Changelog

rhapsode grows in perpetuity. This page contains a dated record of substantive changes such as new notes, real revisions to prose, and new features that are added. Mechanical fixes such as link maintenance and plumbing don’t appear here. Nothing is ever silently rewritten.

September 2026

• Sep 10 — Album notes gain a critical record beneath the chart record, first on Ray of Light: the contemporary notices with each grade as its outlet printed it, the year-end polls (Pazz & Jop above all, with points and ballots), and the retrospective canon lists drawn on one timeline — year across, rank down — so a record’s movement through Rolling Stone’s three editions of the 500 reads as a line. Folds like the blocks above it. On phones the chart record had lost its Expand and run off the page after the fold landed; fixed the same afternoon.
• Sep 12 — Genre names read in sentence case across every release note. Casing had drifted far enough that eleven album notes disagreed with themselves — Revolver gave “Pop rock, psychedelic pop” and Sgt. Pepper gave “Psychedelic pop, pop rock” — which only became visible once the shelf started printing genres under each cover. Seventy-three names came down across thirty-nine notes. What stays capitalized is what a proper noun or an acronym: Brill Building, Motown sound, Chicago soul, Christmas music, British rhythm & blues, American gamelan, Southern soul, UK street soul, Euro house, Italo house, Hi-NRG, IDM.
• Sep 12 — A record names its primary genres and stops. The search card had been taking the first three genres off a combined list, which ran past the primaries into the secondaries with nothing to mark the seam, so True Blue read as synthpop, dance-pop and freestyle with no way to tell which two were the record’s own. The albums shelf now carries the same line under each date. Erotica’s contemporary R&B moved to primary, where it belongs. The card also stopped printing the year beside the title while giving the full release date a line below it.
• Sep 12 — Erotica now says what Martin Burgoyne was diagnosed with. The sentence had him diagnosed in August 1986 and told Vanity Fair that autumn that he was in constant pain, without ever naming the illness; it was AIDS-related complex, the name given then to the stage before a full AIDS diagnosis. He died on November 30 that year, twenty days after Madonna modeled a denim jacket he had painted at a benefit for St. Vincent’s Hospital.
• Sep 11 — A song written and produced by the same people now says so once. The tracklist had been printing two lines that named the same names, so twenty-nine tracks across True Blue, Like a Prayer, Erotica and Ray of Light now read “Written and produced by” on one line; the tracks whose hands actually differ still show both. Erotica also named Madonna two ways on adjacent lines, her legal name in the writing credit and her working name in the production credit, and now names her as the rest of the shelf does. And the album covers in the search results load: they had been marked for lazy loading, which left a gray tile where the sleeve belonged.
• Sep 11 — An album now looks like an album in the search results. Typing a record’s name had been returning a wall of the chart graph’s axis labels, because the index read the data blocks as though they were prose; those blocks are out of the index, and an album result is now a card — the sleeve, the title and year, the artist, the release date and the first genres. Everything else searches as it did.
• Sep 11 — Album pages gain credits. Every track now shows who wrote it and, where it varies across a record, who produced it, in small type under the title — on Like a Prayer that is the whole division of labor at a glance, Stephen Bray on two songs, Prince on one, Patrick Leonard on the rest, and “Act of Contrition” credited to The Powers That Be. A new Credits block beneath the tracklist lists who played, who engineered and who made the sleeve, in the sleeve’s own words, folded away until asked for; the seven Madonna albums carry between fourteen and fifty people each. And a single’s video director now sits on the line under its release date in the chart record, so an album’s videos are credited beside the songs they were made for.
• Sep 11 — Erotica deepened to 4,889 words, which finishes the Madonna shelf. The record now carries the losses it was written out of — Martin Burgoyne diagnosed in 1986 and dead twenty days after Madonna modeled a jacket he had painted at a hospital benefit — and the reason the album most people stream is not the album anyone reviewed: the sticker kept it out of Kmart, so a clean thirteen-track edition was cut, and that is the one the services default to. Four corrections went in, including a picture disc the note had described as withdrawn after release and restored in 2022, which was in fact the single’s British twelve-inch, withdrawn before it ever reached shops.
