Pop

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Taylor Swift’s Fearless Redux Is Both Business Stunt and Conceptual Art

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Lana Del Rey’s Latest Is an Uneven Portrait of Her Glamorous Malaise

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This Year, the Grammys Were Actually … Good?

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Should We Be Worried About Billie Eilish?

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The Problem With Framing Britney Spears

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Why Olivia Rodrigo’s “Drivers License” Had the Biggest Debut Since “WAP”

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The 2020 Songs That Had Me Dancing on My Own

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America Spent 2020 Retreating Into the Sounds of the Past

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Taylor Swift’s Evermore: A Track-by-Track Review

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The Great New Book About the Year That Changed Pop

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The Best Albums of 2020

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How BTS Made History With the First Korean-Language No. 1

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Ariana Grande Resigns—Gracefully, and Thirstily—From Meaning Too Much

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Why BTS’s “Dynamite” Is the First K-Pop Song to Top the U.S. Charts

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The Dirtiest Hot 100 No. 1s of All Time Before “WAP”

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Why Harry Styles Just Scored His First No. 1 Song

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Taylor Swift Finally Figured Out the Streaming Era

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K-Pop Has Always Been Political

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