Shocking, humorous, and merciless in equal measure, CULTURE WARLORDS explores some of the vilest subcultures on the Web-and shows us how we can fight back. The Frank Lloyd Wright-designed Freeman House, a Los Angeles celebrity in its own right, has seen a sizable price chop about 25 since it most recently appeared on the open market. By combining compelling stories chock-full of catfishing and gatecrashing with her own in-depth, gut-wrenching research, she also turns the lens of anti-Semitism, racism, and white power back on itself in an attempt to dismantle and decimate the online hate movement from within. Along the way, she discovers a whites-only dating site geared toward racists looking for love, a disturbing extremist YouTube channel run by a 14-year-old girl with over 800,000 followers, the everyday heroes of the antifascist movement, and much more. In order to showcase them in their natural habitat, Talia assumes a range of identities, going undercover as a blonde Nazi babe, a forlorn incel, and a violent Aryan femme fatale. Within these pages, she reveals the extremists hiding in plain sight online: Incels. CULTURE WARLORDS is the story of how Lavin, a frequent target of extremist trolls (including those at Fox News), dove into a byzantine online culture of hate and learned the intricacies of how white supremacy proliferates online. Talia Lavin is every skinhead's worst nightmare: a loud and unapologetic Jewish woman, acerbic, smart, and profoundly anti-racist, with the investigative chops to expose the tactics and ideologies of online hatemongers.
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With this release, Kiwanuka has delivered a dark, graceful, and affecting artistic statement that is worth the patience it takes to experience it.A mouthy Jewish woman reporter makes an immersive dive into white supremacy's explosive metastasis online, exploring the undercurrents of propaganda, religion, misogyny and history that led us to where we are now-and how to fight back. The mildly psychedelic title cut is a mid-album standout whose slow-burning swagger and epic seven-minute length is countered by the tight, punchy "One More Night." Overall, Love & Hate has very little of the breezy, quietly strummed charm of its predecessor, but it represents serious growth from an artist deliberately pushing his boundaries. Subukan naman ang ginagamit kung ang nais nating ipagpalagay ay ang pagtikim, pagkilatis at pagsubok ng isang bagay (to TASTE, ASSESS & TRY something). 3) Subukin mong gumawa ng magandang bagay sa iyong kapuwa. Throughout the album, the space between parts is somehow wider, yet each tambourine hit, backing vocal, or funky guitar lick feels darker and more severe. 2) Su subukin kong mag-aral lumangoy ngayong bakasyon. The timely social commentary of lead single "Black Man in a White World" feels lonesome and heavy in spite of its uptempo, hand-clapped rhythm and nimble guitar groove.
Where Home Again was ultimately an intimate and gentler affair, Love & Hate puts some distance between singer and audience as he offers his worldweary introspections against the framework of '70s R&B, funk, and spaced-out rock.
Co-produced by Danger Mouse and Inflo, it also introduces the heavy tonal palette that runs through the remainder of the album's ten tracks, even those produced by Kiwanuka's longtime collaborator, Paul Butler. It's a Homeric bit of heartbroken prog-soul that shows off its creator's lead guitar chops as much as his rich, sandy voice. Announcing his intentions from the start, Kiwanuka challenges listeners with "Cold Little Heart," an exquisitely arranged, ten-minute opus of lush strings and elegant backing vocals whose first line doesn't arrive until the halfway point. With its trio of producers and transatlantic recording locales, Love & Hate arrives with the weight of high expectations. On his ambitious sophomore set, London native Michael Kiwanuka expands outward from the warm retro-soul of 2012 debut, Home Again.
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