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“Throughout my life, I’ve been judged because I’ve been labeled a pretty girl,” says Saweetie. But like a diamond, Saweetie is equal parts strength and beauty. She’s also multifaceted, with the chameleonic ability to toggle between her roles as a musician, glamorous fashionista, athletic MVP and tomboy, actress on TV show Grown-ish, branding whiz, CEO, and activist in an instant.⁠ ⁠ Tap the link in our bio to read more.⁠ ⁠ Photo by Samuel Trotter for Rolling Stone⁠ ⁠ #RSFutureOfMusic

“Throughout my life, I’ve been judged because I’ve been labeled a pretty girl,” says Saweetie. But like a diamond, Saweetie is equal parts strength and beauty. She’s also multifaceted, with the chameleonic ability to toggle between her roles as a musician, glamorous fashionista, athletic MVP and tomboy, actress on TV show Grown-ish, branding whiz, CEO, and activist in an instant.⁠ ⁠ Tap the link in our bio to read more.⁠ ⁠ Photo by Samuel Trotter for Rolling Stone⁠ ⁠ #RSFutureOfMusic

“Throughout my life, I’ve been judged because I’ve been labeled a pretty girl,” says Saweetie. But like a diamond, Saweetie is equal parts strength and beauty. She’s also multifaceted, with the chameleonic ability to toggle between her roles as a musician, glamorous fashionista, athletic MVP and tomboy, actress on TV show Grown-ish, branding whiz, CEO, and activist in an instant.⁠ ⁠ Tap the link in our bio to read more.⁠ ⁠ Photo by Samuel Trotter for Rolling Stone⁠ ⁠ #RSFutureOfMusic

A tour of Lyor Cohen’s career can be taken, rather efficiently, through the sheer number of rap lyrics in which he appears. The tally of recording-studio references to the 61-year-old label titan includes Pusha T’s “tell Lyor I need a million for my monologues,” Kanye West’s slightly phonetically misaligned “the Lyor Cohen of Dior Homme,” and, of course, Mos Def’s more oblique “some tall Israeli is running this rap shit.”⁠ ⁠ Cohen (who is, for reference, 6’5″) cuts a formidable presence in the music industry, physically or otherwise. Born in 1959 to Israeli immigrants and raised in Los Angeles, he was siren-songed into music around age eleven — “the beat came and my jaw crashed. I physically swallowed the beat, and it went inside me,” he recalls — and jetted off to New York after graduating college to work for Russell Simmons, which plopped him into a job managing Run-DMC on tour. By the Eighties and Nineties, he was shepherding LL Cool J and Public Enemy and running Def Jam, the crème de la crème of hip-hop labels. He would go on to make a C-suite victory lap of the music industry, serving as chairman and chief executive of Warner Music Group, co-founder of 300 Entertainment, father of the infamous “360 record deal,” and, currently, head of music at YouTube.⁠ ⁠ Characterized by record producer Irv Gotti as the “coolest white dude in the game” and by Ja Rule as “kind of gangster, man,” the present-day Cohen spoke with Rolling Stone for the Last Word interview from his home, where he has bunkered down in Covid-19 lockdown alongside his wife and newborn.⁠ ⁠ Tap the link in our bio to read more.⁠ ⁠ Illustration by Mark Summers for Rolling Stone⁠ ⁠ #RSFutureOfMusic

A tour of Lyor Cohen’s career can be taken, rather efficiently, through the sheer number of rap lyrics in which he appears. The tally of recording-studio references to the 61-year-old label titan includes Pusha T’s “tell Lyor I need a million for my monologues,” Kanye West’s slightly phonetically misaligned “the Lyor Cohen of Dior Homme,” and, of course, Mos Def’s more oblique “some tall Israeli is running this rap shit.”⁠ ⁠ Cohen (who is, for reference, 6’5″) cuts a formidable presence in the music industry, physically or otherwise. Born in 1959 to Israeli immigrants and raised in Los Angeles, he was siren-songed into music around age eleven — “the beat came and my jaw crashed. I physically swallowed the beat, and it went inside me,” he recalls — and jetted off to New York after graduating college to work for Russell Simmons, which plopped him into a job managing Run-DMC on tour. By the Eighties and Nineties, he was shepherding LL Cool J and Public Enemy and running Def Jam, the crème de la crème of hip-hop labels. He would go on to make a C-suite victory lap of the music industry, serving as chairman and chief executive of Warner Music Group, co-founder of 300 Entertainment, father of the infamous “360 record deal,” and, currently, head of music at YouTube.⁠ ⁠ Characterized by record producer Irv Gotti as the “coolest white dude in the game” and by Ja Rule as “kind of gangster, man,” the present-day Cohen spoke with Rolling Stone for the Last Word interview from his home, where he has bunkered down in Covid-19 lockdown alongside his wife and newborn.⁠ ⁠ Tap the link in our bio to read more.⁠ ⁠ Illustration by Mark Summers for Rolling Stone⁠ ⁠ #RSFutureOfMusic

