This piece of pseudo-profanity is what’s known as a taboo deformation—a word we say when we don’t want to say the word.

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.

The “true-crime boom” of the mid- to late 2010s is a strange pop-culture phenomenon, given that it is not so much a new type of programming as an acknowledgement of a centuries-long obsession: People love true stories about murder and other brands of brutality and grift, and they have gorged on them particularly since the beginning of modern journalism.

Today, The Fat Of the Land is easy to swallow, even if mix of party-on and patriarchy leaves a strange taste in the mouth. As usual, Kim Deal knows the score. “Firestarter” was, after all, built on women’s work: that charmed and pissed-off “Hey!” throughout belonged to Anne Dudley, one of the virtuosos behind Art of Noise; the song’s raucous guitar line belonged to Deal, whose Breeders track “S.O.S.” birthed it. “Since I own, like, a quarter of [”Firestarter”]…I root for them since they used a song of mine,” she told the A.V. Club in 2009. “It’s like I’m in the biology club and they’re in the football team, you know?” With The Fat Of the Land, they packed the stadiums.

A new song, a capital S Song that persists through your life, is magic. It’s not so much like having a new dish or drink and more analogous to discovering a new color or flavor. My sight feels altered permanently, things are recontextualized.

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.

The spectres are textural. The surface noise of the sample unsettles the illusion of presence in at least two ways: first, temporally, by alerting us to the fact that what we are listening to is a phonographic revenant, and second, ontologically, by introducing the technical frame, the unheard material pre-condition of the recording, on the level of content. We're now so accustomed to this violation of ontological hierarchy that it goes unnoticed. But in his Wire piece, Simon refers to the shock he experienced when he first heard records constructed entirely out of samples. I vividly recall the first time I went into studio and heard vocal samples played through a mixing desk; I really do remember saying, 'It's like hearing ghosts...'

I ask her some easy questions, but she answers them with increasing irritation. When we have been together for three hours, I feel it's time to ask The Question. It's the same question that other black interviewers have asked her. A question she seems to deeply dislike—so much so that she complains about the question in her book. But even in the book, it's not a question she actually answers: How is her racial fluidity anything more than a function of her privilege as a white person? If Dolezal's identity only helps other people born white become black while still shielding them from the majority of the oppression of visible blackness, and does nothing to help those born black become white—how is this not just more white privilege?

In Vampire Weekend’s 2008 debut, I recognized the African soukous and rumba that had been my father’s calling.

There’s nothing inherently bad or good about cultural appropriation; it becomes unethical when you fail to consider the context of your actions.

I can’t imagine how I might have conceived of myself and my possibili­ties if, in my formative years, I had moved through a city where most things were named after women and many or most of the monuments were of powerful, successful, honored women.

A brilliant piece of literary criticism for a novelette I loved and am looking forward to the next installment of. As a metaphor for acculturation into empire, this works almost too well. You can walk in the halls of empire, yes, as long as you're willing to accept invasive alien tentacles into your mind, to put alien needs above your own, to allow yourself to be instrumentalized.

A fully culturally authentic film requires having people of that culture at the helm; and that's not what Disney's done.

In the 1990s, LaCroix was the favorite drink of Midwestern moms. How did it get so cool?

Technology is the active human interface with the material world.

I enjoy spending time in temporarily deserted places that usually bustle during daylight hours. Examples include San Francisco during Burning Man weekend, Penn Station at 2pm on Christmas day, almost everywhere in the US on Easter Sunday, the Financial District in Boston on Saturdays and Sundays, many major European cities during August.

Below is a list of common issues in the ever popular internet quiz style to help you determine if yourself or someone else might be a bad ally.

There is ample evidence that we treat these foods as inferior, as Krishnendu Ray, the chair of nutrition and food studies at New York University, writes in his new book "The Ethnic Restaurateur." Ray points to the comparatively low price ceiling for various "ethnic cuisines," as a telling sign. Despite complex ingredients and labor-intensive cooking methods that rival or even eclipse those associated with some of the most celebrated cuisines — think French, Spanish and Italian — we want our Indian food fast, and we want it cheap.

A roundup of an heroes who all took the red pill and helped the fire rise for top keks by protecting free speech from SJWs.

so quite a lot of people expressed interest in a guide to lion dance! and since the lunar new year is coming up in a couple weeks, which means everyone’s exposure to lions is probably going to increase, i figured i’d go ahead and make it! right click + open in new tab to fullview, etc etc, i hope it’s helpful, although if you only take one thing away from this powerpoint, it’s this: lions are not dragons

On a warm November morning last month, I was in the grandstands for the Japanese Eastern Command’s Parade of the Eastern Army. As the seats around me slowly filled before the performance, I noticed a pair of young men in puffy down jackets on the tarmac below. Peering more closely, I could make out the action figure of a female heroine from an anime series between them. One of the young men took a photograph of the toy and, apparently satisfied with his framing of the mini-skirted cartoon girl against the backdrop of military vehicles, returned the figure to his companion’s satchel and then mounted the stands.

A Q&A with an expert who studies the relationship between mental illness and violence.

People are so sensitive these days! People are just offended by every little thing! Millennials, amirite?! --- Are there people upset about stupid nonsense? Absolutely. If it becomes “a thing,” however, it’s because the media made it “a thing.”

Notes on Kim Kardashian and the most important videogame of 2014. Anyway, high/low, camp/class, feminism/exploitation: It’s all breaking down. The digital revolution has made our hierarchies diffuse, and in some cases, defunct. So while Kim may be seen as a sign of end times to those who feel they must protect some temple of good taste, she has become something of a folk hero to a new generation that doesn’t see old-guard institutions as anything but obstacles to disrupt and shatter.

A truly bizarre story of Marlon Brando, who loved eggs, and Joe Flynn, who was convinced that ‘personal eggs,’ or a spigot in your kitchen that dispensed cracked eggs, were the end to world hunger.

A new generation of fans and creators is finally aiming to instate a healthy cultural vocabulary, a language of community that was missing in the days of “gamer pride” and special interest groups led by a product-guide approach to conversation with a single presumed demographic. These obtuse shitslingers, these wailing hyper-consumers, these childish internet-arguers -- they are not my audience. They don’t have to be yours. There is no ‘side’ to be on, there is no ‘debate’ to be had. There is what’s past and there is what’s now. There is the role you choose to play in what’s ahead.

I’d always hoped we were more virtuous than the mainstream, but it turns out we just didn’t have enough power to cause much harm. Our ingrained sense of victimization has become a perverse justification for bullying. That’s why I’m calling time on nerd culture. It’s done wonderful things, but these days it’s like a crawling horror of a legacy codebase so riddled with problems the only rational decision is to deprecate it and build something better.

It is imperative, when we see men exhibiting this manipulative behavior, for us to identify it and name it as abuse. This can be scary: some incidents, such as this one, are so public and obvious that it's easy to start an open dialog about why it's terrible. But when I sit with my friends and hear their stories about times they've been manipulated, intimidated, coerced or outright abused by older men in the music industry, I wonder how anyone ever feels brave enough to come forward.

Typically appearing in works that employ a score with non-original elements, these are brief segments of recognizable songs—like classical music that doesn't involve paying royalties—as themes for various types of scenes or activities. Some of these occur often enough to seem standardized, and in some cases they are the only reason people know the songs these days at all. Many of these have become verbal shorthand for particular nationalities or ethnicities, and thus may border on stereotypes.

The nine-note tune made famous in Carl Douglas' 1974 song has served as a stereotype of Asian music since the 19th century.