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    <title>Pinboard (matthewmcvickar)</title>
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    <description>recent bookmarks from matthewmcvickar</description>
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	<rdf:li rdf:resource="http://squashed.tumblr.com/post/1525250467/truth-and-patriotism"/>
	<rdf:li rdf:resource="http://17dots.com/2010/08/05/emusic-qa-rob-sheffield/"/>
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	<rdf:li rdf:resource="http://pitchfork.com/features/why-we-fight/7813-why-we-fight-4/"/>
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  </channel><item rdf:about="https://thebaffler.com/kate-takes/dont-let-people-enjoy-things-wagner">
    <title>Kate Wagner: Don’t Let People Enjoy Things (The Baffler)</title>
    <dc:date>2021-07-26T04:22:49+00:00</dc:date>
    <link>https://thebaffler.com/kate-takes/dont-let-people-enjoy-things-wagner</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>An issue common to all of our LPET posters is that they think criticism means forbidding people from enjoying media in general. First of all, people are just as allowed to *dislike* things as they are permitted to enjoy them—you can’t trick them into changing their minds with your authoritarian meme posting. Second, I introduce this radical idea: you can still enjoy things while being critical of them—it can even lead to a greater appreciation of societal and historical context, and it can make you usefully wary of the role the shit forces of the world play in the media we consume. It can also help us maintain our political and social integrity while watching or reading or listening to whatever is offered to us. For example, my peacenik, anticapitalist proclivities may make me critical of many mainstream blockbusters, but they also afford me a greater appreciation of movies like ‘Office Space’ and Dolly Parton’s classic ‘9 to 5.’ Finally, though our LPET posters think otherwise, it is indeed possible to *like some things about a piece of media and dislike things about that same piece of media all at once*.]]></description>
<dc:subject>criticism culture internet film politics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:ab7cdd79999e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:film"/>
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</item>
<item rdf:about="https://arcdigital.media/dear-white-people-please-do-not-read-robin-diangelos-white-fragility-7e735712ee1b">
    <title>Jonathan Church: Dear White People: Please Do Not Read Robin DiAngelo’s “White Fragility”</title>
    <dc:date>2020-08-09T18:56:11+00:00</dc:date>
    <link>https://arcdigital.media/dear-white-people-please-do-not-read-robin-diangelos-white-fragility-7e735712ee1b</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Robin DiAngelo's "White Fragility" is a destructive book full of bad reasoning and bad advice. Don't fall for it.

---

In other words, the theory is designed as a Kafka trap whereby any denial is interpreted as evidence of guilt. If you object to any insinuation that you are racist because you are white, or that what you have said has racist connotations, you are failing to come to terms with your racism and exhibiting white fragility. 

[…]

One reason “social justice” activists like DiAngelo easily fall into this trap is that they see “Whiteness” everywhere, and when you see “Whiteness” everywhere, it loses its meaning. (Foucault would call this a “totalizing discourse.”) We are left with the fallacy of ambiguity, which happens “when an unclear phrase with multiple definitions is used within the argument.” In this case, Whiteness is the unclear phrase used in the premise of every argument that says racial disparity is the result of Whiteness.</blockquote>]]></description>
<dc:subject>book activism blm criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:bb964bf68b79/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:book"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:blm"/>
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</item>
<item rdf:about="https://pitchfork.com/reviews/albums/grimes-miss-anthropocene/">
    <title>Anupa Mistry: Grimes — Miss Anthropocene (Pitchfork)</title>
    <dc:date>2020-02-21T19:36:23+00:00</dc:date>
    <link>https://pitchfork.com/reviews/albums/grimes-miss-anthropocene/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[I’m not very into this album but this review absolutely nails it.

<blockquote>Grimes’ first project as a bona fide pop star is more morose than her previous work, but no less camp. Her genuineness shines through the album’s convoluted narrative, and the songs are among her finest.

