The president is even further from the definition than Alanis Morissette was.
The company’s quickly abandoned stance against misbehavior is a sign that the record industry still doesn’t want to police the ethics of its stars.
Three Atlantic staffers discuss “Les Écorchés,” the seventh episode of Season 2.
Amid a few gripping moments, the rapper’s eighth album all-too-briefly glances at politics and mental health.
Four Atlantic staffers discuss hip-hop’s vicious and messy brawl of the moment and how the art of the diss track has evolved.
The sitcom star’s racist tweet ended a show that fashioned Trump’s appeal as largely economic and national unity as within reach.
Three Atlantic staffers discuss “Phase Space,” the sixth episode of Season 2.
Steven Hyden’s book Twilight of the Gods argues that the appeal of the now-dwindling Baby Boomer guitar gods was only ever personal.
Star Wars’ first woke robot, L3-37, speaks to the film’s revolutionary themes—and to pop culture’s anxiety around artificial intelligence.
The rapper insisting that a photo of Whitney Houston’s bathroom be the cover art for Pusha T’s Daytona is a clear betrayal of his rhetoric about compassion.
At the Billboard Music Awards, the pop star asked for a “moment of action” after the massacre in Santa Fe, Texas—but kept quiet on what might prevent the next horror.
Three Atlantic staffers discuss “Akane No Mai,” the fifth episode of Season 2.
Kanye West and Janelle Monáe are among those artists to stage rhetorical battles between red and blue America.
Are scrawny guys suddenly “in”? Or are straight men just, finally, getting openly objectified like women and gay men long have been?
A song-of-the-summer contender about women kissing women is being received as anything but progressive.
Three Atlantic staffers discuss “The Riddle of the Sphinx,” the fourth episode of Season 2.
In a wave of interchangeable Millennial pop stars, Charlie Puth’s dorkiness on his album Voicenotes proves an asset.
The streaming service dropping R. Kelly and XXXTentacion from playlists is one of the very few signs of a #MeToo reckoning in the music industry.
Childish Gambino’s sensational “This Is America” video implicates the viewer in the misuse of black art.
Since the 2016 election, pop music and TV shows have emphasized liberal impotence more than anger. Is that about to change?