Twenty-five years later, the political message and musical innovation on Rhythm Nation 1814 is more significant than ever, though less appreciated than it should be.
Unlike some histories of the blues, the documentary Take Me to the River revitalizes its subject by grappling both with racism and contemporary pop.
So Ariana Grande strains to put her best face forward. Who doesn't?
Amid the falseness of the VMAs, as her parents try to sell an image, Beyoncé and Jay Z's kid keeps it real.
Her live show with Royskopp reveals the pop star getting weirder.
In his new book, Greil Marcus brings us The History of Rock ’n’ Roll in Ten Songs. But rock only needs one—Jimi Hendrix's 1968 “Voodoo Child (Slight Return).”
"The" has risen and fallen in popularity among band names over the years. But its presence or absence always says something about a group's music, members, and relationship with history.
Her new single and livestream showcase her honest-yet-savvy image.
Bach, Coltrane, McCartney: New algorithms can produce original compositions in the style of the greats. But are those works actually art?
A new single with meditative instrumentals from the Austin band
Despite its reputation for traditionalism, the genre has long welcomed outside influences—a fact that's as true today as it was in the period covered by Country Funk 1967-1974.
The dull sexual document of our age becomes a lot more interesting once Beyoncé's involved.
Existence is struggle, and only one celebrity won't let us forget it.
Even through her shtick, the late actress radiated vulnerability and charm.
Jason Aldean and Ludacris, Florida Georgia Line and Nelly, and on and on: a conversation with sociologist Tressie McMillan Cottom on the recent wave of cross-genre party music.
LP sales keep rising, but mostly because of indie-rock fans and nostalgists—which isn't enough to "save" the music industry.
The singer argues that the digital revolution may improve music as an art form. That's optimistic, but not foolishly so.
He didn't invent rock and roll. He didn't steal it from black people, either. What did he do?
"Girl in a Country Song" skewers the last few years of Nashville machismo—which is a refreshing change, and smart business.
The "Blurred Lines" singer's supposed apology record is actually an act of aggression.