Jia Tolentino writes on the uptick in uncanny or unpleasant things being described on Twitter, Reddit, and other social-media platforms as having “cursed energy,” a phrase that has come to signify anxiety and malaise. --- These are quite obviously cursed times: Donald Trump is somehow still the President; more than a quarter of the birds in North America have disappeared since 1970; and children keep having to take to the streets to plead with our lawmakers to protect their lives. But it is hard—given the sheer extent of what is crumbling around us, and also the natural limits of our individual scopes of vision—to take in the fullness of contemporary cursedness all at once. It’s easier, perhaps, to see dread in individual objects: an eBay listing for a Sonic costume photographed on a child-size mannequin; a drawing of Mickey Mouse with a flesh-colored skull, holding a black, ear-shaped cap; a photo of a brick of ramen being cooked in Mountain Dew.

Death and surrender to power in the clothing of men. [...] All of this—skulls, trucks, flags, guns—form the edges of a commodified, weaponized identity. [...] Those same political and market forces have successfully rebranded the American flag as both consumer product and cultural signifier. Merchandizing and uniformed services have considerably shifted associated symbolism away from a (debatable) neutrality toward a fully masculinized, militarized icon eager to make way for an authoritarian future. The breakdown governing its authorized use asserts that allegiance is above its own laws (and flag code). The incremental push remove color [from the flag] extends far beyond its obvious symbolic value. It’s no stretch to see how emphasis on rigidity and lack of depth helps reframe any spectrum as weakness: vibrancy, nuance, interpretation are signs of vulnerability.

His politics, to the extent that they’ve ever been legible, have always been off-the-rack big city tabloid bullshit—crudely racist exterminate the brutes/back the blue authoritarianism in the background and ruthless petty rich person squabbling in the front. His actions since becoming president have been those of a dim, cruel child playacting at being a powerful man—giving orders without quite knowing what they mean or how they might be carried out, taunting enemies, beating up the people he can afford to beat up without having to be called to account for it, lying as needed or just for yuks. He hasn’t changed a thing since graduating from punchline to president. It’s been clear for decades that Trump was both an asshole and a dummy; this is now a problem not just for the odd unlucky cocktail waitress and his staff of cheesy apparatchiks but for literally every person on earth.

Japan made itself rich in its industrial era by selling things like cars, TVs, and VCRs, but it made itself loved in those Lost Decades by selling fantasies. Hello Kitty, comics, anime, and Nintendo games were the first wave—“the big can-opener,” as the game designer Keiichi Yano put it. Now those childhood dreams haven given way to a more sophisticated vision of a Japanese life style, exemplified in the detached cool of Haruki Murakami novels, the defiantly girly pink feminism of kawaii culture, the stripped-down simplicity of Uniqlo, the “unbranded” products of Muji, and the Japanese “life-changing magic” of Marie Kondo. That these Japanese products are so popular, not only in America but in developed nations around the world, may indicate that we’re all groping for meaning in the same post-industrial haze.

Kanye West’s obsession with the fashion industry is an important one and his comments must play out on a world stage. While seemingly humorous, in fact, they highlight the very real barriers between what is and is not considered fashion.

this isnt just about Kimmel and Kanye it's about who gets to be a creative genius in America and who we'd rather see as a clown

There's something taunting and mean about the soul samples on Yeezus; they are like nightmare versions of West’s earliest work.

The early history of MTV, with parallels to modern technology movements.

…a series of small case studies of a handful of characters whose work then, and perspective now, sheds light on how the foods are created and sold to people who, while not powerless, are extremely vulnerable to the intensity of these companies’ industrial formulations and selling campaigns.

Our society can't help becoming increasingly nostalgic when constantly bombarded with images remembered from our own lost youths. So a cyclic spiral is created, in which public demand increasingly opts for revivalism in place of new work, because information providers are more than happy to keep their costs low by keeping our attention focused on the past.

‘”What To Expect” is, then, finally, a self-fulfilling prophesy, because what to expect as an expectant mother today is to be bombarded with information about how you are doing it wrong—whether it is carrying a baby in your womb, pushing it out, or raising it.’

‘In terms of its America-sized grandeur and its fixation with the emptiness of dreams, Born to Die attempts to serve as Del Rey's own beautiful, dark, twisted fantasy, but there's no spark and nothing at stake.’

‘Rooney was an unremarkable, cranky bore whose bitching about simple annoyances struck a nerve with other aging white people who were frightened by or opposed to change.’

