paid subscription. Paid subscribers can now watch our video roundtable on Paul Thomas Anderson’s One Battle After Another with film critic Joshua Rivera and Macho Pod cohost Drew Millard. They’ll also receive an invite to our upcoming “hauntology” reading group, which we’ll tell you more about soon. (Just so you know: We’ll also be inviting anybody kind enough to tip us a buck or two to support our work).It’s October, and we still don’t have the September jobs report because the government shut down. But the data we do have shows a clear trend: Job growth is slowing, unemployment is ticking up, and cities like New York are seeing the weakest labor market gains in decades. If you’ve noticed more “Open to Work” badges on LinkedIn, heard stories about people applying to thousands of positions, or felt the chill in your own job search, you’re not imagining it: The job market sucks right now, and things have been headed in this direction since before Trump took office. To wrap our head around how we got here (tariffs? offshoring? AI and automation?), we brought on the best person we could think of to explain it: Richard D. Wolff, a longtime faculty member at places like The New School and UMass Amherst, author of myriad books on economic methodology and class analysis, a founding director of Democracy at Work, and one of the most prominent Marxist economists in America. (Full disclosure: Rick’s work on class and labor were tremendously influential on Andrea’s work as a sociology student.)In part one of our two-part conversation, Rick explains why today’s shaky job market is just the latest phase in a decades-long trend that began in the 1970s—and, in his view, a symptom of an empire (and economic system) on the verge of collapse. We also get into the flawed logic behind Trump’s tariff and immigration policies, the real reasons offshored jobs aren’t “coming back,” and why China’s working class is seeing wage growth while American workers are stuck in place.Follow Rick’s work at Democracy at Work—and watch his Economic Update podcast. 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
• Watch: 'One Battle After Another' roundtable with Joshua Rivera and Drew Millard 07.10.2025 3min

  This is a free preview of a paid episode. To hear more, visit theculturejournalist.substack.comThank you ock sportello, DJ Falkor / Random Rules, Tyler Foster, Yana Sosnovskaya, Ingmar Carlson, and many others for tuning in to CUJO’s first-ever live video, featuring film critic Joshua Rivera and Macho Pod co-host drew millard. Shout out to Yuri for sparking the idea for this conversation. Full video available to paid subscribers.
• Welcome to the right's cancel culture era 25.09.2025 55min

