25 years ago, Roseanne Barr sparked national fury when she delivered an off-key rendition in San Diego. But the reasons behind outrage and praise for various interpretations have as much to do with politics as musical talent.
New albums from Neil Young and Desaparecidos show the difference between music that takes apathy for granted and music that doesn’t.
The Titanic soundtrack defined a movie-scoring career filled with distinctive sounds and universal emotions.
She just got Apple to change course on streaming royalties. Is she the most powerful person in music?
The strange, conversational language of early Rolling Stone ads
Giorgio Moroder’s first album in 30 years, featuring Britney Spears and Sia, is no throwback.
Three Atlantic writers discuss the seminal Alanis Morissette album two decades after its release.
The saxophonist, composer, and free-jazz innovator, who has died at 85, remained one of the genre’s true polarizing geniuses right up to the end of his career.
The latest wave of streaming services talk a lot about making the art form better. Does anyone believe them?
As the stories of Kurt Cobain and Amy Winehouse resurface again, the Brian Wilson biopic Love and Mercy tells of a tortured artist who lived.
The musician—one half of The xx—mines dance history and culture on his new record, but even listeners unfamiliar with the genre can appreciate his songs.
A song from 2011 is causing controversy now, proving how slowly the genre’s attitudes about women are evolving.
The gorgeous stew of At.Long.Last.A$AP may owe something to LSD, but it’s also in line with the genre’s recent turn toward progginess.
As drone warfare becomes a more familiar concept in American life, anxiety about its ubiquity—and what it means for humankind—is being explored in film, theater, and music.
Will the streaming service’s new features transform how people work out, or just transform’s Spotify’s value proposition?
Why Makes Sense? sees the British band using synthetic sounds to bittersweet, beautiful effect.
It zanily explodes conventions around gender and action movies.
The guitarist, dead at 89, built himself into the figurehead of the genre.
Bush uses the rapper’s brand but not his talents as a vehicle for Pharrell’s funk and disco revival.