---

So much about the actual music of Miss Anthropocene succeeds that the choice to bury it below a warped—and yes, misanthropic—concept about “The Environment” makes it hard to connect with who Grimes is as an artist today. Standing in the way of humans reckoning with climate emergency are multiple delusions: that wealth brings freedom, that boundless acquisition and unchecked growth remain tenable, and that political and economic institutions are inherently trustworthy actors. Grimes sounds like the pop star she’s worked very hard to become, but her imagination seems diminished—or, like many of her celebrity ilk, is cordoned off in a bubble floating above the rest of humanity. In 2020, revolutionary pop stardom might try to clarify, rather than obscure, the havoc that systems wreak when it comes to, say, gender roles and social compliance, technology and surveillance capitalism, nationalism and land exploitation, or whiteness and pathological denial.</blockquote>]]></description>
<dc:subject>music criticism climatecrisis</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:1646eddb4d6d/</dc:identifier>
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</item>
<item rdf:about="https://www.vox.com/culture/2019/3/30/18286436/the-matrix-wachowskis-trans-experience-redpill">
    <title>Emily Sandalwood: How The Matrix universalized a trans experience — and helped me accept my own (Vox)</title>
    <dc:date>2019-04-01T23:58:52+00:00</dc:date>
    <link>https://www.vox.com/culture/2019/3/30/18286436/the-matrix-wachowskis-trans-experience-redpill</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>The film, now 20 years old, is probably the most famous art ever made by trans people. But its cultural legacy doesn’t end there.</blockquote>]]></description>
<dc:subject>movies film criticism trans</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:eda926c162a1/</dc:identifier>
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</item>
<item rdf:about="https://www.polygon.com/best-games-2018/2018/12/17/18126327/best-games-2018-celeste-games-of-the-year">
    <title>Emily Heller: GOTY 2018: #5 Celeste (Polygon)</title>
    <dc:date>2018-12-22T06:19:14+00:00</dc:date>
    <link>https://www.polygon.com/best-games-2018/2018/12/17/18126327/best-games-2018-celeste-games-of-the-year</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Then, one day, I calmly quit. I realized that I had learned all the wrong lessons. Celeste Mountain isn’t literal — it’s a metaphor for overcoming the lies your brain tells you. I didn’t need the cliché triumphant moment, I just needed to sit down with the scary parts of myself and tell them to stop being so hard on my friend Emily. Me.</blockquote>]]></description>
<dc:subject>videogames criticism mentalhealth</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:50dcd1b32218/</dc:identifier>
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</item>
<item rdf:about="http://www.spin.com/featured/anthony-fantano-the-needle-drop-profile-interview/">
    <title>Jeremy Gordon: How Anthony Fantano, aka The Needle Drop, Became Today’s Most Successful Music Critic (SPIN)</title>
    <dc:date>2016-12-03T05:19:56+00:00</dc:date>
    <link>http://www.spin.com/featured/anthony-fantano-the-needle-drop-profile-interview/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Fantano is not unaware of his detractors, who range from viewers who think he doesn’t know what he’s talking about to fellow critics who think he doesn’t know what he’s talking about. The things that make him a successful vlogger—his speed, his unpretentious humor, his willingness to review everything regardless of his genre fluency, his refusal to assume a deep understanding of an artist’s politics or feelings—are at odds with traditional print and online criticism. He brought up an interaction with a Pitchfork writer who eagerly introduced himself at South by Southwest. The writer told Fantano he was only joking when he previously wrote on Twitter, “Anthony Fantano makes me want to quit my job.” Every music writer we spoke to is at least aware of Fantano’s work—some of them find it dumb, and at any rate, don’t want to talk about it on the record. It doesn’t bother Fantano too much, but it does bother him. “It obviously took time and took a lot of effort,” he says of his work. “I would at least like to be treated with the same amount of legitimacy. That’s all.”</blockquote>]]></description>
<dc:subject>music criticism internet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:fdf081ac03d5/</dc:identifier>
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</item>
<item rdf:about="http://strangehorizons.com/non-fiction/reviews/binti-by-nnedi-okorafor/">
    <title>Vajra Chandrasekera: ‘Binti’ by Nnedi Okorafor (Strange Horizons)</title>
    <dc:date>2016-12-03T05:13:44+00:00</dc:date>
    <link>http://strangehorizons.com/non-fiction/reviews/binti-by-nnedi-okorafor/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[A brilliant piece of literary criticism for a novelette I loved and am looking forward to the next installment of.

