Singer Janelle Monáe’s first full-length album in five years, “Dirty Computer,” takes an explicit look at sexual expression and female identity.
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When Will Hip-Hop Have Its #MeToo Reckoning?
It has already, time and time again.
Living to Tell About It
Struggling with trauma, sexual objectification, and self-harm, the teenage T Kira Madden found salvation in her close relationships with other young women.
Missy Elliott’s “Supa Dupa Fly” Came From the Future
The second installment in The New Yorker‘s new interactive music series about individual works explores the way Elliott’s 1997 hit album reimagined hip-hop, R&B, videos, fashion, and black female identity, and why its futuristic vision continues to influence listeners.
Sign O’ The Times: Paisley Park Offers A Public Tour
At Paisley Park, the most palpable feeling isn’t of Prince, it’s of loneliness.
Finding the Soundtrack to My Desert Life
In the ’90s, discovering the music of Friends of Dean Martinez helped Aaron Gilbreath stop running and appreciate life in his native Arizona.
Wait, What?
It’s surprising when stodgy institutions award progressive artists, and surprises, even good ones, are alarming — so we immediately burden the winners with the weight of symbolism.
Irvine Welsh on Brexit, Existential Panic, and His Latest ‘Trainspotting’ Sequel
“The books from ‘Trainspotting’ onwards have been about deindustrialization … the cruel existential panic that we feel, in the sense that we don’t really know what we’re here for anymore.”
‘I Love What Human Voices Do Together’: An Interview with Neko Case
Neko Case talks about collaboration, women warriors, women inventors, men with excellent falsettos, losing her home to a fire, and feeling lucky in ‘a great sea of loss.’
Don’t Come Around Here No More
Tom Petty’s psychedelic Alice in Wonderland video reminded one woman of the way sexual harassment shaped her adolescence and made her want to disappear.
