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The Rundown: Please, For The Love Of God, Release ‘F9’ On New Year’s Eve
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Author/Historian Thomas Frank On Why The Democratic Party Needs To Reclaim Populism From Republicans
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MyCover: Killian Hayes Followed His Own Path
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Anthony Davis Tells Us What He Learned From His First Championship With The Lakers
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Talib Kweli & Mannie Fresh Talk The Cash Money Story, Lil Wayne, Scott Storch
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Lil Keed, NLE Choppa, And More React To Busta Rhymes’ Classic ‘Put Your Hands Where My Eyes Could See’ Video
HUF’s Keith Hufnagel In His Final Video Interview — From NYC Skater To Streetwear Icon
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2019 Uproxx Music Critics Poll
Falling In Love With Taylor Swift’s ‘Lover’
December 20, 2019
by:
Caitlin White
Why 100 Gecs Deserves To Be Taken Seriously
December 20, 2019
by:
Joshua Minsoo Kim
Charli XCX’s ‘Charli’ Is A Pop Album For The People
December 20, 2019
by:
Julia Gray
Rapsody Explains Why It Was Important For Her To Speak For Black Women On ‘Eve’
December 20, 2019
by:
Aaron Williams
The Bravery And Dynamism Of Black Womanhood Was On Display In 2019’s Best Music
December 19, 2019
by:
Andre Gee
Lana Del Ray’s ‘Norman F*cking Rockwell’ Is A Disillusioned Vision Of Americana
December 19, 2019
by:
Arielle Gordon
Vampire Weekend’s ‘Father Of The Bride’ Was The Adult Pop Album That 2019 Needed
December 19, 2019
by:
Matthew Perpetua
The Most Acclaimed Music Of 2019 Was Obsessed With The Apocalypse
December 19, 2019
by:
Steven Hyden
On ‘Igor,’ Tyler The Creator Let Go Of The Past And Made His Best Album Yet
December 19, 2019
by:
Karas Lamb
How Five Months On The Appalachian Trail Changed The Way I View Year-End Lists
December 19, 2019
by:
Grayson Haver Currin
The 2019 Uproxx Music Critics Poll
December 19, 2019
by:
Philip Cosores
Sharon Van Etten’s ‘Remind Me Tomorrow’ Feels Miraculous To Even Exist
December 19, 2019
by:
Michael Tedder