A tour of Lyor Cohen’s career can be taken, rather efficiently, through the sheer number of rap lyrics in which he appears. The tally of recording-studio references to the 61-year-old label titan includes Pusha T’s “tell Lyor I need a million for my monologues,” Kanye West’s slightly phonetically misaligned “the Lyor Cohen of Dior Homme,” and, of course, Mos Def’s more oblique “some tall Israeli is running this rap shit.”⁠ ⁠ Cohen (who is, for reference, 6’5″) cuts a formidable presence in the music industry, physically or otherwise. Born in 1959 to Israeli immigrants and raised in Los Angeles, he was siren-songed into music around age eleven — “the beat came and my jaw crashed. I physically swallowed the beat, and it went inside me,” he recalls — and jetted off to New York after graduating college to work for Russell Simmons, which plopped him into a job managing Run-DMC on tour. By the Eighties and Nineties, he was shepherding LL Cool J and Public Enemy and running Def Jam, the crème de la crème of hip-hop labels. He would go on to make a C-suite victory lap of the music industry, serving as chairman and chief executive of Warner Music Group, co-founder of 300 Entertainment, father of the infamous “360 record deal,” and, currently, head of music at YouTube.⁠ ⁠ Characterized by record producer Irv Gotti as the “coolest white dude in the game” and by Ja Rule as “kind of gangster, man,” the present-day Cohen spoke with Rolling Stone for the Last Word interview from his home, where he has bunkered down in Covid-19 lockdown alongside his wife and newborn.⁠ ⁠ Tap the link in our bio to read more.⁠ ⁠ Illustration by Mark Summers for Rolling Stone⁠ ⁠ #RSFutureOfMusic

Musicians dip into the movie industry all the time; the opposite is more of a rarity, for whatever reason. But for filmmaker Lena Waithe, who grew up on Nineties R&B and counts Erykah Badu, Brandy, and Prince among her idols, the two businesses have always been an obvious pairing. Waithe — an Emmy-winning screenwriter, actor, and co-creator of shows including 'Master of None,' 'The Chi,' and 'Them,' all of which have been noticed for their thoughtful music choices — just announced a record label, Hillman Grad Records, which will be run under a joint venture with Def Jam; the industry-hopping star can now add “label boss” to her belt of titles.⁠ ⁠ Tap the link in our bio to read more.⁠ ⁠ Photo: Andrew Spear/The New York Times/Redux⁠ ⁠ #RSFutureOfMusic

Musicians dip into the movie industry all the time; the opposite is more of a rarity, for whatever reason. But for filmmaker Lena Waithe, who grew up on Nineties R&B and counts Erykah Badu, Brandy, and Prince among her idols, the two businesses have always been an obvious pairing. Waithe — an Emmy-winning screenwriter, actor, and co-creator of shows including 'Master of None,' 'The Chi,' and 'Them,' all of which have been noticed for their thoughtful music choices — just announced a record label, Hillman Grad Records, which will be run under a joint venture with Def Jam; the industry-hopping star can now add “label boss” to her belt of titles.⁠ ⁠ Tap the link in our bio to read more.⁠ ⁠ Photo: Andrew Spear/The New York Times/Redux⁠ ⁠ #RSFutureOfMusic