<blockquote>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.</blockquote>]]></description>
<dc:subject>literature criticism writing culture race scifi</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:7eaa2fa19aa7/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:race"/>
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</item>
<item rdf:about="http://correlatedcontents.com/?p=1974">
    <title>Michael Lutz: 20 paragraphs on Undertale: a critique</title>
    <dc:date>2015-12-20T01:09:19+00:00</dc:date>
    <link>http://correlatedcontents.com/?p=1974</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>in all other arenas, Undertale insists that conflict arises from unwarranted fear and misunderstanding. it rewards you for pacifism and forging friendships. everyone, it wants to suggest, can get along only if we’re determined enough. and yet, the no-mercy run offers the exact obverse suggestion: radical evil exists, and it cannot be expunged. if we take Undertale at its word, however, and believe its conceit of multiple timelines manipulable by the game’s save and load functions, we find that the latter possibility is necessarily latent in the former. that is to say, chara happened; they are constant through all possible narratives, and they are still there, somewhere. the game’s sentimentality runs aground on the lack of mercy it allows the player to exercise, and the subsequent lack of mercy it extends to that player.</blockquote>]]></description>
<dc:subject>videogames criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:f03ea5eae409/</dc:identifier>
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<item rdf:about="http://correlatedcontents.com/?p=1989">
    <title>Michael Lutz: Is There a Community Outside This Text?</title>
    <dc:date>2015-12-20T01:00:54+00:00</dc:date>
    <link>http://correlatedcontents.com/?p=1989</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Kilduff-Taylor’s tired handwashing here is not so much an indictment of the problem of two interpretive communities — whose existence and cross-reference is facilitated by the internet as a mode of critical reception — as it is an attempt to escape the problem entirely.  At some undesignated time before now, people just would have read the game correctly, no problem!  Meaning would have been obvious, and interpretation would have been a pleasant exercise in riffing upon its verities from that point on.  We’ve thus already lost, and all we can do is take solace in our own knowledge and interpretation as things fall apart.

This is disingenuous because the fact that anyone is even taking issue with the implication that Wreden should not be paid for his work is a sign that, indeed, people are not willing to let the patently worse interpretation of the game stand.</blockquote>]]></description>
<dc:subject>videogames literature criticism truth</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:0be91b51a544/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:videogames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:literature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:truth"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.eod.com/blog/2014/02/empathy-vacuum/">
    <title>Greg Knauss: The Empathy Vacuum</title>
    <dc:date>2014-02-22T02:10:26+00:00</dc:date>
    <link>http://www.eod.com/blog/2014/02/empathy-vacuum/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>What I’m talking about here is how addictive the righteousness that comes from that condemnation is, and how we will apparently turn to any source we can find for it — even when that source is not evil or harmful or part of any world we exist in or understand.</blockquote>]]></description>
<dc:subject>criticism internet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:e36c58243997/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:internet"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://gawker.com/on-smarm-1476594977">
    <title>Tom Scocca: On Smarm (Gawker)</title>
    <dc:date>2013-12-11T23:50:25+00:00</dc:date>
    <link>http://gawker.com/on-smarm-1476594977</link>
    <dc:creator>matthewmcvickar</dc:creator><dc:subject>criticism culture politics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:f1ae3c1afaa2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:politics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.thedailybeast.com/articles/2013/11/08/m-i-a-s-matangi-is-a-defiantly-personal-reclamation-of-the-brown-girl-narrative.html">
    <title>Rawiya Kameir: M.I.A.’s ‘Matangi’ Is a Defiantly Personal Reclamation of the Brown Girl Narrative (The Daily Beast)</title>
    <dc:date>2013-11-27T21:22:18+00:00</dc:date>
