Amanda Petrusich on “chill” as a music genre, the saturation of chill playlists on Spotify, SoundCloud rap, and the personalized soundscapes from the German app Endel.
Carrie Battan writes about the surprising, genre-busting success of the song “Old Town Road,” by the nineteen-year-old rapper Lil Nas X.
Katy Waldman on how former Vice-President Joe Biden’s long-held reputation of incurring into personal space may hinder his Presidential aspirations in the #MeToo era.
Emily Lordi writes on Aretha Franklin and the film “Amazing Grace,” directed by Sydney Pollack, which documents the recording of her live 1972 gospel album, at the New Temple Missionary Baptist Church, in Los Angeles.
Moeko Fujii writes on the use and meaning of dancing in the films of the French director Claire Denis.
Carrie Battan writes about the rising music star Dominic Fike, a twenty-three-year-old who embodies the future of pop music in the streaming era.
Nikil Saval reviews “The Value of Good Design,” a small display of goods currently on show at the Museum of Modern Art.
Larry Wolff writes about attending a performance of Guiseppe Verdi’s “La Forza del Destino,” at the Royal Opera House, in London, during a week of demonstrations against Brexit.
Alex Ross reviews Shoshana Zuboff’s “The Age of Surveillance Capitalism,” which explains how Big Tech came to dominate our lives.
Sasha Frere-Jones writes about the Rolling Stones’s Altamont Speedway concert, which resulted in the murder of Meredith Hunter and is the subject of a new photo book by the photographer Bill Owens, “Bill Owens: Altamont 1969.”