Musicians dip into the movie industry all the time; the opposite is more of a rarity, for whatever reason. But for filmmaker Lena Waithe, who grew up on Nineties R&B and counts Erykah Badu, Brandy, and Prince among her idols, the two businesses have always been an obvious pairing. Waithe — an Emmy-winning screenwriter, actor, and co-creator of shows including 'Master of None,' 'The Chi,' and 'Them,' all of which have been noticed for their thoughtful music choices — just announced a record label, Hillman Grad Records, which will be run under a joint venture with Def Jam; the industry-hopping star can now add “label boss” to her belt of titles.⁠ ⁠ Tap the link in our bio to read more.⁠ ⁠ Photo: Andrew Spear/The New York Times/Redux⁠ ⁠ #RSFutureOfMusic

Even if you understand ranked-choice voting, explaining it can be difficult. We decided to break down the complicated voting system with something that’s a little easier to get your head — or hands — around: delicious ice cream.

Even if you understand ranked-choice voting, explaining it can be difficult. We decided to break down the complicated voting system with something that’s a little easier to get your head — or hands — around: delicious ice cream.

Even if you understand ranked-choice voting, explaining it can be difficult. We decided to break down the complicated voting system with something that’s a little easier to get your head — or hands — around: delicious ice cream.

When the musical 'In the Heights' debuted in 2008, it was considered a triumph of Latin American story-telling. Written by Lin-Manuel Miranda, who is of Puerto Rican and Mexican descent, it brought the barrio to Broadway and centered Latino immigrants building a community in New York “north of 96th street” so their children could chase the American Dream. The plot is centered around Usnavi (originally played by Miranda himself), the son of Dominican immigrants, who runs the family bodega but dreams of something bigger.⁠ ⁠ The movie version of the Tony Award–winning show hit theaters and HBO Max last week to largely positive reviews and praise for its three-dimensional portrayals of Latin-American characters, not to mention its ambitious full-cast musical numbers. A majority-Latino cast carries the film, starring actors like Anthony Ramos, a star of Miranda’s other Broadway blockbuster, Hamilton, who is of Puerto Rican descent, playing Usnavi; Mexican TV actress Melissa Barrera; and Bronx-born bachata singer Leslie Grace, who is of Dominican descent. At the same time, many viewers have expressed disappointment at a lack of Afro-Latino representation in the cast, especially among lead characters.⁠ ⁠ The homogenous representation of Latinos on the big screen stems from a larger issue.⁠ ⁠ Tap the link in our bio to read more.

When the musical 'In the Heights' debuted in 2008, it was considered a triumph of Latin American story-telling. Written by Lin-Manuel Miranda, who is of Puerto Rican and Mexican descent, it brought the barrio to Broadway and centered Latino immigrants building a community in New York “north of 96th street” so their children could chase the American Dream. The plot is centered around Usnavi (originally played by Miranda himself), the son of Dominican immigrants, who runs the family bodega but dreams of something bigger.⁠ ⁠ The movie version of the Tony Award–winning show hit theaters and HBO Max last week to largely positive reviews and praise for its three-dimensional portrayals of Latin-American characters, not to mention its ambitious full-cast musical numbers. A majority-Latino cast carries the film, starring actors like Anthony Ramos, a star of Miranda’s other Broadway blockbuster, Hamilton, who is of Puerto Rican descent, playing Usnavi; Mexican TV actress Melissa Barrera; and Bronx-born bachata singer Leslie Grace, who is of Dominican descent. At the same time, many viewers have expressed disappointment at a lack of Afro-Latino representation in the cast, especially among lead characters.⁠ ⁠ The homogenous representation of Latinos on the big screen stems from a larger issue.⁠ ⁠ Tap the link in our bio to read more.

When the musical 'In the Heights' debuted in 2008, it was considered a triumph of Latin American story-telling. Written by Lin-Manuel Miranda, who is of Puerto Rican and Mexican descent, it brought the barrio to Broadway and centered Latino immigrants building a community in New York “north of 96th street” so their children could chase the American Dream. The plot is centered around Usnavi (originally played by Miranda himself), the son of Dominican immigrants, who runs the family bodega but dreams of something bigger.⁠ ⁠ The movie version of the Tony Award–winning show hit theaters and HBO Max last week to largely positive reviews and praise for its three-dimensional portrayals of Latin-American characters, not to mention its ambitious full-cast musical numbers. A majority-Latino cast carries the film, starring actors like Anthony Ramos, a star of Miranda’s other Broadway blockbuster, Hamilton, who is of Puerto Rican descent, playing Usnavi; Mexican TV actress Melissa Barrera; and Bronx-born bachata singer Leslie Grace, who is of Dominican descent. At the same time, many viewers have expressed disappointment at a lack of Afro-Latino representation in the cast, especially among lead characters.⁠ ⁠ The homogenous representation of Latinos on the big screen stems from a larger issue.⁠ ⁠ Tap the link in our bio to read more.

