I was pleased to see the measured tone of the White House response to the citizen petition about SOPA and PIPA, and yet I found myself profoundly disturbed by something that seems to me to go to the root of the problem in Washington: the failure to correctly diagnose the problem we are trying to solve, but instead to accept, seemingly uncritically, the claims of various interest groups.

Connecting the dots between Fatboy Slim and Skrillex.

On ‘mediated experiences’ and the ways that different types and generations of people experience them.

Justin Hopkins AKA Rarebit is also a visual artist.

Nicki employs street hardness as a signifier of how great she is at rapping, not as an attempt to actually convince anybody that she's "hood" or any of that authenticity nonsense. She's successfully occupying the trap, ground zero for hardness, and calling its inhabitants "bitches," all to prove that she is the consummate rhyming bad-ass.

Having heard ‘Erica Western Teleport’, Justin looks into his other favorite songs that have that song’s ‘simple IV-V-I progression’. A good bit of pop notes and theory that I need to look into further.

It's almost impossible to approach MDNA without some degree of cynicism, but it's equally difficult to imagine anyone being more cynical about this music than Madonna herself. Unlike previous late-period records in which she had the luxury to indulge in creative tangents and not get too hung up on scoring several hits, MDNA is a record that comes with major commercial expectations. The "this has to work" factor is high, and it's hard to shake the impression that she has some measure of contempt for the contemporary pop audience.

It didn’t have to be this bad. She didn’t even need to dig that deep on the iTunes “Electronic” page to find a producer to craft intriguing electro. Instead of Solveig, she could have emailed SBTRKT. Or Anthonly Gonzalez. Or Scuba. Anyone else. She’s clearly learning about dance music from television ads, not nights out.

Nick Zammuto lives on a mountain, in Vermont, with his adorable young family, in a house he built with his own two hands. Rock 'n' roll.

There is a tendency among music critics to create sub-stories with records and impose narratives. We might identify with a hardcore punk group this year because we are a restless generation, or with a work of hyperactive pop because the internet has made us incapable of concentrating, and so on. But sometimes we take a record for what it is: a resistant piece of art, existing as a singular entity. In a world that is newly full of "content" at every turn, it can be refreshing to find an uncompromising record that exists so honestly on its own.

Profiling the underground drag/ball/gay hip-hop scene in New York City and what it means in the context of mainstream hip-hop.

People born during a dip in the birth rate grow up consuming a lot of culture that's aimed at someone older than them. People born during a boom do not do cultural apprenticeship, because everything is quickly aimed at them; they watch the things that appeal to their age group bloom and succeed, whether anyone else is interested in it or not. This is why some Americans have spent decades clutching their heads as the Baby Boom generation makes big chunks of our world revolve around itself: Large cohorts have a large gravitational pull.

I’ve spent the morning listening to Skrillex’s three EPs, and they’re fun, but they’re not really any indication of what this guy does. Maybe he’ll make a great record some day, and his tracks certainly bring the hooks, and sometimes they sound the way people wish that last Justice album sounded. But at this point, listening to Skrillex at home is almost like listening to Gwar at home. The live experience is the thing.

That’s the realm that Mercer is working in now, and when he has the confidence on Morrow to follow through on his glossy pop ambitions, his music manages to be as likeable as it always has been. It’s when Mercer tries to update the old Shins playbook with big-budget production that Morrow sounds awkward and dangerously sleepy.

On Bill Callahan and Grimes. Letting the hero die might mean opening yourself to new experiences. Finding more to identify with. Noticing the commonalities that point to the one, along with the differences point to the many, and identifying with songs from the inside and outside at the same time.

On Katy Perry covering ‘N***** in Paris’. The dumb, tee-hee transgression of saying the edited-for-television version sort of obscures what’s interesting and daring about this performance, which is that under the guise of tribute/ironic cover tune (it feels about half-and-half) it’s a girl refusing to let this song’s imaginary world of swinging-dick privilege be off-limits to her. But that’s all that’s happening here; she puts the word on like a piece of borrowed jewelry and parades in front of the mirror.

