But as much as he was teaching me about movies, Roger Ebert was also showing me how to write-- I became a student of clean and concise sentences that emphasized clarity and the right balance of humor, thoughtfulness, and accessibility, as well as how to shape my raw impressions into well-rounded opinions that cohered on the page into narratives. The idea that the most interesting part of a movie happens after you see it-- during the post-mortems you have with others and with yourself in your own head-- was something that carried over easily to the songs and albums I was discovering at the time.

…the notion of indie exceptionalism (and its white, urban, and upper-class trappings) was repeatedly questioned this year, almost always by the very people who benefit from it. Indie-ness in 2012's pop culture has been depicted as an outmoded cliché, an indulgence for the rich and deluded, a jokey lyrical reference, a house of cards, and/or a pile of cool clothes for pop stars and corporations to try on and discard.

what has made us all anxious about truth and accuracy in personal narrative is not so much the published memoirs that turn out to be false or exaggerated, which has often been the case, historically, but rather the unprecedented explosion of personal writing (and inaccuracy and falsehood) online, in Web sites and blogs and anonymous commentary—forums where there are no editors and fact-checkers and publishers to point an accusing finger at.