Alex Hall (@musicbyalexhall) is the latest artist to take part in Rolling Stone’s “In My Room” series, but where Hall broadcasts from isn’t actually a room at all: It’s the back bed of a full-size #Tundra planted in a parking lot outside of Nashville, TN. @ToyotaUSA⁠ ⁠ Tap the link in bio to find out why.

Alex Hall (@musicbyalexhall) is the latest artist to take part in Rolling Stone’s “In My Room” series, but where Hall broadcasts from isn’t actually a room at all: It’s the back bed of a full-size #Tundra planted in a parking lot outside of Nashville, TN. @ToyotaUSA⁠ ⁠ Tap the link in bio to find out why.

Alex Hall (@musicbyalexhall) is the latest artist to take part in Rolling Stone’s “In My Room” series, but where Hall broadcasts from isn’t actually a room at all: It’s the back bed of a full-size #Tundra planted in a parking lot outside of Nashville, TN. @ToyotaUSA⁠ ⁠ Tap the link in bio to find out why.

Jack Antonoff goes deep on the new Bleachers album, befriending Bruce Springsteen and helping craft modern classics with Taylor, Lorde and Lana.⁠ ⁠ Tap the link in our bio to read.⁠ ⁠ Photo by @eriktanner for Rolling Stone

Jack Antonoff goes deep on the new Bleachers album, befriending Bruce Springsteen and helping craft modern classics with Taylor, Lorde and Lana.⁠ ⁠ Tap the link in our bio to read.⁠ ⁠ Photo by @eriktanner for Rolling Stone

Jack Antonoff goes deep on the new Bleachers album, befriending Bruce Springsteen and helping craft modern classics with Taylor, Lorde and Lana.⁠ ⁠ Tap the link in our bio to read.⁠ ⁠ Photo by @eriktanner for Rolling Stone

The biggest companies in music agree: Streaming manipulation, a practice that falsely inflates artists’ stream counts and reduces payouts for smaller acts, must be stopped.⁠ ⁠ In the summer of 2019, the industry’s power players united to sign a code of conduct condemning streaming manipulation, a practice that inflates artists’ numbers on platforms like Spotify and Apple Music and potentially reduces payouts for smaller acts. The efforts to combat this “unfortunate blight” — as many refer to it — have largely fallen to the global nonprofit International Federation of the Phonographic Industry (IFPI), a global nonprofit group representing the interests of the music business, and to Melissa Morgia, its acting director of global litigation. IFPI has pursued legal action in Germany and Brazil over the past 18 months, managing to shut down more than a dozen sites that make it as easy to buy artificial streams as it is to order a new T-shirt.⁠ ⁠ Tap the link in our bio to read more about Melissa Morgia, from our Future 25 collection.⁠ ⁠ Photo: Peter Landers⁠ ⁠ #RSFutureOfMuisc

The biggest companies in music agree: Streaming manipulation, a practice that falsely inflates artists’ stream counts and reduces payouts for smaller acts, must be stopped.⁠ ⁠ In the summer of 2019, the industry’s power players united to sign a code of conduct condemning streaming manipulation, a practice that inflates artists’ numbers on platforms like Spotify and Apple Music and potentially reduces payouts for smaller acts. The efforts to combat this “unfortunate blight” — as many refer to it — have largely fallen to the global nonprofit International Federation of the Phonographic Industry (IFPI), a global nonprofit group representing the interests of the music business, and to Melissa Morgia, its acting director of global litigation. IFPI has pursued legal action in Germany and Brazil over the past 18 months, managing to shut down more than a dozen sites that make it as easy to buy artificial streams as it is to order a new T-shirt.⁠ ⁠ Tap the link in our bio to read more about Melissa Morgia, from our Future 25 collection.⁠ ⁠ Photo: Peter Landers⁠ ⁠ #RSFutureOfMuisc