  Hey pals. A little housekeeping: We keep full-length episodes like this one free, because we want as many people as possible to be able to hear them. But every episode we put out takes at least 20 hours to produce, from researching and booking to script writing, recording, editing, and marketing — and if you love this pod, we could use your help in keeping this project economically sustainable so we can keep churning out episodes like this one for years and years to come.If a paid subscription ($5/month!) isn’t on the table for you right now, we’ve introduced a new tipping feature where you can throw us a couple bucks to let us know that you’re enjoying what we make. You can think of it as tipping a barista for your morning cup of coffee — only instead of a cup of coffee, you’re tipping us for an hour or more of stuff that you download into your brain. It’s been a rough couple of weeks for freedom of speech in America, from from Jimmy Kimmel’s suspension and reinstatement at ABC, to Trump’s executive order labeling Antifa a domestic terror group, to right-wing doxing databases targeting private citizens for Charlie Kirk wrongspeak. Here to help us make sense of the larger political and economic currents that have led us to this moment is Chicago-based journalist Adam Johnson, co-host of the long-running media criticism podcast Citations Needed, creator of The Column on Substack, and author of a piece for In These Times titled “The Trump admin is brazenly exploiting Charlie Kirk’s killing to silence dissent. Will Democrats take notice?”We break down the Kimmel saga — which coincided with a deportation order against Palestinian activist Mahmoud Khalil — and how the Trump administration is using Kirk’s assassination to push a broader agenda to erode liberal institutions, silence political opposition, and get corporations to fall in line. We also dig into the right’s overt embrace of so-called “cancel culture” tactics, backed by the full weight of the state — and how Democrats helped set the stage for this moment failing to defend the speech rights of their left flank. Finally, we examine how the media industry appears to be on the verge of a conservative “vibe shift,” from Bari Weiss’ rumored rise at CBS to the Ellison family’s powergrab over Paramount-Skydance and TikTok — and what standing up for free speech, and even doing one’s job as a journalist, could look like in the years to come.For access to our monthly cultural weather report, our CUJOPLEX Discord, and other bonus perks, become a paid subscriber.Read Adam’s piece “The Trump Admin Is Brazenly Exploiting Charlie Kirk’s Killing to Silence Dissent. Will Democrats Take Notice?” at In These Times.Subscribe to The Column and listen to Citations Needed. 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
• Inside NYC's thriving cinephile underground 11.09.2025 1h 24min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience — including access to our CUJOPLEX Discord and our eternal parasocial friendship — we recommend signing up for a paid subscription.Paid subscribers also get access to The Weather Report, a new monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains. In the latest installment, cyberethnographer Ruby Justice Thelot joins us to wax philosophical about the Labubu craze, matcha and “performative male” discourse, and why politicians are lifting weights in public. It’s easy to get the impression these days that the traditional media industry is abandoning cultural criticism. Over the past few months, outlets like The New York Times, The Washington Post, and The Chicago Tribune have been reassigning or letting go of veteran film, music, and theater critics, leaving some to debate what impact, if any, written criticism still has on the culture at large. Bucking this trend (and pretty much all mainstream media logic) is The Metrograph, a new biannual print magazine about cinema from the eponymous repertory theater in New York City’s Chinatown. It’s long, proudly niche, intentionally disconnected from the news cycle, and available only in print—with the goal of offering deep film fans an experience they won’t be able to find online, while inviting a new generation of people into the culture. The recently released second issue includes a 42-page dive into Paul Morrissey’s archives, author Gary Indiana’s favorite films (RIP), a history of the Japanese pink film, a “cinemap” of Belgrade, and a comic about Jerry Lewis’s infamous lost film The Day the Clown Cried. The cover, which we’ve cropped for this episode’s artwork, features a painting by artist Louise Giovanelli inspired by Christina Ricci’s character in Buffalo ’66.Senior editor Annabel Brady-Brown (formerly of Australia’s Fireflies Press) and editor-at-large Nick Pinkerton (film critic, screenwriter of The Sweet East, creator of the Substack Employee Picks, and a former coworker of Emilie’s at Kim’s Video) join us to discuss the past, present, and future of independent film criticism—and what it means to make a magazine for cinephiles in 2025. We also discuss why younger people in NYC seem to be gravitating back to the movies these days, and how the hyper-IRL, videostore-centric independent film culture of 20 years ago is a good template for what that might look like in the 2020s. Finally, we shout out some of the directors, movies, and micro publications that are making right now such an exciting time for cinema in NYC — and the repertory theaters and video stores we love around the world that are keeping the old Kim’s Video spirit alive.Issue 2 of The Metrograph is out now. Buy it here, or at an independent book or magazine store near you.Read more by our guests:”Less rock, more talk: On Paul Morrissey, Pier Paolo Pasolini, Ezra Pound, ‘political’ art, and 1988’s ‘Spike of Bensonhurst’” by Nick Pinkerton (Employee Picks) “Sunshine, lollipops and rainbows: On the subversive pleasures of Agnès Varda‘s Le Bonheur” by Annabel Brady-Brown (The Metrograph) 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
• Machines talking to machines: The future of the internet 14.08.2025 1h 15min

  CUJO is a podcast about culture in the age of platforms. Episodes drop every other week, but if you want the full experience — including access to our CUJOPLEX Discord and our eternal parasocial friendship — we recommend signing up for a paid subscription.Paid subscribers also get access to The Weather Report, a new monthly episode series where we take stock of where the cultural winds are blowing and tell you what’s rained into our brains. In the first installment, we wax philosophical about Ari Aster’s Eddington, the future of search, and the alleged returned of Butt Rock. These days, it feels like the web is becoming… less of a web. Websites aren’t getting visitors anymore, employees are worried that they’re going to be replaced by AI agents, and the search tools we used to rely on to pull up the information we need are deliberately enshittifying themselves. It’s like the internet as we know it — fundamentally, a thing that connects people with other people — is being swallowed up by AI and smooshed down into the cramped, impersonal space of a chatbot interface, whether we like it or not.Or, as New York Magazine tech journalist John Herrman recently put it, “The World Wide Web … has been going through something akin to ecological collapse.” John has been keeping close tabs on these developments in his excellent column “Screen Time,” where he recently reported on the emerging field of generative-engine optimization, or GEO. Think: SEO, but for the AI-consolidated internet.We invited John on the show for a wide-ranging conversation about the strange new chapter of the internet that is materializing before our eyes—and what our experience of the web might look like a world where conversational AI becomes our main portal to the digital realm. We discuss the shift from SEO to GEO, why we’re all reading Reddit a lot more now, and what we stand to lose (and, in some cases, gain) in a world where we summon our information from chatbots.Finally, we get into what New York Times writer Mike Isaac is calling the dawn of Silicon Valley’s “Hard Tech” era: a vibe shift away from the consumer-focused, employee-friendly, optimistic culture of the 2010s to the more cutthroat, bossist, AI and data center-obsessed tech culture of the present.Follow John on BlueskyRead “Screen Time” at New York Magazine’s Intelligencer More by John: “What’s the deal with GPT-5?”“SEO is dead. Say hello to GEO.”“The AI boom is expanding Google’s dominance” “Why you are reading Reddit a lot more these days”“At work, in school, and online, it’s now AI versus AI” 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
• How the tattooed foodie bro became the defining person of 2025 01.08.2025 1h 16min