    <link>http://www.thedailybeast.com/articles/2013/11/08/m-i-a-s-matangi-is-a-defiantly-personal-reclamation-of-the-brown-girl-narrative.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>It’s fairly easy, and indeed tempting, to write M.I.A. off as a faux-radical who relies on the borrowed aesthetics of revolution to sell records. But that superficial reading belies her truest political work: her commitment to self and the exploration of identity in a world and industry that is more comfortable with easily digestible predetermined narratives, particularly when it comes to racialized people.</blockquote>]]></description>
<dc:subject>culture music identity race criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:3b386d5e4dcc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:identity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:race"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://parabasis.typepad.com/blog/2013/10/the-realism-canard.html">
    <title>Isaac Butler: The Realism Canard, Or: Why Fact-Checking Fiction Is Poisoning Criticism</title>
    <dc:date>2013-10-14T04:58:48+00:00</dc:date>
    <link>http://parabasis.typepad.com/blog/2013/10/the-realism-canard.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>In real life, people don't talk the way they do in movies or television or (especially) books. Real locations aren't styled, lit, or shot the way they are on screen. The basic conceits of point of view in literature actually make no sense and are in no way "realistic." Realism isn't verisimilitude. It's a set of stylistic conventions that evolve over time, are socially agreed upon, and are hotly contested. The presence of these conventions is not a sign of quality. Departure from them is not a sign of quality's absence.</blockquote>]]></description>
<dc:subject>literature criticism writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:75cbb3d0d745/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:literature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://storify.com/pushinghoops/why-kanye-is-right-and-kimmel-emblematic">
    <title>Ayesha A. Siddiqi: Why Kanye is Right, and Kimmel Emblematic (Storify)</title>
    <dc:date>2013-10-10T19:11:36+00:00</dc:date>
    <link>http://storify.com/pushinghoops/why-kanye-is-right-and-kimmel-emblematic</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>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</blockquote>]]></description>
<dc:subject>america criticism culture music racism race class</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:b0a1f54240d7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:america"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:racism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:race"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:class"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://lowerdens.tumblr.com/post/59565099322/last-week-i-wrote-a-review-of-the-new-king-krule">
    <title>Jana Hunter: Last week I wrote a review of the new King Krule record…</title>
    <dc:date>2013-09-09T06:47:39+00:00</dc:date>
    <link>http://lowerdens.tumblr.com/post/59565099322/last-week-i-wrote-a-review-of-the-new-king-krule</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>I’m saying the current model for sharing and more importantly for publicizing music is detrimental. Here’s what happens: young musicians make okay records that show they’ve got something but haven’t yet figured out what. The music industry then sells the shit out of it while the music press hypes it equally to death. </blockquote>]]></description>
<dc:subject>music writing criticism musicbusiness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a3f9717ca8b8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicbusiness"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.npr.org/blogs/monkeysee/2013/07/19/203565597/hey-kid-thoughts-for-the-young-oddballs-we-need-so-badly">
    <title>Linda Holmes: Hey, Kid: Thoughts For The Young Oddballs We Need So Badly (NPR)</title>
    <dc:date>2013-09-07T22:44:40+00:00</dc:date>
    <link>http://www.npr.org/blogs/monkeysee/2013/07/19/203565597/hey-kid-thoughts-for-the-young-oddballs-we-need-so-badly</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Learn the difference between feedback and criticism. Feedback is primarily for you; criticism (in the sense of "a movie critic" or "an arts critic") is primarily not. Criticism is part of an ongoing cultural conversation that's designed to make everybody smarter and better and more thoughtful and to advance the art form itself; it's done even when the creator of a piece is long dead. It's not really for you.

