Who’s Afraid of A.I. Music?
When the rapper Fenix Flexin débuted a new accent on his single “Rubberz,” he stumbled into a century-old fight over musical fraudulence. Kelefa Sanneh reports.
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When the rapper Fenix Flexin débuted a new accent on his single “Rubberz,” he stumbled into a century-old fight over musical fraudulence. Kelefa Sanneh reports.
Daniel Immerwahr on “Supremacy,” by Nikolas Bowie and Daphna Renan, and its argument that the Supreme Court should be stripped of one of its defining powers.
John Updike, Jonathan Franzen, Denis Johnson, Roger Angell, Aharon Appelfeld, Rebecca Mead, Susan Sontag, Amitav Ghosh, and Donald Antrim respond to the 9/11 terrorist attacks.
So far, the proliferation of A.I. models such as Claude and ChatGPT hasn’t led to mass displacement of workers. But deployment is accelerating and economic pressures are rising. John Cassidy writes.
Cressida Leyshon interviews the writer Hisham Mataer about “New Shows,” his story from the September 14, 2026, issue of The New Yorker.
Fiction by Hisham Matar, the author of “The Return” and “My Friends”: My life in London, the life I had cobbled together with the barest of routines, grew thin and unconvincing. It now seldom felt real.
Louisa Thomas on the N.B.A.’s investigation into Kawhi Leonard and the Los Angeles Clippers, which found that the team circumvented the salary cap.
Daysi González, who works to elect Democrats, is gearing up to leave the U.S. as soon as this month. She wants her own party to pay attention, Jesús Rodríguez writes.
The comedians Harris Alterman and Dave Ross have been putting up posters for fake tech products across the city, including a wearable grandpa, underwear that thinks, and A.I. cutlery. Bruce Handy reports.
There comes a moment, looking at the artist’s dense worlds, in a new exhibit at the Whitney, when the eye stops decoding and the mind begins to surrender. Doreen St. Félix writes.
Michael Schulman writes about the Netflix series“Famous Last Words”—which just released its Gloria Steinem episode. The show’s subjects can finally speak freely, knowing that the interview won’t co...
Jesse Dougherty on the football culture at Oberlin College and how it reflects the sport’s fanfare in America.
Justin Chang reviews “Hope,” a thriller by the Korean director Na Hong-jin, starring Hwang Jung-min, Zo In-sung, Cameron Britton, Alicia Vikander, and Michael Fassbender.
Also: Harry Styles takes up residence at M.S.G., “Paranormal Activity” terrifies Broadway, Dakota Fanning and Jake Johnson star in a new movie, and more.
In her final essay, Gloria Steinem writes about what she meant when she called herself a feminist.
Richard Brody reviews the film “By Any Means,” directed by Elegance Bratton and starring Giancarlo Esposito, Yahya Abdul-Mateen II, and Mark Wahlberg.
Ruth Marcus writes about the Supreme Court’s emergency-docket decisions to allow Donald Trump’s ballroom to be built and mail-in ballots to be restricted to eligible voters.
Eren Orbey writes that both the prosecution and the defense tried to tell tidy stories, but five weeks of testimony from more than eighty witnesses couldn’t resolve the central mystery of Clancy’s state...
A coterie of advisers, planners, and architects is enabling the President’s passion project—renovating D.C. in his own image, Antonia Hitchens writes.
A new run of books embrace the literary potential of underground electronic music, Robert Rubsam writes.
Brady Brickner-Wood writes about the proliferation of A.I.-generated images of food, and what they reflect about the history of food photography and television.
Élite crews of firefighters in Alaska, Montana, Idaho, and other Western states parachute into remote areas, work to contain dangerous blazes, and bushwhack back to safety. M. R. O’Connor reports.
Sixty years after renouncing modernity, the writer is still contemplating a better way forward, Dorothy Wickenden writes.
This passionate melodrama by Satyajit Ray, about middle-class men on a heedless spree in a rural village, is a panorama of social inequities, Richard Brody writes.