Rolling Stoneの March 2026 の目次

HILARY! GORILLAZ! ROBYN! RANDOM NOTES Hilary Duff on surviving child stardom and her honest new LP (p.11). We rank Nicole Kidman’s most delightfully batty TV roles (p.14), and trace the history behind Ryan Murphy’s American Love Story: John F. Kennedy Jr. and Carolyn Bessette (p.14). Kim Gordon breaks down her second act (p.16). A Minnesota rapper recounts his arrest at an ICE protest (p.20). Still 400 hosts Juvenile and Mannie Fresh share the secrets of a great podcast (p.24). Gorillaz discuss the grief fueling their ninth album (p.26). “We’re human beings saying, ‘Stop killing us.’ It’s crazy that’s a political statement.”RAPPER NUR-D NATIONAL AFFAIRS Political columnist Matt Bai examines how a forgotten 1967 novel by Norman Mailer, Why Are We in Vietnam?, offers insight into Donald Trump’s foreign-policy pursuits, including…

As a former child star, Hilary Duff is often asked how she turned out OK. Maybe it’s because of the 38-year-old actress-singer’s self-described “trad wife” tendencies: She’s happiest at home in Los Angeles, tending to her four children and her backyard chickens, making sourdough bread and crocheting. But the reality is more complicated. “It’s easy to look at me from the outside and be like, ‘She’s so balanced and grounded,’” she says over Zoom. “But there’s been a lot of ups and downs and struggles.” She answers the same question with her first album in more than a decade, Luck … or Something. The title derives from the synth-heavy stunner “Adult Size Medium,” where she sings, “How did we get here?/Was it luck or something?” “I am happy with who…

You might think you know Kim Gordon. After all, she’s been a rock legend for more than four decades now, since rising out of the New York punk underground in the band Sonic Youth. She became a feminist icon, helping to inspire the Nineties riot-grrrl revolution. She’s got laurels she could rest on. But listen to her amazing new Play Me and the question can’t be avoided: What if Kim Gordon is just getting started? After Sonic Youth broke up in 2011, Gordon focused on her early vocation of visual art while playing in the experimental noise duo Body/Head. But she took a bold leap in 2016, teaming up with L.A. producer Justin Raisen. It was a collaboration that raised eyebrows, since he’s best known for working with pop artists…

There are few things more enjoyable to a Deadhead than going deep on the intricacies of their live shows: the set lists, the solos, the strange time signatures, and the amorphic grooves. John Mayer, who joined Dead & Company in 2015 on guitar and vocals, is here for it all — as a fan, and as a friend to the late Bob Weir. Mayer took his responsibility as a steward for the Grateful Dead’s canon of timeless songs seriously. As Dead & Company evolved, it was about establishing trust with the man to Mayer’s left. “You give someone your wallet, and they give it back to you enough times where all your money is still in it, you stop checking the wallet,” he says in his signature banter. “Bob was…

Sad but true: You either die a hipster, or live long enough to see yourself become a Deadhead. We’ve all seen it happen. Hell, many of us have seen it in the mirror — the Grateful Dead are like the dire wolf, waiting outside your door, ready to pounce when you least expect it. I remember a time when I didn’t give a wharf rat’s ass about this band. What a joke: the jams, the hippie hordes, the drugs, the Bobby shorts, the drum solos, the whole aura of mystic pomposity. No band embodies so many sarcastic punch lines, and they’re all true. You remember the old Deadhead joke: What has 59 fingers and can’t sing? I miss the days when I could snicker at this band from a safe…

Back in 2016, Bob Weir had an out-of-body experience as John Mayer, Oteil Burbridge, and the rest of Dead & Company were about to play. “Suddenly I was 20 feet behind my own head, looking at this and kind of happy with the way the song was shaping up,” he told Rolling Stone’s David Fricke. “I started looking around, and it was 20 years later. John’s hair had turned gray. Oteil’s had turned white. I looked back at the drummers, and it was a couple of new guys. I looked back at myself, the back of my head, and it was a new guy. It changed my entire perception of what it is we’re up to.” In other words, he envisioned Dead & Company carrying on after Mickey Hart, Bill…

Robyn’s Blunt Tales of Grown-Up Freedom ROBYN Sexistential YOUNG Robyn has already lived so many lives. The Swedish teen-pop ingenue who blew up worldwide in the 1990s. The rebel dance-floor auteur who went her own way in the 2000s. The mysterious cult hero. The queer icon. The pop queen. The disco poet who did for stilettos and broken bottles what Stevie Nicks did for landslides. But these days, Robyn’s more excited about the lives she still has in front of her. She’s back with her first album in eight years, Sexistential, and as you can guess from the excellent title, she’s not exactly playing coy. She’s got sex on the brain — the adult kind, with her midlife hormones raging away. As she boasts, “My body’s a spaceship, with the…