  What do mullets, SpongeBob stick-and-pokes, and foil-wrapped sandwiches have in common? According to this week’s guest, London writer Clive Martin, they’re all hallmarks of a new type of food-obsessed, young urban professional that Clive calls the “defining person-type of 2025.” You know the type: people who queue up around the block for hours for a taste of the latest Instagram-viral, cartoonishly gigantic Italian sandwiches, in a neighborhood where the old school Italian sandwich shops are being displaced. Clive calls these people “The Normans,” after a North London cafe-restaurant they frequented for its loving homages to greasy-spoon staples like chippy teas and chicken fingers. But it’s a subculture that transcends international borders, at least in the English speaking world: a distinctly bro-y strain of contemporary foodie culture fueled by viral images of oozing cheeseburgers, indie rock music, Anthony Bourdain hagiography, and upscale, farm-to-table recreations of working class and immigrant food traditions. The plan their weekends around new eateries, walk around wearing restaurant merch, and secretly wish they could they could quit their fintech job and start over as Carmy from The Bear. Clive is a former colleague of ours from VICE, and one of our favorite observers of contemporary culture—especially when it comes to cities and gentrification. We brought him on to discuss his article for VICE, titled “Meet the Normans,” and how food supplanted music, film, and art as the dominant mode of cultural consumption among young people. We also get into the subculture’s nature as a kind of masculine reaction to other strains of millennial yuppie food culture, how both the food internet and the bro internet are reshaping our cities, and how the rising cost of living is pushing the gentrification cycle into exurban areas like Upstate New York, Margate, and Joshua Tree. Finally, we share some of our favorite, decidedly not-Norman restaurants in London, Philly, and LA that are still hanging on.Follow Clive on X @clive_mart1nRead more by Clive:“Urban sprawlers: How city folk ruined the countryside” (The Face)“Ketamine, crime, and chaos: Life in a London party slum” (VICE)Other relevant reads:“Welcome to Neo New York, where everything feels old school but isn’t” by Emilie Friedlander (VICE)“We are all foodies now” by Steven Phillips-Horst (Spike Art) 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
• Britney Spears and how the media lost its mind 17.07.2025 1h 8min

  Join us in Philly on Tuesday, 29 for a special book talk with this week’s guest, Jeff Weiss, co-presented by CUJO and Lot 49 Books. The event kicks off at 7 pm, at Fishtown’s Neon Clown Dream Lounge — and will feature Jeff in conversation with Emilie, Drew Millard, and Sadie Dupuis, followed by a book signing, a Britney-themed DJ set by Domino Dancing, and, rumor has it, Britney-themed drinks. Admission is free, but you can pre-order Jeff’s book here to support him and one of the city’s best independent bookstores.As a younger generation obsesses over Canon PowerShots, low-rise jeans, flip phones, Von Dutch, and other relics of the Y2K era, it’s easy to forget that the 00s were actually a pretty terrible era for pop culture. And while some of that has to do with aesthetics (looking at you, Boho Amnesia Belt), it was especially true when it comes to media. Think: award-winning news anchors contemplating pop stars’ virginities and making them cry on primetime TV; reality shows about celebrities in rehab funded by commercials for dubious diet pills; supermarket check-out aisles lined with magazines asking whether your favorite actor was “hot” or “not.”Few people got to know that world quite like music writer, friend-of-the-pod, and Passion of the Weiss founder Jeff Weiss, and he just published a book about it. It’s called Waiting For Britney Spears: A True Story, Allegedly, and it’s a semi-fictional account of Jeff’s years working as a young tabloid reporter in the early 2000s, roving the streets of LA with a paparazzi buddy in pursuit of the rich and famous — and the concurrent arc that saw Britney Spears go from America’s Sweetheart to Vegas party girl to conservatee.You could call it a work of fiction, written as a memoir; a work of non-fiction in the spirit of Joseph Mitchell and the Beat poets; or, as Jeff has described it, “a one-person referendum on the impossibility of knowing the exact truth about anything — especially anything refracted and distorted through the lens of electronic media.” Either way, it’s as much about Britney as it is about the glossy, Ed Hardy-adorned last days of pre-internet media and pop culture at the turn of the millennium — and how that time set the stage for the ruthless, gossip-obsessed cultural climate of the present. Jeff joins us to talk about his days as a gossip reporter, and why he chose this experimental format rather than a straightforward biography. We also get into how these experiences informed his understanding of the morality (and amorality) of journalism, how the tabloid era paved the way for our current moment in political media, and why a new generation of young people seems so nostalgic for the fashion and music of the early 2000s.CUJO is a podcast about culture in the age of platforms. For access to paywalled episodes and an invite to our Discord, become a paid subscriber.Buy Waiting for Britney Spears, and follow the book’s Instagram account. There’s also an official playlist. Follow Jeff on X and check out his new podcast, The Truth Hurts. 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