‘If we stop looking to the past, we might realize that we’re living in a golden age of music listening and discussion. The Internet has enabled more people to hear more music than at any point in human history. More people are writing about music than ever — on websites, on personal blogs and Facebook pages.’

“It’s a portrait of two black men thinking through the idea of success in America; what happens when your view of yourself as a suppressed, striving underdog has to give way to the admission that you’ve succeeded about as much as it’s worth bothering with; and how much your victory can really relate to (or feel like it’s on behalf of) your onetime peers who haven’t got a shred of what you’ve won. It’s not a topic that deserves to be scrubbed up, either; there are things about Kanye’s tiresome self-involvement and moody debauchery — the way he sounds like some sullen hip-hop emperor, stalking around the crumbling gilded palace of his own psyche, muttering angrily and getting aggressive with the help — that belong in any such portrait.”

“And if you want to talk about pop music between 1980 and now, that issue—the question of who’s singing and who’s being sung to—is an important one. The study assumes that hit singles in the eighties and hit singles in the new millennium play the same role in our culture. But over the past 30 years, the weekly charts have seen changes a lot more significant than any surge of ego. It’s not just that pop’s audience has changed; it’s that its whole purpose has.”

“A writer’s search for journalism in the age of branding.” In which Maureen Tkacik engages in a number of jobs she wouldn’t otherwise take to explore them journalistically and try to get at the heart of the ‘nothing economy’. This is a great piece, and I think the reactions (in the comments and in my knee, occasionally) questioning her ‘legitimacy’ and hypocrisy illuminate the very problem she’s talking about. I think the idea of injecting a journalist experience into a piece are wonderful, because so-called straight journalism is often a myth and because it can make the writing and reading better.

Nitsuh explores the Black Eyed Peas iPad app, and why so much party pop music — which is so often aspirational — has been sounding “rote and blanched of purpose”.

Why tipping needs to die.

‘Get ready for these great upcoming new shows on your favorite cable TV channels in 2011!’ ‘Face Punch Beach House’

Dustin Glick with a visual explanation: a hipster is just someone who dresses more obnoxiously than you.

A strong perspective on music culture, the music business, and the state of things today. "Had Sonic Youth not done what they did I don't know what would have happened—the alternative history game is kind of silly. But I think it cheapened music quite a bit. It made music culture kind of empty and ugly and was generally a kind of bad influence."

"Overall, there seems to be a critical disconnect between the way the predominantly white, male critical establishment writes about violence and misogyny—especially as it’s primarily exhibited in hip-hop, i.e., music made predominantly by black artists. Critics such as these seem uncommonly drawn to violent, misogynistic music simply because it is shocking. This thrill of novelty seems to be nothing more than a fetishization of an alien culture."

"If somebody you care about is bleeding profusely, it’s not loving to insist that she’s flawless and has nothing to worry about. The loving thing is to stop the bleeding then get her to a doctor. If a guy is clearly suffering from blood poisoning, ignoring the problem isn’t loving. Instead, say, 'Dude. You need to get that looked at immediately.' Or, better yet, go with him. Do what you can to make things better."

"Have you ever started rapping along with some song on the radio and then realized that you don't know the lyrics? Now you don't have to worry about that embarrassing moment when it happens in front of your friends. OHHLA.com is your one stop shop for rap and hip-hop lyrics."

"'I do not see any socially redeeming purpose being served by these beverages. At the end of the day, they’re aimed at a young, inexperienced market for the purpose of enabling them to become rapidly intoxicated.'"

"People don't hate hipsters, and hipsters don't hate themselves. What people hate so much is the faux-hipsters: they hate poseurs. And because it's such an irritating thing to be having to tell the real from the fake (exactly as in the matter of overpriced European handbags), the easiest way out is simply to deny any involvement in the whole business. That is why nobody, not even someone who fervently embraces hipster culture, wants to call himself a hipster."

From the guy who wrote it.

A sympathetic overview.

"The fictional high school chorus at the center of Fox’s Glee has a huge problem — nearly a million dollars in potential legal liability. For a show that regularly tackles thorny issues like teen pregnancy and alcohol abuse, it’s surprising that a million dollars worth of lawbreaking would go unmentioned." This is a very interesting look at the frequency with which this show (that I have never seen) addresses copyright issues without actually addressing copyright issues. And it's dead-on about the potential for a television show or other media of this popularity to effect social change in the realm of copyright perception.