Today's pop stars live for the applause, but as Lou Reed, Banksy, and Pynchon have shown, shunning attention can be the best way to keep it.
A chat about the singer's comeback single and its brutal, if imperfect, parody of the year's biggest pop songs
Lorde vs. "Everybody Wants to Rule the World"
The band has a deep, sincere relationship with the Caribbean nation. But even so, Reflektor's marketing campaign has perpetuated stereotypes.
808s and MRK-2s aren't hollow replacements for live percussion—they're influential, boundary-pushing instruments of their own, as a new book documents.
The album collapses sex, music, and fashion into one noisy distraction from the sucking emptiness of existence.
With a new album comes plenty of new swipes at the stars.
An exclusive premiere of the latest video from the Brooklyn band
The playful, defiant Matangi picks up where her Super Bowl stunt left off.
On The Marshall Mathers LP 2, he offers what's been missing from hip hop lately: aggressive, commercially viable, virtuoso rapping.
First impressions of the superstar's third album
Reed's fondness for the cultural fringe and his ambivalence toward his own success shaped the views that defined the generation that came after him.
Ms. Whipcream Bra is remaking herself as the pop diva Grandma can love, and why not?
The oft-delayed debut from a 21-year-old once tipped as the future of pop unceremoniously appeared at midnight—and that's what made it so rewarding for fans.
Reading the scholarly literature in honor of an Ace of Base anniversary
The Velvet Underground legend, dead at 71, challenged pop culture till the end.
Feel free to ignore Reflektor's bids for profundity and just appreciate how fun it is.
Months before the The Ed Sullivan Show, the band played a seven-song set for Swedish radio that settles any doubt about their electrifying live presence.
Not all of New works, but the songs that do are well worth appreciating.
A chat about impolite tweets and Jimmy Kimmel