• Sep 11 — Ray of Light deepened to 4,424 words, and its chart record corrected from the archive. The note said seventy-eight consecutive weeks on the Billboard 200 while its own week-by-week array held seventy-three; counting the album out of the weekly charts settles it — Billboard’s own counter runs one to seventy-eight unbroken, but the record is missing from three weeks in August 1999, so it charted seventy-eight weeks and not seventy-eight consecutive ones. The British figure was ninety-two, which matches no counter anywhere; the Official Charts Company gives a hundred and thirty-eight. Nine other corrections went in, including a recording window that contradicted the note’s own masthead and a Christgau quotation that was right in the prose and wrong in the metadata. New: the dozen radio leaks before the official add date, the Video Music Awards performance that drew a complaint from the World Vaishnava Association, and U2’s Pop one year earlier to the week, whose opening week was within six per cent of this one.
• Sep 11 — Madonna rewritten, from 2,156 words to 3,660, which finishes the three notes that needed rebuilding. The album turns out to have been called Lucky Star until four months before release, with a cover photographed by Edo Bertoglio and designed by Martin Burgoyne, her closest friend downtown, that she killed as not iconic enough. The record also did not walk into an empty field: the dance chart the week it shipped was led by Yaz on her own label, with Freeez, Donna Summer and a Bobby O production above her, and MTV gave “Burning Up” the bottom rotation tier two months after release. One invented sentence came out — the note had credited “Think of Me” with Latin-tinged percussion echoed on “Holiday,” and no carrier says anything of the kind; the Latin-disco description belongs to “Holiday” alone.
• Sep 11 — Like a Virgin rewritten, from 1,845 words to 4,065, and its account of 1984 turned around. The note had said the reviews were cool and amused; the trades were the opposite — Billboard gave it a Spotlight, Cash Box made it the lead album pick, and Brian Chin called it her fine second album and worked through it track by track. The cool notices were the rock press, and Matthew Rettenmund’s Registry essay says why: critics still warm from Disco Demolition Night found ways to review a dance record without writing that disco sucks. Also corrected: four of the nine songs are by outside writers, not two — “Dress You Up” is Andrea LaRusso and Peggy Stanziale’s, and the note had twice called it hers.
• Sep 10 — True Blue rewritten, from 1,797 words to 4,217. The record now has the position it was made from: Billboard reported that Whitney Houston had been certified at six million twelve days before it shipped, equalling and about to pass the only other album by a woman to get there, which was Madonna’s; Madonnalike was already a category noun in the trade’s dance column, and the week the album arrived, a Madonna soundalike produced by her own collaborator sat at No. 1 on the club chart. “Love Makes the World Go Round” turns out to be the first song she and Patrick Leonard finished, written at a barbecue and sung at Live Aid eleven months before the album existed. Six corrections went in with it, including three British No. 1s where the note had said two, and a Los Angeles Times link that did not resolve.
• Sep 10 — Like a Prayer rewritten properly, at nearly twice its former length. The eighteen months of silence before it now carry what the trade made of them, including Billboard calling a thirty-year-old a veteran in the week her single outdebuted every record on the chart; the Broadway year has its particulars and its pans; and the Pepsi affair is told in the order it happened, which is not the order it is remembered in — the company defended the commercial for five weeks, the boycott was called off before the ad was pulled, and the reason Pepsi gave was that nobody could tell the ad from the video. Her own account of the songs, from the Rolling Stone interview she gave that March, runs through the Music section: Sly Stone and Simon and Garfunkel in one magazine, Karen Carpenter and Nancy Sinatra in another, the same fortnight.
• Sep 10 — All seven Madonna albums gain a critical record: the notices of their own year with each grade as its outlet printed it, the Pazz & Jop placings with the poll’s points and ballots, the retrospective lists on a timeline, and the later verdicts. Read across the shelf it shows what a single note cannot. Madonna placed on no Pazz & Jop at all, in either 1983 or 1984. Erotica drew the widest spread of any of them — the Los Angeles Times at two of four in 1992, Christgau’s A a season later, Rob Sheffield’s four out of ten in the Spin guide, and Pitchfork’s nine in 2026. And where Ray of Light climbed the three editions of Rolling Stone’s 500, from 363 to 367 to 222, Like a Prayer fell through them, 237 to 239 to 331.