Feedback, on the other hand, is aimed at you to make you better, and that's the only kind of feedback worth paying attention to. If you can't listen to it and take it in without your hackles rising, you will never become good. Period, boom, g'bye.</blockquote>]]></description>
<dc:subject>advice art creativity criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a163829a8cf1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:advice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:creativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://pitchfork.com/features/paper-trail/9104-devon-powers/">
    <title>Eric Harvey: Writing the Record (Pitchfork)</title>
    <dc:date>2013-07-15T01:11:40+00:00</dc:date>
    <link>http://pitchfork.com/features/paper-trail/9104-devon-powers/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Author Devon Powers on how Village Voice writers Richard Goldstein and Robert Christgau helped create rock journalism, and the evolving role of music critics.</blockquote>]]></description>
<dc:subject>music writing literature criticism culture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:9ca66976b990/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:literature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.spin.com/articles/yeezus-female-roundtable-kanye-west-sheezus-talks-a-critical-roundtable/">
    <title>Sheezus Talks: A Critical Roundtable (SPIN)</title>
    <dc:date>2013-07-02T19:59:04+00:00</dc:date>
    <link>http://www.spin.com/articles/yeezus-female-roundtable-kanye-west-sheezus-talks-a-critical-roundtable/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>On the occasion of Kanye West's sixth album, released the day before Juneteenth, 2013, Anno Domini, we are gathered here due to the dearth of Yeezus pieces written by women, which is a significant oversight since a) much of this album, and West's catalog, is about us; and b) it's 2013, call the freaking doctor. So we've amassed an all-star panel that includes frequent SPIN contributors Puja Patel, Jessica Hopper, and Maura Johnston, Stereogum's Claire Lobenfeld, Toronto-based uber-freelancer Anupa Mistry, and SiriusXM's Sway in the Morning on-air personality and pop-culture writer Tracy Garraud.</blockquote>]]></description>
<dc:subject>music criticism pop</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:f4f41adb02f4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:pop"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.spin.com/articles/yeezus-kanye-west-sexism-misogyny-rick-ross/">
    <title>Brandon Soderberg: Is 'Yeezus' the Tipping Point for Rap Misogyny? (SPIN)</title>
    <dc:date>2013-07-01T19:07:10+00:00</dc:date>
    <link>http://www.spin.com/articles/yeezus-kanye-west-sexism-misogyny-rick-ross/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Rap music clearly has a serious misogyny problem. Admitting that won't lead to the elimination of the music altogether and it doesn't mean that all other social issues have to take a backseat. But once the problem has been acknowledged, let's don't just leave the self-evident truth sitting there. Actually continue to think about this stuff. Too often, rap's misogyny has been treated as a given. And that's just as dangerous.</blockquote>]]></description>
<dc:subject>feminism misogyny hiphop music writing criticism culture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:141a0832cacc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:feminism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:misogyny"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:hiphop"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://nymag.com/thecut/2013/06/okay-to-hate-the-kickstarter-rape-manual.html">
    <title>Kat Stoeffel: It’s Okay to Hate the Kickstarter ‘Rape Manual’ (NY Mag)</title>
    <dc:date>2013-06-28T23:42:14+00:00</dc:date>
    <link>http://nymag.com/thecut/2013/06/okay-to-hate-the-kickstarter-rape-manual.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Bustillos hopes that a nonjudgmental dialogue with Hoinsky will help us discover an ethical form of seduction. I doubt it. If a woman must be seduced, either (a) the desire is not mutual and she is in fact being coerced (he is waiting until she is weary enough, drunk enough, or feels guilty enough for leading him on), or (b) the desire is mutual but she can’t express it, for any number of sexist social reasons.</blockquote>]]></description>
<dc:subject>sexism misogyny criticism writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:d8a35b5c7c88/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sexism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:misogyny"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://blogs.villagevoice.com/music/2013/04/shaking_the_hab.php?print=true">
    <title>Luke Winkle: We Should Be More Cynical About Albums Claiming to Change the World (Village Voice)</title>
    <dc:date>2013-06-28T23:38:26+00:00</dc:date>