Make good stuff, then make it easy for people to buy it. There’s your anti-piracy plan. So I have a lot of trouble with the idea that the federal government is directing resources toward an ultimately ineffective game of piracy whack-a-mole (with some unknown amount of collateral damage to law-abiding citizens), when we are not even sure that piracy is a problem.

The art we like the best is generally the art that has the greatest access to us. So. This tweet has tremendous access to my feelings about Aaliyah. Aaliyah’s voice had tremendous access to me.

‘Del Rey doesn’t have the emotional and psychological depth to support all the satin and spotlights. Her invocations of Sinatra and Lolita are entirely appropriate to the sumptuous backing tracks, but, when it comes to lyrics, she and her collaborators get lost in a tangle of keywords.’

A rounded look at Björk's latest, and just what it is she’s doing.

On one hand, it’s great that she’s this new hot blog thing, because she is a woman who creates her own beats in a space that historically is not that friendly to non-males. On the other hand, her elevation been a case study in the values people consign to the music they love — in this case, thin representations of ideas, that people have praised her for her “naive” and “elf-like” qualities, as though by filtering her voice into wispiness to the point that she’s almost a specter (as she does), she becomes more admirable, a negation of herself.

‘It's tempting to view Reign of Terror as somehow ironic, pairing Krauss' saccharine cheerleader delivery with raging guitars and martial dance beats, but it doesn't feel that purposeful. Such a juxtaposition seems to arise naturally out of what they like and what they want to express: cheesy pop triumphalism dialed to "mosh" and drenched in tar-black bloodlust. It lacks cynicism, and goes for nothing deeper than the sacred ideal of teen gimme-gimme: the glorious joy of the big, loud, timeless Fuck You.’

‘If the songs were dull or disposable, they’d still be important, but they might matter less. But they’re both good, “Birthday Cake” very much so. The quality matters because they’re likely to lodge themselves in the public consciousness and seep onto radio playlists: this mess won’t just melt into the air.’

‘Like so many spotlit debuts, Visions displays a young singer developing a relationship with her own voice and the seemingly infinite possibilities for shaping and representing it. The mirror stage for emergent artists who spend a lot of time online and work alone with inexpensive tools often can (and does) lead to merely replicating the surface qualities of the stuff that streams their way. Boucher's talent lies in the balance of exploiting her gifts and leveraging what's come before her, but judiciously.’

Profile of the rising rapper.

‘Pity the poor rock fan? Well, no: Rock fans have launched enough snobby, pernicious bits of language at other genres that they could afford to do some penance resurrecting their own.’

‘Sleigh Bells' music has always been about overwhelming your senses, making things so loud and so blurred that you don't know where one thing stops and another ends, how fast the day is passing. Slow things run at double-time, fast things run at half-time; the world runs backwards, slows down, speeds up.’

‘The vast majority of this record is given over to rhapsodizing over some hunky, dangerous fella, and none of the alterations — sonic, biographical, cosmetic — allegedly made to the real-life Lana/Lizzy could distort the truth as thoroughly as her unrelenting Ooh He's a Bad, Bad, Sexy Man routine. It's instructive to picture what this guy would actually look like IRL, some clown with a real emotional haircut, Crocs hanging off his feet, Urban Outfitters leather jacket hung over his IKEA futon, remnants of that Taco Bell burrito with the Fritos in it congregating at the corners of his mouth as he binges on Skyrim, blasts "Pumped Up Kicks" on infinite repeat, and gargles dozens of shots of, like, Goldschläger.’

‘So, you want to make a contact microphone? Whether you want create noise music by banging on scrap metal, cheaply and easily amplify your acoustic instrument, or just play with wires, you’re in the right place.’

‘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.’