• Sep 10 — The critics’ lists are now kept, not looked up. A list archive holds one file per list edition with every entry it printed and a record of where and when it was read — Pazz & Jop for every year the poll’s own results pages carry, 1971 and 1974 through 2007, albums and singles with their points and ballots; Rolling Stone’s 500 in each of its three editions; NME’s 500; Pitchfork’s 1980s, 1990s and 2000s; Slant’s 1980s and 1990s; Q’s 100; Apple Music’s. A record’s standing is a question the archive answers in a second, and no page is ever fetched twice.
• Sep 10 — The tracklist and the chart record fold. Each block’s caption is now a control with a chevron: press it and the block collapses to its caption line, so a reader after the text gets there in a screen or two, and the choice is remembered across pages in that browser.
• Sep 10 — The chart-run graph is rebuilt around the way it actually stretches. The position axis now keeps its expanded look at all times, in its own pinned column, and Fit and Expand only change how far apart the weeks sit, with the toggle animating that spread sideways instead of snapping. The titles under each single’s first dot keep clear of one another, so “Oh Father” no longer disappears under “Keep It Together” on a phone; the No. 1 star in the key sits level with its label; and the axis column no longer paints over the toolbar as the page scrolls. The chart table’s sections are now headed by the chart’s own name, Billboard 200 or Hot 100, in the same small caps as the columns beside it.
• Sep 10 — The albums shelf shows one release date per record again. It had been printing every date a note’s header carried, so four Madonna albums showed two and Ray of Light showed three. The notes themselves still give every territory.
• Sep 10 — Madonna rewritten to the rhapsode standard, which finishes the shelf: eight notes, seven albums and the artist, all now sharing the same sections. The artist note gains the Music section it never had, on the voice that changed once and late, the one-a-day writing method, and the rule behind every producer hire — she takes the person running the best floor, usually years before the charts know the name.
• Sep 10 — True Blue and Like a Prayer rewritten to the rhapsode standard, which completes the seven Madonna albums. Every one now carries a Music section and a chart record built from Billboard’s own weekly charts. Reading those charts corrected the debut too: “Everybody” peaked at No. 4 on the dance chart, not the No. 3 that gets repeated, which is the “Burning Up” twelve-inch’s peak.
• Sep 10 — Madonna and Like a Virgin rewritten to the rhapsode standard, with the Music sections both notes lacked. The Like a Virgin one corrects the record’s own legend: the Chic rhythm section plays on four of its nine tracks and the other five are drum-machine records, which the sleeve says and the received story does not. Quotation on the two notes falls from 23 and 35 percent to 7 and 7.
• Sep 10 — Chart records for Madonna, Like a Virgin and True Blue, each with the week-by-week runs of the album and its singles in both countries, read from Billboard’s own weekly charts. The debut turns out to have spent 165 unbroken weeks on the Billboard 200, and the Official Charts page has “Like a Virgin” entering Britain at No. 51 rather than the No. 5 usually reported.
• Sep 10 — Ray of Light rewritten to the rhapsode standard, the third note to get it: a lead, the standard sections, and a Music section built from the published scores and the 1998 reviews, which shows the record is slower than its reputation. Its Background now carries what the trade papers actually said: three months before the album was finished, exactly two electronica albums sat on the whole Billboard 200. Quotation is down from 29 percent of the note to 13.
• Sep 10 — Tracklists no longer print vinyl sides for records most people bought on compact disc. Erotica, Bedtime Stories and Ray of Light now run as one continuous list; records through the 1980s keep their sides, because side one ending is a fact of how they were heard.
• Sep 10 — Ray of Light gains its chart record, with the week-by-week runs of the album and all five singles in both countries. Reading Billboard’s own weekly charts settles the peak of “The Power of Good-Bye” at No. 11, where the secondary sources disagreed.
• Sep 10 — Cover art, theme colors and full genre lines for Like a Virgin, True Blue, Like a Prayer and Ray of Light.
• Sep 10 — Erotica now links the explicit edition throughout, so the tracks play as recorded and “Did You Do It?”, which the clean edition drops altogether, has a link at last.
• Sep 10 — The top bar is readable in dark mode on a phone again. On album notes it was painting itself with the cover’s pale wash while the wordmark, node mark and menu button stayed pale too, which measured 1.2 to 1 against it and left the bar effectively invisible; in dark mode it now takes the dark page ground, measuring 10 to 1 and better. The desktop rail already did this.
