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Emily Bootle is the New Statesman’s editorial assistant.
A study of 21st-century pop music by Nate Sloan and Charlie Harding allows readers to ask more of pop by explaining how popular music works, and why it matters.
The twenty-fifth letter in the New Statesman's A-Z of the decade.
The nineteenth letter in the New Statesman’s A-Z of the decade.
The seventh letter in the New Statesman's A-Z of the decade.
In an era of shrinking revenues, musicians have pivoted to writing songs for adverts, blurring the distinction between brand and art.
In the 1950s, maybe having to insist on your desire to go home ten times was normal. Now, for most people, it isn’t.
Being self-partnered rather than single creates a new status to aspire to – and a new dimension to pressurise.
The time-worn disposable cup has been accepted as a cultural reference point rather than a coldhearted business strategy, conflating consumption with tradition.
Despite denying it at the time, Pharrell says he now realises “Blurred Lines” was sexist. So why was the song such a watershed moment?
Clara Schumann is still best known as the wife of fellow composer Robert, but on the 200th anniversary of her birth she is being celebrated in her own right.