The biggest companies in music agree: Streaming manipulation, a practice that falsely inflates artists’ stream counts and reduces payouts for smaller acts, must be stopped.⁠ ⁠ In the summer of 2019, the industry’s power players united to sign a code of conduct condemning streaming manipulation, a practice that inflates artists’ numbers on platforms like Spotify and Apple Music and potentially reduces payouts for smaller acts. The efforts to combat this “unfortunate blight” — as many refer to it — have largely fallen to the global nonprofit International Federation of the Phonographic Industry (IFPI), a global nonprofit group representing the interests of the music business, and to Melissa Morgia, its acting director of global litigation. IFPI has pursued legal action in Germany and Brazil over the past 18 months, managing to shut down more than a dozen sites that make it as easy to buy artificial streams as it is to order a new T-shirt.⁠ ⁠ Tap the link in our bio to read more about Melissa Morgia, from our Future 25 collection.⁠ ⁠ Photo: Peter Landers⁠ ⁠ #RSFutureOfMuisc

RAC, born André Allen Anjos, was creating digital art well before it was cool. In May 2020, before music’s 2021 blockchain mania, the artist and producer released 100 cassette tapes that were only redeemable through the purchase of his personal crypto token. A $20 tape sold for as much as $13,000 — likely making it the most expensive cassette in history. Anjos’ first audiovisual NFT in October, a 30-second art loop, sold for $26,000. He used the smart contracts within NFTs to set a 10 percent royalty, ensuring that he’d be compensated every time they were resold.⁠ ⁠ After moving to America for college, Anjos launched a company called Remix Artist Collective (RAC) and assembled a team to remix other artists’ music for hire. A cold call led him to the Shins’ manager, who agreed to send him stems, albeit somewhat skeptically. His version of the band’s “Sleeping Lessons” took off. The business was a success, but no matter how much he pitched his team members to clients, everyone wanted “the guy who did the Shins song.”⁠ ⁠ Tap the link in our bio to read more about RAC, from our Future 25 collection.⁠ ⁠ Photo: Jules Davies⁠ ⁠ #RSFutureOfMusic

RAC, born André Allen Anjos, was creating digital art well before it was cool. In May 2020, before music’s 2021 blockchain mania, the artist and producer released 100 cassette tapes that were only redeemable through the purchase of his personal crypto token. A $20 tape sold for as much as $13,000 — likely making it the most expensive cassette in history. Anjos’ first audiovisual NFT in October, a 30-second art loop, sold for $26,000. He used the smart contracts within NFTs to set a 10 percent royalty, ensuring that he’d be compensated every time they were resold.⁠ ⁠ After moving to America for college, Anjos launched a company called Remix Artist Collective (RAC) and assembled a team to remix other artists’ music for hire. A cold call led him to the Shins’ manager, who agreed to send him stems, albeit somewhat skeptically. His version of the band’s “Sleeping Lessons” took off. The business was a success, but no matter how much he pitched his team members to clients, everyone wanted “the guy who did the Shins song.”⁠ ⁠ Tap the link in our bio to read more about RAC, from our Future 25 collection.⁠ ⁠ Photo: Jules Davies⁠ ⁠ #RSFutureOfMusic

RAC, born André Allen Anjos, was creating digital art well before it was cool. In May 2020, before music’s 2021 blockchain mania, the artist and producer released 100 cassette tapes that were only redeemable through the purchase of his personal crypto token. A $20 tape sold for as much as $13,000 — likely making it the most expensive cassette in history. Anjos’ first audiovisual NFT in October, a 30-second art loop, sold for $26,000. He used the smart contracts within NFTs to set a 10 percent royalty, ensuring that he’d be compensated every time they were resold.⁠ ⁠ After moving to America for college, Anjos launched a company called Remix Artist Collective (RAC) and assembled a team to remix other artists’ music for hire. A cold call led him to the Shins’ manager, who agreed to send him stems, albeit somewhat skeptically. His version of the band’s “Sleeping Lessons” took off. The business was a success, but no matter how much he pitched his team members to clients, everyone wanted “the guy who did the Shins song.”⁠ ⁠ Tap the link in our bio to read more about RAC, from our Future 25 collection.⁠ ⁠ Photo: Jules Davies⁠ ⁠ #RSFutureOfMusic

