‘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.’

‘1. Go through your piece and flip the gender of your descriptive phrases' subjects. Are there any that sound ludicrous as a result? 2. Are you essentially making shit up about the artist in order to sexualize her? 3. Are you comparing the artist you're writing about to other female artists only? If so, why? 4. Are you writing about a moment where your subject flirts with you and you respond in kind?’

‘Structured to mimic real library browsing, participants would search the card catalog, apply for a library card, and then check out one of the 35 books as they became available. The book titles, chosen by the “books” themselves, included “Custodian,” “Evangelical Christian,” “Fat Woman,” “Feminist,” “Iraq War Veteran,” “LDS Missionaries (Mormon),” “Olympic Athlete,” “Orphanage Boy,” “Psychiatrist,” and “Queer,” among others. Readers and books engaged in one-on-one conversations that lasted 30 minutes.’

Comparing the discussion around Lana Del Rey to those around Paris Hilton's 2006 album.

‘I don't want to come across as rockist, but this matters. And to pretend otherwise, and try to cover it up with dance steps and glow sticks and an uncomfortable, kind-of-almost-but-not-really mash-up between Deadmau5 and Foo Fighters, is to treat dance music as just another fad to be chewed up by Big Entertainment and bottled up like a noxious pot of 5-Hour Energy.’

‘Woman-beating rage-broccoli Chris Brown lip-synced his single “Turn Up the Music” (without being threatened by Sir Elton John) and danced roughly as well as a third-rate Chicago footwork dancer. He ended his performance by back-flipping off the stage, though sadly not off the earth.’

‘There was such intense (online) media coverage of Chris Brown’s horrible deed, plus indexical evidence of its effects on Rihanna’s face, that it quickly outpaced his musical identity. Now, he’s just tagged as a violent shithead, and arguably the Grammys’ ignorance of this fact only heightened this feeling.’

‘Exploring “what a woman should be” is boring and cliche in the 21st century, and perhaps that is why Lana Del Rey seems to many to be so bored and sad on stage. So let’s take Lana Del Rey for what she is—a pop star playing a role, a woman whose real life we know nothing about—and learn from what she’s taught us about our own insufferable addiction to a vapid version of femininity. In the future, I’m hoping we’ll accept more female artists who are interested in mining the depths of who they really are.’

‘2011 indeed was a remarkable year for the pop body in all of its beautiful, ugly, complex, and grotesque forms.’

‘Modern societies don’t advance if they don’t create new things. So human beings start asking new questions when they encounter a cultural object or idea: what about this can I identify (i.e. what about it is “old”), and what aspects of it are new (i.e. novel enough to create demand for it)?’ ‘The questions arise: What specific aspects of the past are appropriate fodder for new hybridizations, or what methods of hybridization are privileged over others? Most importantly, why is this?’

What privilege is.

‘A few years ago, before anyone knew his name, before rap artists from all over the country started hitting him up for music, the rap producer Lex Luger, born Lexus Lewis, now age 20, sat down in his dad’s kitchen in Suffolk, Va., opened a sound-mixing program called Fruity Loops on his laptop and created a new track.’ That was ‘Hard in da Paint’.

‘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.’

‘One good indicator of this norm’s normalness? The main criticism you hear about this kind of record—even outweighing references to Starbucks and/or the bourgeoisie—is that it is just too dull to even bother producing any more complex indictment of it. These acts, intentionally or not, have won; they’ve taken a lower-sales, lower-budget version of the type of trip Sting once took, from a post-punk upstart to an adult staple.’

“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.”

The story of Jason Rohrer’s ‘Chain World’, a customized fork of Minecraft of which there is only a single copy available on a USB stick and which is meant to be played only once, following a strict set of commandments, and then passed on to someone else. It’s meant to be a game about religion.

“Nerds will still be nerds, and trust me, their adolescences will still be awful enough to provide fodder for a lifetime of creativity and humor, if they’re lucky. The thing that everyone seems to forget is that nerddom, in its purest form, is a teenage affliction, something that many, if not most, people grow out of. They figure out how to be passionate about their interests without being smug and humorless about them. They learn to laugh at their past humiliations, and to celebrate this newfound comfort in their own skins, they proudly take on the epithet so long slung in their direction: they call themselves nerds. And that’s it. If done in the true spirit of awareness and goodnatured self-deprecation, the day you call yourself a nerd is the day you become an ex-nerd.”

“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.”

“The highest points and most infuriating moments on ‘Goblin’ come from the fact that it’s a vérité depiction of the worst aspects of American boy culture. You know, hating girls because they don’t like you because you’re a weirdo, hating any and all authority figures because they try to tell you how not to be such a weirdo. But most importantly (and scarily), there’s the part that involves lashing out about being viewed as a weirdo, and being summarily rewarded—i.e. seen as normal—for doing so. (It probably goes without saying that girls don’t have the same luxury.) Nobody cares about Tyler the Creator being someone’s role model in 2011. Which in a way, is the scariest thing about ‘Goblin’—too much of his scary fantasizing, for too many boys, is all too normal.”

This Tumblr posts PDFs of poetry anthologies and books of cultural writing and other classic texts, bits of important historical music-related interviews, old, rare, or otherwise important or interesting records, etc. Would that I had the time to take in everything listed here.

“Criticism is only useful when it helps us see something we are having difficulty seeing on our own; it’s not helpful when it tells us to stop looking. ‘But what if everyone pays attention to the wrong things? We have to guide them to the right things!’ Well, eventually everyone stops paying attention to everything: time is pretty effective that way. With that in mind, we should only worry about pointing the good out, and not worrying about the bad. And in the age of the Internet, this dictum takes on added force. Think of it as the Paris Hilton effect: talking about the bad just encourages the bad. No one has ever cured a celebrity of anorexia by posting photographs of her on the Internet, or has helped Charlie Sheen get off alcohol by getting exasperated at his stupidity. Trashing bad people and bad art does not make you a good person.”

“I am too lazy to expand my world view to include the possibility that I may have unconsciously treated women and minorities unfairly my entire life, and it wears me out that you’re trying to get me to understand this.”

Too Much Joy’s Tim Quirk tells the story of his band’s jingle for Budweiser in the early 90s, and how he feels about bands and advertising then and since. A good companion to Matt LeMay’s ‘Art vs Content’ post from late 2010 (http://www.mbvmusic.com/2010/10/19/living-in-the-age-of-art-vs-content).

FOMO is ‘Fear of Missing Out’ and it’s a major problem on the internet. “There is a company that sells radar equipment to the police as well as radar detectors to the public. Clorox is one of the world’s worst polluters of water, and also sells Brita filters to get the bad stuff out of the water again. Lawyers create mazes that you have to hire a lawyer to escape. Similarly social software both creates and cures FOMO. If you didn’t know that party was going on, you’d be home contentedly reading your latest New Yorker. But since you do, you hungrily watch each new tweet.”

Why to make 'Gender' a text box, and why we should struggle against Facebook.

”…the tweets offer a funny reminder that one kind of center really does hold: That no matter how dominant and predictable something might be in your world, it is still a weird, marginal thing to most everyone else.”

“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.

A elegy to hipsters, complete with obnoxious photography, sort of just picks and chooses various elements of youth culture and NYC hipster party culture and starts dividing them into subspecies. I have read this through three times and still don’t get it. That may be my fault or this may just be total bullshit.

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”.