“I’m an emotional wreck, in the best way.” In the Broadway play Every Brilliant Thing, you star as a man who makes a list of reasons to live. What would be on your list? Most of mine at the moment would probably be about my son — all the bizarre pronunciations he has for things. I took him to [the live monster-truck show] Monster Jam, and there’s a truck that’s a unicorn, and it shoots confetti out of its horn. I heard him telling that story later, and he referred to the confetti as “spaghetti.” Also, his godfather gave him a little toy-car model of a Lamborghini, which he has remembered as “zucchini.” So there’s any number of just incredibly sweet things that he says. I’d also say the music…

BEN FONG-TORRES Writer Ben Fong-Torres is just as deeply entrenched in Rolling Stone’s history as the Grateful Dead. A San Francisco native and one of the most famous Rolling Stone editors of all time (he gets a spotlight moment in Almost Famous, played by Terry Chen), Fong-Torres covered everything about the Dead, “from busts to anniversaries,” as he puts it, going all the way back to 1967, and wrote Grateful Dead Scrapbook: The Long Strange Trip in Stories, Photos, and Memorabilia in 2009. In this special issue, he returns to our pages for a touching write-up of Bob Weir’s memorial in San Francisco (p.56). “What a generous gentleman he was,” Fong-Torres says of Weir, remembering a quote the guitarist gave to Suzanne Joe Kai for her documentary Like a Rolling…

On a recent Tuesday afternoon, Johnny Knoxville stood on a concrete retaining wall and surveyed the expansive scene before him. There were smatterings of desert bloom. There were patches of rocky soil and scruffy brush. There were tantalizing pockets of cactuses. But mostly, there was a vertiginous drop-off, the steepest of slopes careening down to six-lane La Brea Avenue, where Los Angeles traffic zoomed by at an unholy clip. It was, in other words, a tempting locale in which to insert a human being into a barrel and roll said barrel down the hill. Or, better yet, a porta-potty! An inflatable sumo-wrestler suit? A human hamster wheel? The possibilities were endless, but— ● “Face me a little more,” instructed a photographer, perhaps interrupting Knoxville’s reverie. “Let the sunlight come on…

LET THERE BE SONGS TO FILL THE AIR The death of the Grateful Dead’s Bobby Weir on Jan. 10 dealt music fans everywhere a heavy blow they didn’t expect. For myself, and our editorial staff, the loss also led us to reflect on the incredible 60-year legacy of a band so deeply tied to the history of Rolling Stone that this magazine owes some of its very existence to their music. Bobby — that’s how he was known to those who loved him, both near and far — by virtue of being the “rhythm” guitarist in the Dead, was the band’s heart. Sure, eyes were on Jerry Garcia’s skillful fret work, but discerning ears were attuned to the groove, be it Phil Lesh’s serpentine runs, drummers Mickey Hart and Bill…

At a recording studio in Woodstock, New York, Bob Weir was in the midst of making Blue Mountain, a 2016 collection of newfangled cowboy ballads that spoke to one of the Grateful Dead singer-guitarist’s passions, when he paused between takes. Turning to one of the studio’s employees, he said, “I need you to go to the hardware store. We’re going to need a 10 — make it a 15 — pound sledgehammer.” Producer Josh Kaufman had dealt with plenty of requests from musicians in the past, but nothing quite like this. “We’re all like, ‘What the fuck is going on?’” he recalls. Everyone learned soon enough when the tool arrived. Stepping outside, Weir — in white yoga pants and a blue tank top, his hair and bushy beard pepper-gray —…

Chloe Weir got her first camera, a Polaroid, when she was seven, and she’d often bring it on tour with her dad. Around 2020, she became the official photographer for Dead & Company, capturing Bobby, his bandmates, and their fans on her Sony A7 III. “I was like, ‘I’ll do it!’” Chloe told Rolling Stone in 2024. “My dad loves that I get to do what I love, alongside him doing what he loves. We get to be, at the end of the day, working together.” Here are some of her favorite photos of her dad over the years.…

Eric Perardi paced toward the terrace of Garbo’s seafood restaurant in north Austin with a Bible he hadn’t planned to buy. Perardi had arrived early for a meeting with a friend. He’d seen the Bible at the secondhand bookstore on his way over and bought it on a whim. Later, he’d reflect it was to bring him strength for what he was about to hear. It was a mild morning in October 2022, and as Perardi approached the terrace, he saw that his friend, Kota Youngblood, sat at one of the tables, a Diet Coke perspiring beside him. Youngblood was tall and imposing, with a paunch and black hair that framed pale skin. He was dressed in black, with military tattoos on his arms, and the white athletic tape that…