#music-conflict

#music-conflict

Rutgers professor Eric Blanc noted that the war is unpopular, with under 40 percent of Americans backing it. 'Why then has there been so little collective protest against the US-Israel offensive?' he asks.

I love reading about bands. I've read the AllMusic reviews of my favorite albums multiple times over. If my Apple Music selection has a writeup to go with, I'll read it. And I can read a good band book in a matter of hours. I'm not a professional nostalgia whore, but reading about these bands really does put me back in that time, and in that headspace. Like the music itself! I can't get enough of that particular high.

R&B in the 21st century has been in a constant state of flux, tugged between safe traditionalism and blurry attempts at progression. For the last decade-plus that "progression" has seen R&B music become more indebted to trap records and the moody atmospherics of alternative bands like Radiohead, Coldplay, or My Bloody Valentine.

We demand that the amateurs in control of the ICE social media account take it down. It ain't funny, this song means a lot to us and other people, and you don't get to appropriate it without a fight. Also, go f- yourselves... Radiohead

The category's been going around social media for a bit, but there's even a domain exclusively for Cigarette Mom Rock. There, the meaning of the genre is described as a "feminine counterpart to 'divorced dad rock,'" but is also meant to conjure up images of your own hard-working '90s mom, driving you to baseball practice with the windows down and a cigarette in one hand.

Today every senator, every single one, will pick a side: Do you stand with the American people who are exhausted of forever wars in the Middle East? Or stand with Donald Trump and Pete Hegseth as they bumble us headfirst into another war?

First, they take up It Was Just an Accident, the Cannes Palme d'Or-winning film by Iranian filmmaker Jafar Panahi. Inspired in part by Panahi's own experience being imprisoned for critiquing the Iranian government, his new film-made in secret from the regime- holds back little in its sharp political critique, rage, and... a surprising amount of comedy. Not surprising in its amount of comedy- but maybe in its frequently anti-authoritarian politics-is Mel Brooks: The 99 Year Old Man!

On Jan. 28, 2026, Bruce Springsteen released "Streets of Minneapolis," a hard-hitting protest against the immigration enforcement surge in the city, including the killings of Renee Good and Alex Pretti. The song is all over social media, and the official video has already been streamed more than 5 million times. It's hard to remember a time when a major artist has released a song in the midst of a specific political crisis.

When Norman Sylvester was 12, long before he garnered the nickname "The Boogie Cat" or shared a stage with B.B. King, he boarded a train in Louisiana and headed west, toward the distant city of Portland, Oregon. He'd lived all his life in the rural South, eating wild muscadine grapes from his family's farm, fishing in the bayou and churning butter at the kitchen table to the tune of his grandmother's gospel singing.

Bad Bunny's Super Bowl halftime show has drawn criticism from the country's top Republican: Donald Trump said it was "one of the worst, EVER!" in a post on Truth Social. Strong words from the president - but this isn't the first time a musician has drawn ire from right-wing politicians and conservatives. Stars like Lady Gaga, Cardi B, Taylor Swift, Beyoncé, and Bruce Springsteen have riled up conservatives, often over progressive themes or sexual lyrics in their music.

We demand that the amateurs in control of the ICE social media account take it down. It ain't funny, this song means a lot to us and other people, and you don't get to appropriate it without a fight. Also, go fuck yourselves.

ICE killed another American citizen on Saturday, so here's a list of five anti-ICE songs you can listen to right now. As music journalists we often struggle with how to respond to tragedies like this one. I don't have unreleased facts to share, or some vast network of activists to call upon. What I do have is my anger, alongside decades of practice working through difficult emotions with music.

Video of the fatal incident Saturday showed Pretti facing off with federal agents holding an iPhone then being thrown to the ground and beaten by around six or seven men. A first shot is then fired before at least nine more and Pretti falls still. It is not clear from the footage which agent fired the first shot, or the ones that ultimately killed Pretti.

He sings the names of the dead haltingly, as though he is reading them off a screen-which, judging from the recording-studio footage in the song's lyric video, he probably is. The song is about the news, but it is also, perhaps unintentionally, about the moment of lag when we absorb the names and images, when we try to assimilate atrocity into narrative.

In early January, at the Shrine Auditorium in Los Angeles, a concert benefit for Palestine and Sudan conjured all the fury of an acoustic night at the local coffee shop. Musicians played stripped-down songs on a stage decorated with rugs, floor lamps, and couches. Members of the audience, mostly 20-somethings and teens, leaned in and filmed intimate performances by their favorite cult artists.

Each had one of the letters of the PMRC (Parents Music Resource Center) painted on their chest a committee led by the wives of American politicians that advocated censoring song lyrics because they believed rock music supported and glorified violence, drug use, and suicide. The musicians remained impassive and as naked as the day they were born for 15 minutes.

Rows of field laborers hacking at sugar cane with machetes. Workers in harnesses dangling from power poles as lights strobe, then black out. The man who's arguably the biggest global pop star today weaving among them, rapping, singing, dancing, and interacting with tableaux of daily life and social issues from his Puerto Rican homeland and its diaspora. Not to mention the whole hemisphere's troubled relationship with the U.S. of A.

"When I read the fine print, it was 'an experience with REO Speedwagon's music.' It's none of the original members," Fletcher recalls. "I don't want to promote the show unless it's the real thing. I don't know why you would want to see that. It's just a cover band. To me, that's a little bit strange." He adds, with a sigh, "If there are no original members, who cares?"

Don't say you were not warned: stories, both in print and broadcast, are already being prepared about the 50th anniversary of punk rock. Indeed, 1976 saw the release of debut albums by the Sex Pistols, the Ramones, the Damned, and the first version of Blank Generation, Richard Hell's anthem. Of course, there are also nitpicky arguments for rejecting 1976 as the annus mirabilis.

Recorded with producer Shawn Everett (Kacey Musgraves, The War on Drugs) at Hollywood, California's famed EastWest Studios' Studio Three, the album sees frontman Jim James delivering stripped down renditions of MMJ favorites and solo tracks, including "I'm Amazed," "State of the Art," and "Here in Spirit." Alongside these are covers of Bob Dylan ("Blowin' in the Wind"), Brian Wilson ("Love and Mercy"), The Velvet Underground ("I Found a Reason"),

I've just given a keynote presentation at Lines of Flight: Improvisation, Hope and Refuge, a conference hosted by the International Institute for Critical Studies in Improvisation. I'd been invited to talk about my performance research with D&aacutelava, a cross-genre project that is influenced by animist, Slavic cosmology and a land-based folk song tradition that has been in my family for generations.