TikTok, says Jason Derulo, has become “an extension of my life.” When doing anything he finds interesting, he instinctively gets out his phone and begins to record. Now the vertical-video app has, in turn, birthed a whole new empire for the life that it puts on display, creating a formidable feedback loop of content.⁠ ⁠ The singer’s obsessive ethos and understanding of TikTok has led to a zany smorgasbord of content, which has given way to brand deals and viral moments galore. Derulo jumps on trends early; he’ll post videos of himself fighting giant water monsters one day, and wielding lightsabers, hitting the dougie next to his Lamborghini, or whipping up saccharinely sweet dessert recipes the next. Derulo’s 45 million and counting TikTok followers have taken him into lucrative brand partnerships with the likes of AT&T, Walmart, Got Milk, and Bounty. ⁠ ⁠ Now, Derulo is quite literally writing the book on virality: He’s publishing a title about social media strategy and creating a superhero comic book based on one of his TikTok characters.⁠ ⁠ Tap the link in our bio to read more about the musician and digital guru, from our Future 25 collection.⁠ ⁠ Photograph by Devin Christopher for Rolling Stone. Styling by Joel Desrouleaux Jr.; Grooming by Nia Hicks⁠ ⁠ #RSFutureOfMusic

TikTok, says Jason Derulo, has become “an extension of my life.” When doing anything he finds interesting, he instinctively gets out his phone and begins to record. Now the vertical-video app has, in turn, birthed a whole new empire for the life that it puts on display, creating a formidable feedback loop of content.⁠ ⁠ The singer’s obsessive ethos and understanding of TikTok has led to a zany smorgasbord of content, which has given way to brand deals and viral moments galore. Derulo jumps on trends early; he’ll post videos of himself fighting giant water monsters one day, and wielding lightsabers, hitting the dougie next to his Lamborghini, or whipping up saccharinely sweet dessert recipes the next. Derulo’s 45 million and counting TikTok followers have taken him into lucrative brand partnerships with the likes of AT&T, Walmart, Got Milk, and Bounty. ⁠ ⁠ Now, Derulo is quite literally writing the book on virality: He’s publishing a title about social media strategy and creating a superhero comic book based on one of his TikTok characters.⁠ ⁠ Tap the link in our bio to read more about the musician and digital guru, from our Future 25 collection.⁠ ⁠ Photograph by Devin Christopher for Rolling Stone. Styling by Joel Desrouleaux Jr.; Grooming by Nia Hicks⁠ ⁠ #RSFutureOfMusic

TikTok, says Jason Derulo, has become “an extension of my life.” When doing anything he finds interesting, he instinctively gets out his phone and begins to record. Now the vertical-video app has, in turn, birthed a whole new empire for the life that it puts on display, creating a formidable feedback loop of content.⁠ ⁠ The singer’s obsessive ethos and understanding of TikTok has led to a zany smorgasbord of content, which has given way to brand deals and viral moments galore. Derulo jumps on trends early; he’ll post videos of himself fighting giant water monsters one day, and wielding lightsabers, hitting the dougie next to his Lamborghini, or whipping up saccharinely sweet dessert recipes the next. Derulo’s 45 million and counting TikTok followers have taken him into lucrative brand partnerships with the likes of AT&T, Walmart, Got Milk, and Bounty. ⁠ ⁠ Now, Derulo is quite literally writing the book on virality: He’s publishing a title about social media strategy and creating a superhero comic book based on one of his TikTok characters.⁠ ⁠ Tap the link in our bio to read more about the musician and digital guru, from our Future 25 collection.⁠ ⁠ Photograph by Devin Christopher for Rolling Stone. Styling by Joel Desrouleaux Jr.; Grooming by Nia Hicks⁠ ⁠ #RSFutureOfMusic

In 'Stockholm Syndrome,' the new documentary on rapper A$AP Rocky’s 2019 fight with two men and subsequent assault trial in Sweden, the rapper recalls the moment things went from weird to surreal.⁠ ⁠ “I’m sleeping in my halfway dream,” he says in the film. “I heard my name. I kind of opened my eyes and closed my eyes again and then they said my name again. And I opened my eyes and I’m like, ‘Yo, what the fuck?’”⁠ ⁠ The “they” in question was former President Donald Trump, who took on Rocky’s case and turned the rapper’s trial — sparked by a fight between two men and him and his crew — from national music story to international cause célèbre.⁠ ⁠ Tap the link in our bio to read more.