• Sep 10 — The chart graphs’ Fit and Expand now animate. The box eases between the two heights over four tenths of a second and the arriving plot fades up with it, instead of the views swapping on a single frame. Reduced-motion settings skip straight to the new view.
• Sep 10 — Erotica is dressed: cover art, the white and blue theme sampled from it, and the full genre line.
• Sep 9 — Erotica rewritten to the rhapsode standard, the second note to get it: a lead in place of the opening quotation, the epithet headers replaced with the standard sections, a Music section that names what the record sounds like and the genres of the tracks that leave the album’s own, quotation cut from a third of the note to an eighth, and a full chart record with the week-by-week runs of the album and all five singles in the United States and Britain. Its MTV story is corrected too: the “Erotica” video was not banned outright but premiered at midnight, restricted, pulled after three airings, and restored seventeen days later behind a warning.
• Sep 9 — The chart-run graphs gain a Fit / Expand control on the time axis: collapsed the whole run fits the column, expanded the weeks spread out and the graph scrolls sideways with the position axis pinned beside it, so a forty-eight-week run can be read week by week on a phone.
• Sep 9 — The chart record gains chart-run graphs: week by week, the album’s Billboard 200 run and the singles’ Hot 100 runs on a chart toggle (UK Albums and UK Singles on the country toggle), No. 1 at the top, a dot per week with the date and position on hover or tap, a star for every week at No. 1, and each title under its first dot. The positions come from Billboard’s own weekly charts, now archived in the repository so no chart week is ever fetched twice, and from the Official Charts Company’s run pages.
• Sep 9 — The chart record on Bedtime Stories is now one table with its columns aligned, a US / UK toggle so only one country’s figures show at a time, and each single’s release date set under its title, with territory and dating notes as a small popover on the date.
• Sep 8 — Bedtime Stories rewritten as the first note to the new rhapsode standard: a lead that states what the record is and how it did, standard sections a reader can scan, the Letterman appearance set off as a story panel, and a chart-record block under the tracklist that carries the album’s and singles’ debuts, peaks, and weeks at peak, with their sources. Two features ship with it: the story panel and the chart record.
• Sep 7 — Ray of Light finishes the Madonna run through the nineties: the record told from the grease-pencilled keys and the Atari that caught fire in the room at Larrabee — Nowels’ three-to-seven sessions, the DAT she answered in five days, the Sanskrit and the Gap ad and the 1971 folk song the words came from, the Belgian judge who banned it, and the same Rolling Stone critic who called Orbit’s bleeps rinky-dink in 1998 and the album of a lifetime in 2018. Every quotation checked at its carrier.
• Sep 7 — Bedtime Stories takes the Madonna shelf into the mid-nineties: the record told from the Letterman dressing room forward — her own words on dropping Pettibone, the lyric-sheet sessions and Babyface on a voice she had never used that way, “Human Nature” as the answer she said it was, the London demo that named the album, and the 1994 reviews’ retreat-or-answer question set against the one critic who heard both.
• Sep 7 — Erotica opens the nineties shelf: the album that began with Madonna saying “I hate them” to a set of finished-sounding songs, then got made on an eight-track in her producer’s apartment where the demos stayed the record — Dita arriving in the mix, André Betts’s hole-in-the-wall sessions, an AIDS elegy on side four, and the reviews it actually got, which were far better than the ones everyone remembers.
• Sep 7 — Like a Prayer closes the eighties run: the album that arrived smelling of patchouli with an AIDS card in the sleeve — Leonard’s “divorce album,” the nine players in the room for “Oh Father” and the two that made “Promise to Try,” Andraé Crouch’s choir vetting the lyrics before it sang them, and the Pepsi affair set beside the tidier version she tells now.

August 2026

• Aug 31 — True Blue completes the day’s pair: the third album told from the kept demo vocal down — the one-a-day sessions that made her a co-producer on every track, the Papa Don’t Preach storm with all its voices on the record, the reject-pile songbook, the first American album to enter the UK chart at No. 1, and Blue Thursday through the Guinness line for best-selling album by a woman.
