Noah Berlatsky

Is the gender of the philosopher a marginal curiosity—or is it more central?

These covers remind us of the lengthy, rich—but often obscured—history of female songwriters.

Their sexuality traps and destroys male innocence, as they grad hold, by the penis- the better to lead him to castration. Make no mistake that castration is greeted with fear, terror, and disgust—but also with glee. Women as super villains allow their characters to be super powerful; a force for evil is at least a force. In a media landscape where women are often rendered secondary, invisible, and passive, the femme fatale, in her icy violence, seizes female agency along with the phallus that she so efficiently cuts off.

Genre boundaries are conscious of race—and, in the case of rock, conscious of gender too.

David Ress' Aphexswift is genius precisely because it's so unlikely.

Critics say call-out culture is mean-spirited and bullying. Not so fast.

To understand this debate, it's important to consider historical context.

The founder of the brilliant fyeahblackrockmusic Tumblr talks racial politics, Kelis, and . . . the Doobie Brothers?

Rather than seeing Beyoncé's sexual performance as linked to destruction, we can consider whether eroticism might be an alternative to violence.

Illicit passions aren't less enjoyable because they're illicit. Quite the contrary.