In 'Stockholm Syndrome,' the new documentary on rapper A$AP Rocky’s 2019 fight with two men and subsequent assault trial in Sweden, the rapper recalls the moment things went from weird to surreal.⁠ ⁠ “I’m sleeping in my halfway dream,” he says in the film. “I heard my name. I kind of opened my eyes and closed my eyes again and then they said my name again. And I opened my eyes and I’m like, ‘Yo, what the fuck?’”⁠ ⁠ The “they” in question was former President Donald Trump, who took on Rocky’s case and turned the rapper’s trial — sparked by a fight between two men and him and his crew — from national music story to international cause célèbre.⁠ ⁠ Tap the link in our bio to read more.

In 'Stockholm Syndrome,' the new documentary on rapper A$AP Rocky’s 2019 fight with two men and subsequent assault trial in Sweden, the rapper recalls the moment things went from weird to surreal.⁠ ⁠ “I’m sleeping in my halfway dream,” he says in the film. “I heard my name. I kind of opened my eyes and closed my eyes again and then they said my name again. And I opened my eyes and I’m like, ‘Yo, what the fuck?’”⁠ ⁠ The “they” in question was former President Donald Trump, who took on Rocky’s case and turned the rapper’s trial — sparked by a fight between two men and him and his crew — from national music story to international cause célèbre.⁠ ⁠ Tap the link in our bio to read more.

A new episode of 'Rolling Stone Music Now' celebrates Bob Dylan’s 80th birthday, starting with a look at our definitive new list of the top 80 Dylan covers, from Jimi Hendrix’s “All Along the Watchtower” to Sam Cooke’s “Blowin’ in the Wind.” Angie Martoccio, David Browne, Andy Greene, and Simon Vozick-Levinson join host Brian Hiatt for the discussion, which includes a passionate argument over the merits of Guns N’ Roses “Knocking On Heaven’s Door” cover, a breakdown of favorite Dylan moments (his triumphant 1984 'Late Show with David Letterman' performance inevitably comes up), and more.⁠ ⁠ Tap the link in our bio to listen.⁠ ⁠ Photo: Michael Ochs Archives/Getty Images

A new episode of 'Rolling Stone Music Now' celebrates Bob Dylan’s 80th birthday, starting with a look at our definitive new list of the top 80 Dylan covers, from Jimi Hendrix’s “All Along the Watchtower” to Sam Cooke’s “Blowin’ in the Wind.” Angie Martoccio, David Browne, Andy Greene, and Simon Vozick-Levinson join host Brian Hiatt for the discussion, which includes a passionate argument over the merits of Guns N’ Roses “Knocking On Heaven’s Door” cover, a breakdown of favorite Dylan moments (his triumphant 1984 'Late Show with David Letterman' performance inevitably comes up), and more.⁠ ⁠ Tap the link in our bio to listen.⁠ ⁠ Photo: Michael Ochs Archives/Getty Images

A new episode of 'Rolling Stone Music Now' celebrates Bob Dylan’s 80th birthday, starting with a look at our definitive new list of the top 80 Dylan covers, from Jimi Hendrix’s “All Along the Watchtower” to Sam Cooke’s “Blowin’ in the Wind.” Angie Martoccio, David Browne, Andy Greene, and Simon Vozick-Levinson join host Brian Hiatt for the discussion, which includes a passionate argument over the merits of Guns N’ Roses “Knocking On Heaven’s Door” cover, a breakdown of favorite Dylan moments (his triumphant 1984 'Late Show with David Letterman' performance inevitably comes up), and more.⁠ ⁠ Tap the link in our bio to listen.⁠ ⁠ Photo: Michael Ochs Archives/Getty Images

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