|
 | | Black Music and Black Muses |
|
| The Club |
| by Harmony Holiday |
| A look at what a nightclub is, has been, and might become in order to stop being a threat to the survival of love and great music. |
|
 | | The New Yorker |
|
| Genre Is Disappearing. What Comes Next? |
| by Amanda Petrusich |
| As record stores close and streaming algorithms dominate, the identities that music fandom supplies are in flux. |
|
 | | Jeff Styles America |
|
| Searching for Adam Ant |
| by Jeff Styles, Barry Courter and Kristi Slack |
| Adam Ant once lived in the small town of Pikeville, TN. When Adam and his wife moved, they left behind a lot of stuff! Kristi Slack thinks Adam would like to have his memorabilia back! |
|
 | | WNYC |
|
| The Vanishing of Harry Pace: Episode 1 |
| by Jad Abumrad and Shima Oliaee |
| It was Motown before Motown, FUBU before FUBU: Black Swan Records, the record company founded by Harry Pace. |
|
 | | The Baffler |
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| Mass Hipgnosis |
| by Rich Woodall |
| A new crop of investors would like you to keep Vanilla Ice on infinite repeat. |
|
 | | TED Talks |
|
| The Black history of twerking -- and how it taught me self-love |
| by Lizzo |
| Twerking is mainstream now ... but do you know where it came from? Lizzo traces booty shaking to a traditional West African dance and tells how Black women across generations kept the rhythm alive, from blues and jazz singers to modern rap and hip-hop performers. |
|
 | | Afropop Worldwide |
|
| The Black History of the Banjo |
| by Ben Richmond |
| We trace the history of this most American of instruments from its ancestors in West Africa through the Caribbean and American South and into the present, as a new generation of Black women artists reclaim the banjo as their own. |
|
 | | Real Life |
|
| Socialized Streaming |
| by Liz Pelly |
| A case for universal music access. |
|
 | | Kyle Chayka Industries |
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| The digital death of collecting |
| by Kyle Chayka |
| How platforms mess with our tastes. |
|
 | | Cocaine & Rhinestones |
|
| White Lightning |
| by Tyler Mahan Coe |
| CR018/PH04: Ever wonder why so many people will never trust the government or politicians Ever wonder if the "moonshine" you can now buy in liquor stores is really moonshine? "White Lightning" was George Jones' first #1 country record, sure, but it's also the cork in a jug of profoundly strong history. |
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| i can take you for a ride |
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|
 | | Vulture |
|
| What Reckoning? |
| by Andrea Williams |
| Country music is exactly where it was a year ago, when the dam on the industry's ocean of racism supposedly broke. Duh. |
|
 | | the tris mccall report |
|
| Misrecognitions: On Morgan Wallen and Elvis Costello |
| by Tris Mccall |
| You might see Morgan Wallen as a s***-kicking Appalachian analogue to Elvis Costello in the late '70s: a talented, opinionated, red-assed guy with an urge to provoke that often outpaces his desire to entertain. |
|
 | | Ludwig van Toronto |
|
| Why Do People Cough At Concerts? |
| by Anya Wassenberg |
| And can they be stopped? |
|
 | | POLITICO |
|
| How Harry Reid, a Terrorist Interrogator and the Singer From Blink-182 Took UFOs Mainstream |
| by Bryan Bender |
| The hidden history of how Washington embraced a fringe field of science. |
|
 | | Atlas Obscura |
|
| How Louis Armstrong Shaped the Sound of Ghana |
| by Laura Kiniry |
| You can still hear echoes of the trumpeter's 1956 visit in Accra's clubs today. |
|
 | | The Atlantic |
|
| The Song That Sold America to a Generation of Asian Immigrants |
| by Jason Jeong |
| John Denver's "Take Me Home, Country Roads" had an unlikely resonance across Asia 50 years ago. Today his ode to West Virginia conjures a different type of longing. |
|
 | | CDM Create Digital Music |
|
| The Prince symbol has been salvaged from a 1992 floppy disk |
| by Peter Kirn |