• Aug 31 — Like a Virgin joins the Madonna shelf: the second album told from the Stein letter up — the vineyard lyric and the demo the label called bizarre, the Power Station sessions with the Chic rhythm section cut live to a digital chain, the song Rodgers hated for four days, the winter that gave her a first No. 1 single and album back to back, and the wannabe panic that ends, forty years on, in the National Recording Registry.
• Aug 28 — One menu now, everywhere: the categories are the same set of coloured pills whether you open them from a note or pull up the menu on the home screen. Everything is one tap away and nothing is hidden behind a scroll.
• Aug 28 — Madonna opens the Madonna album shelf: the debut told from the singles deal up — the Casiotone cassette behind “Lucky Star,” Reggie Lucas’s sessions and the Jellybean finish that rebuilt them, “Holiday” arriving through two refusals and a Friday deadline, and the fifteen-month climb from a club record to No. 8.
• Aug 27 — The Warehouse joins the VENUES, built on the City of Chicago’s own landmark report: Robert Williams’s US Studios parties and the West Loop chosen for safety and volume, the four-dollar members-only juice bar with no closing time, the Richard Long sound system, the free-for-all that ended the Knuckles years, and the room’s long second act — endangered in 2022, landmarked in 2023, and given its Englewood Arts Collective plaque at a 2024 block party with the founder among the hosts.
• Aug 27 — Frankie Knuckles joins the PRODUCERS: the Continental Baths apprentice who gave Chicago five years and stayed to name a genre’s room — the reel-to-reel surgeries, the 909 Derrick May drove down wrapped in a towel, the Def Mix decade from “Tears” to “The Whistle Song,” the first Grammy ever given a remixer, and the White House letter his family received when he died.
• Aug 27 — House joins the GENRES as the EDM branch’s trunk: the name that got there first — a tavern sign, a record bin, a room on South Jefferson Street — then the practice becoming product through Trax and D.J. International, the 303’s beautiful accident, the British crossing, and the family the first room seeded from deep house to ballroom.
• Aug 27 — The EDM branch gets its own wing and its Chicago shelf: the family now files under GENRES/DANCE/EDM/ with room for House and its children, and Do You Remember House? joins the LIBRARY — Salkind’s Chicago telling, where house’s first-decade crossover made the music a shared archive and its queer Black and Latino makers hold the center of the remembering.
• Aug 27 — About becomes a set of doors rather than one long scroll: tap a topic — what rhapsode is, how it’s organized, what it isn’t — and it opens in place. The eight note families are now colour-coded rows you can open one at a time, instead of a table that never fit a phone. The last places the old name survived have been swept.
• Aug 27 — The site takes its name: the wordmark now reads rhapsode, and the name carries through the About card, the atlas popups, and everywhere the site introduces itself. Light is properly the default again — an embedded graph had been quietly saving its own dark theme into every visitor’s browser, and anyone it caught is reset on their next visit.
• Aug 26 — “Vogue” joins the SINGLES with a six-version crate: the $5,000 B-side that became the best-selling single of 1990, the Harlem ball dance that reached the charts first in “Deep in Vogue,” the all-Pettibone version suite from 7″ to QSound, and the quarter-second of Salsoul brass that ended up defining American sampling law.
• Aug 24 — Madonna joins the ARTISTS: the whole career as one long conduit between the dance floor and the mainstream — the faceless “Everybody” sleeve, the producer chain from a Danceteria DJ booth to SOPHIE, the ballroom question held open in bell hooks’s own terms, and the nineties given their full weight from the Letterman cigar to the Maida Vale attic.
• Aug 24 — Introspective joins the ALBUMS: the Pet Shop Boys album planned at twelve-inch length from the start — an opera singer sings “house” as its first word, Frankie Knuckles and a Sterling Void cover carry Chicago into a No. 2 British pop record, and the singles were edits cut down afterward.
• Aug 22 — Pet Shop Boys join the ARTISTS: the duo that ran pop’s hierarchy backward — a Smash Hits editor and an architecture student who apprenticed to Bobby O, got rebuilt by Stephen Hague, and then made the twelve-inch the primary text, from Disco’s printed BPMs to Introspective, where the album track is the club mix and the single is the edit-down.