    <link>http://blogs.villagevoice.com/music/2013/04/shaking_the_hab.php?print=true</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>The entirety of our conversation has been extracted from what essentially was Shaking the Habitual's PR campaign. The Knife talked about how thoroughly political the new album was, and a bunch of smart people patiently waited to see how those ideas were manifested. This is understandable, because The Knife seem like earnest people with important and indisputably unique perspectives. But it seems we've let Karin and Olof's rhetoric blend over into what we're hearing. There's nothing wrong with context, but we can't let the creative forces frame an album for our consumption.</blockquote>]]></description>
<dc:subject>music politics criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:ad39511fa5b4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.thesinglesjukebox.com/?p=7382">
    <title>The Singles Jukebox: Kanye West — Black Skinhead</title>
    <dc:date>2013-06-24T18:18:08+00:00</dc:date>
    <link>http://www.thesinglesjukebox.com/?p=7382</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Smart takes.]]></description>
<dc:subject>music kanyewest criticism writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:992cb7ca1717/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:kanyewest"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.slate.com/articles/arts/music_box/2013/06/kanye_west_s_yeezus_reviewed.single.html">
    <title>Carl Wilson: Kanye West’s Yeezus, reviewed. (Slate Magazine)</title>
    <dc:date>2013-06-19T17:58:22+00:00</dc:date>
    <link>http://www.slate.com/articles/arts/music_box/2013/06/kanye_west_s_yeezus_reviewed.single.html</link>
    <dc:creator>matthewmcvickar</dc:creator><dc:subject>music criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a72ac9559343/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.markrichardson.org/post/50228551615/a-stray-thought-about-music-writing-that-probably">
    <title>Mark Richardson: A Stray Thought About Music Writing That Probably Shouldn't Be Taken Too Seriously</title>
    <dc:date>2013-05-23T19:49:15+00:00</dc:date>
    <link>http://www.markrichardson.org/post/50228551615/a-stray-thought-about-music-writing-that-probably</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>A lot of people writing seem to think that trainspotting, being able to identify sample sources and lyrical allusions, is the essence of criticism, and to me that kind of identification in and of itself is not very interesting unless it goes into these other realms, of thinking more deeply how the music works and (especially) articulating how it feels from the perspective of the listener.</blockquote>]]></description>
<dc:subject>music writing criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:d3ef053d7688/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://civic.mit.edu/blog/cfd/hackathons-dont-solve-problems">
    <title>Charlie Detar: Hackathons don't solve problems | (MIT Center for Civic Media)</title>
    <dc:date>2013-05-22T19:31:25+00:00</dc:date>
    <link>http://civic.mit.edu/blog/cfd/hackathons-dont-solve-problems</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Hackathons can spur creativity, can inspire a concerted amount of development effort on a focused project for a short period of time, and can increase attention to a critical issue. For people who feel disaffected and hopeless, a hackathon can rekindle a sense of creativity and possibility.  But the tangible products of a hackathon (hardware, software) are rarely of adequate quality for real-world use.</blockquote>]]></description>
<dc:subject>technology criticism internet hardware software</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:c9f4301f9ed6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:hardware"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:software"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://thetalkhouse.com/reviews/view/vijay-iyer-flying-lotus">
    <title>Vijay Iyer: Flying Lotus — Until the Quiet Comes (The Talkhouse)</title>
    <dc:date>2013-04-13T21:50:53+00:00</dc:date>
    <link>http://thetalkhouse.com/reviews/view/vijay-iyer-flying-lotus</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>To listen to this LP on headphones is to be air-dropped into a teeming megacity in 2017: industrial runoff, overgrown wild vegetation, human multitudes, handheld devices, improvised survival technologies, strange weather; bodies and machines in a necessary, dignified symbiosis.</blockquote>]]></description>
<dc:subject>music writing criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:1a3e80922e38/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://pitchfork.com/features/afterword/9101-roger-ebert/">
    <title>Steven Hyden: Afterword: Roger Ebert (Pitchfork)</title>
    <dc:date>2013-04-10T02:49:49+00:00</dc:date>
    <link>http://pitchfork.com/features/afterword/9101-roger-ebert/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>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.</blockquote>]]></description>
<dc:subject>film criticism music writing culture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:7951e840724a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.howlround.com/just-like-candy-following-the-trail-of-good-ideas">