| Prince was way ahead of non-fungible tokens - with a symbol that was intended to make life a pain-in-the-a** for the record label. (Non-f***able totem?) And now Anil Dash and Limor Fried/Adafruit have brought back that image from a floppy. |
|
 | | The New York Times |
|
| The Britney Spears Transcript, Annotated: 'Hear What I Have to Say' |
| by Julia Jacobs and Sarah Bahr |
| In a 23-minute speech, the singer said she desperately wants to end her conservatorship, calling it an abusive system in which she was drugged and forced to work against her will. |
|
 | | Stratechery |
|
| Non-Fungible Taylor Swift |
| by Ben Thompson |
| When it comes to a world of abundance the power that matters is demand, and demand is driven by fans of Taylor Swift, not lawyers for Big Machine or Scooter Braun or anyone else. |
|
 | | The Washington Post |
|
| Our biggest pop stars keep falling for lowercase letters (AND CAPS LOCK, TOO) |
| by Chris Richards |
| These stylizations may have seemed superficial and annoying at first, but now that we've stared at them long enough, our listening experience is beginning to change — and in ways that vary from artist to artist, song to song. |
|
 | | The Bitter Southerner |
|
| Southern Hustle: Houston Hip-Hop and Chinese Chicken |
| by Alana Dao |
| Timmy Chan's fried chicken is legendary in the Houston hip-hop world. Alana Dao delves into the restaurant chain that her grandparents started in the 1950s, and the emergence of chop suey and chopped and screwed. |
|
 | | Complex |
|
| How Drill Music Took Over Chicago--and Was Almost Forced Out |
| by Andre Gee |
| Chicago drill was one of the most thriving (and influential) rap scenes in the country, until local officials and police tried to force it out of the city. |
|
 | | Dweller |
|
| Techno is Black, Tekkno is German |
| by Deforrest Brown Jr. |
| There was no human or culture attached to the electronic rhythm and soul music that Germany's "no future generation" experienced, and this anonymity and detached quality would be a key feature of how the Berlin underground rave culture would peel apart the layers of the third wave, Black technological music and drape over it the diplomatic logos of German intellectualism. |
|
 | | Longreads |
|
| But Who Tells Them What To Sing? |
| by Adrian Daub |
| And thus another Hollywood tradition was born: film choruses belting out perfectly nonsensical prose with utter conviction. |
|
 | | Los Angeles Times |
|
| 'The screen door slams, Mary's dress...' waves? Sways? An investigation into The Boss' mystery verb |
| by Rob Tannenbaum |
| Twitter can't agree on whether Bruce Springsteen sings 'waves' or 'sways' on his 1975 classic, 'Thunder Road.' Turns out, Springsteen isn't sure either. |
|
 | | The New Statesman |
|
| "I didn't want anyone to know it was me": on being Joni Mitchell's "Carey" |
| by Kate Mossman |
| For 50 years, the "mean old daddy" immortalised in one of Mitchell's best-loved songs has been an enigma. Now he tells his side of the story. |
|
 | | The Undefeated |
|
| You don't know the half of it: The family that gave us Anderson .Paak |
| by Dwayne Bray |
| From the Great Army Swap to white-collar crime, here is the full story of .Paak's family — from the reporter who used to live next door. |
|
 | | NPR Music |
|
| The Fellowship of the Rockers |
| by Ann Powers |
| How did we get stuck with the idea that four white guys make a rock band? |
|
 | | The Ringer |
|
| Music Copyright in the Age of Forgetting |
| by Nate Rogers |
| In the post-"Blurred Lines" legal landscape, artists like Lorde are treading extra carefully when their music ends up sounding similar to someone else's. But our brains can't be trusted to notice when we steal an idea--and the problem is likely getting worse. |
|
 | | Slate |
|
| Why the Year's Most Popular Song Never Went to No. 1 |
| by Chris Molanphy |
| The DaBaby controversy offered an accidental experiment in what so-called cancellation would do to a very popular song—Dua Lipa's "Levitating." |
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