• Aug 21 — Shep Pettibone joins the PRODUCERS: the KISS-FM mastermixer who took the Salsoul chair after Moulton, Gibbons, and Levan, hid behind the Mastermix Productions credit, rebuilt Madonna’s singles from the voice up, co-wrote “Vogue” in a $5,000 closet-booth session — and walked away mid-nineties to run an Asbury Park hotel and the nightclub that helped revive the town.
• Aug 21 — “Go Bang! #5” gets its number back: the single now carries the title as Sleeping Bag printed it, on its own page and everywhere it’s shelved.
• Aug 20 — The Disco family completes its European wing: Euro-disco (Munich’s six-word No. 1, the Frankfurt hoax, the Paris opus), Space disco (Meco’s Star Wars conversion, the helmet dodge, the cosmic-disco fence), and Italo-disco (the ZYX sticker, the broken-English export economy, and the Chicago purchase from Importes Etc. to Derrick May) all join the GENRES.
• Aug 20 — Sylvester joins the ARTISTS and Salsoul Records joins the LABELS: the falsetto that insisted on being real, from the Palm Lane choir through the Opera House to the will that funds AIDS charities still — and the label that put the first twelve-inch on sale, raided Philadelphia’s orchestra, and kept the DJ booth on staff from Gibbons to Levan to Pettibone.
• Aug 20 — Electronic Dance Music opens as the umbrella between the Dance and Electronic families, with The Underground Is Massive on its shelf beside Energy Flash: the EDM 1 sleeve joke of 1980, the Chicago and Detroit birth certificates, Storm Raves and the Furthur campouts, the boom the industry branded and the bust the name outlived — and Electro-disco and Hi-NRG re-rooted under the new umbrella per RYM’s own tree.
• Aug 20 — Release titles now read naturally everywhere: index pills and search say Abbey Road (1969) and “I Feel Love” (1977), the home graph drops the year prefixes and sets album titles in italic, and double A-sides join with a slash — “Strawberry Fields Forever” / “Penny Lane.”
• Aug 20 — “I Feel Love” joins the SINGLES with rhapsode’s second crate: six versions from the 5:53 album cut to the 1995 Manifesto remixes, the flipped-B-side origin, the world chart run, and the covers from Bronski Beat to Beyoncé.
• Aug 20 — Giorgio Moroder joins the PRODUCERS, the career told whole: Ortisei to the Munich basement, the three-Oscar film act from Midnight Express to Top Gun, the cars-and-neon fallow years, and the Daft Punk rescue that put him in a DJ booth at seventy-three.
• Aug 20 — No wave joins the SCENES, filed as a scene per RYM’s own ruling, with Masters - No Wave on the shelf beside it: four refusals told band by band, the BANDS at Artists’ Space festival and the fight over Eno’s four-band cut, the women who ran half the instruments, the Super 8 film wing, Tier 3, and the noise exit through Branca’s ensembles to Sonic Youth.
• Aug 19 — Walter Gibbons joins the PRODUCERS: the first DJ remixer told whole — Galaxy 21’s after-hours booth, the $185 “Ten Percent” session, the born-again conversion that set him against his own records, the Arthur Russell collaborations, and the quiet 1994 end the reissues answered.
• Aug 19 — Hi-NRG follows as Electro-disco’s child: Patrick Cowley’s city-college lab training and hand-played pulses, Bobby O’s one-man New York assembly line, the Saint under its planetarium dome, the epidemic told as the genre’s own history, and the Stock Aitken Waterman second life.
• Aug 19 — Electro-disco joins the Disco children: the second-basement method told at session level — Wedel’s track-16 sync, Bogart’s three edits — the French auteurs Cerrone and Space, Cowley’s bootleg “I Feel Love,” and a genre named backward from the collectors’ shelves.
• Aug 17 — Funk joins the R&B family at full depth — James Brown’s One told at session level, Larry Graham’s thumb, the P-Funk cosmology and its Smithsonian Mothership, Dayton’s engine rooms, and the G-funk genome — with the Vincent shelf behind it and funk wikilinked across thirty notes.
• Aug 17 — Boogie arrives, the second Disco child: the R&B mainline of disco’s afterlife — Prelude, West End, and SAM, Leroy Burgess crowned king from Harlem, and a genre named backward from London by the collectors who refused to stop playing it.
• Aug 17 — François Kevorkian joins the PRODUCERS: the drummer hired to play along with Walter Gibbons’s records at Galaxy 21, Prelude’s two-records-a-week assembly line, the decade Kraftwerk and Depeche Mode flew their masters to, and the Sunday answer — Body & Soul and Deep Space. The remix told as a fifty-year career.
• Aug 15 — The Crate goes live: “Go Bang!” arrives as the first SINGLE carrying it — one row per unique mix of the record, drawers with the verified-vs-open seams, your own stars and notes, and a blend desk that grades every pairing by pitch ride and key. The note tells the 1979 session, Kevorkian’s mix, and the forty-year relay of hands on the same reels.
• Aug 14 — The downtown cluster: Mutant disco (ZE, 99 Records, the Russell wing), Arthur Russell at full length, and the Downtown scene itself — the convergence SCENE note, Mudd Club to the Roxy — with the two Lawrence shelves behind them, Life and Death on the New York Dance Floor and Hold On to Your Dreams; The Loft, the Garage, CBGB scene, Dance, Disco, Sampling, and Love Saves the Day all rewired to the new pages.
• Aug 14 — Philadelphia soul wing: the Philadelphia soul GENRE note (the elevator to the fire, ~3,000 words) and Jackson - A House on Fire on the shelf; nine notes rewired to the new child (Disco, Dance, R&B, Soul, Pop soul, Motown sound + reciprocals, the Four Tops, Smokey Robinson, The pop factory’s new PIR paragraph); Earl Young’s RYM placeholder resolved; two Spaghetti western corrections.
• Aug 7 — Two wings in one day. Hauntology arrives: the genre note, Lost futures, the Ghosts of My Life and Retromania shelves, and Music Has the Right to Children. And disco gets its due: Disco itself, Disco Demolition, Donna Summer, the Paradise Garage and Studio 54, with the Hot Stuff and Turn the Beat Around shelves behind them.
• Aug 5 — Find a note on the map: type a name and the matching nodes stay lit while the rest of the graph recedes, then pick one and the view flies to it. On the home graph and the full-screen one.

July 2026

• Jul 29 — Every single now names its parent album — each one verified, three proving to be true non-album singles — and five releases wear chosen cover themes, Rubber Soul with a fresh scan of its cover.
• Jul 28 — Shared links render a proper card again — cover, credits, metadata that fits — and on the ALBUMS shelf every artist name now links to the artist’s own note.
• Jul 25 — The film-music corridor opens: Bernard Herrmann, Ryuichi Sakamoto, Curtis Mayfield, The song in film, Modern classical, the Cooke film-music shelf, and Apollo: Atmospheres and Soundtracks.
• Jul 21 — The Atlas becomes the PLACES front door: the map is the landing itself, scenes pin beside venues (CBGB scene, Greenwich Village folk scene), and full screen is one toggle away.
• Jul 20 — New York, drawn: the Atlas arrives — every note carrying coordinates becomes a pin, with neighborhood stories and a time machine — and Classical joins as the seventeenth family.
• Jul 20 — Ambient 1: Music for Airports joins the shelf; PLACES opens its first rooms, CBGB and The Loft; and LIBRARY titles read as citations everywhere — works in italics, essays in quotes — across the graph, the search, and the shelf.
• Jul 19 — Ambient, the sixteenth family: the Ambient umbrella with the Toop, Szabo, Sheppard, and Eno-diary shelves — and Brian Eno joins the ARTISTS.
• Jul 18 — Electronic, the fifteenth family: the Electronic umbrella and five new shelves in the LIBRARY.
• Jul 16 — Punk, the fourteenth family: Punk, Punk rock, Proto-punk, and the CBGB scene — a stage, never a sound.
• Jul 13 — The door opens wider: an About · Contact · Feedback triad on every sidebar, a contact card (reach the Listener, join Continuing Education, or introduce yourself as a contributor), and feedback freed from the settings menu.
• Jul 13 — The Welcome takes over the front door, replacing the old About text. Notes now carry a “Last revised” date at their foot, and this changelog opens.
• Jul 12 — Pentatonic and blues scales rewritten top to bottom: a new Smokestack Lightnin’ opening, every riff claim verified against the records.