    <title>Jason Zinomas: Just Like Candy: Following the Trail of Good Ideas (Howlround)</title>
    <dc:date>2013-04-08T17:36:37+00:00</dc:date>
    <link>http://www.howlround.com/just-like-candy-following-the-trail-of-good-ideas</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>What endures more, for me at least, is the pleasure of thinking about a work of art, arguing with myself over it, getting frustrated while going nowhere and then coming out of that mess with a slightly clearer sense of what I believe. Or maybe it’s a better context to put the work in. Or it could be as minor as solving the problem of striking the right tone to end a review in a way that captures exactly what I think with a bit of flair. The privilege of calling that your job is, to steal a phrase from Hamlet, devoutly to be wished.</blockquote>]]></description>
<dc:subject>criticism film writing culture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:f6d3d5ce18ad/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://consequenceofsound.net/2013/04/album-review-tyler-the-creator-wolf/">
    <title>Jeremy Larson: Album Review: Tyler, the Creator — Wolf (Consequence of Sound)</title>
    <dc:date>2013-04-04T09:29:45+00:00</dc:date>
    <link>http://consequenceofsound.net/2013/04/album-review-tyler-the-creator-wolf/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>At his worst, he’s an immature egomaniac whose insufferableness comes from being too aware of his own faults. For a guy who was tempered in internet culture, whose personality was always reflected in some digital form or another, it’s an understandable tack to take. Thankfully he’s done a fine job of making the journey to the center of his id a curious and engaging one.</blockquote>]]></description>
<dc:subject>music criticism writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:b5cfbbf7253c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://gawker.com/5989280/when-people-write-for-free-who-pays">
    <title>Cord Jefferson: When People Write for Free, Who Pays? (Gawker)</title>
    <dc:date>2013-03-10T17:02:45+00:00</dc:date>
    <link>http://gawker.com/5989280/when-people-write-for-free-who-pays</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>All in all, the creative landscape is starting to look more toxic than it's been in our lifetimes: Artists with million-dollar checks in their pockets are telling other artists that they shouldn't expect to get paid; publications are telling writers that they shouldn't expect to get paid, either; and meanwhile everyone wonders why we can't get more diversity in the creative ranks. One obvious way to reverse media's glut of wealthy white people would be to stop making it so few others but wealthy white people can afford to get into media. But in the age of dramatic newsroom layoffs and folding publications, nobody wants to hear that. So we trudge on, forgetting what a luxury it is to do what you want to do for a living rather than what you have to do to survive.</blockquote>]]></description>
<dc:subject>blogging criticism journalism industry labor</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:bdd9bde96904/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:blogging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:industry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:labor"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.rocksbackpagesblogs.com/2012/12/record-reviews-who-needs-em/">
    <title>Ira Robbins: Record Reviews: Who Needs ‘Em? (Rock's Backpages Writers' Blogs)</title>
    <dc:date>2013-02-19T08:58:54+00:00</dc:date>
    <link>http://www.rocksbackpagesblogs.com/2012/12/record-reviews-who-needs-em/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Record reviews are now brief, upbeat and simple: download these songs, they’re good. Beyond that service, writers don’t provide much real value. They are unlikely to establish a strong connection with their readers, as no sense of prejudices and predilections can emerge from four sentences (at least one of which is going to be strictly informational).</blockquote>
<blockquote> And you can’t even blame space. They are simply kowtowing to the preferences of those readers who care the least.</blockquote>]]></description>
<dc:subject>music writing criticism musicwriting publishing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:348ea6867b3f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicwriting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:publishing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://thevitalist.tumblr.com/post/34796345729/interview-music-critic-mark-richardson">
    <title>Matthew Gasda: Interview: Music Critic Mark Richardson (The Vitalist)</title>
    <dc:date>2013-02-12T19:38:56+00:00</dc:date>
    <link>http://thevitalist.tumblr.com/post/34796345729/interview-music-critic-mark-richardson</link>
    <dc:creator>matthewmcvickar</dc:creator><dc:subject>interview writing music internet criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:e08a1fa12e2e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:interview"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.npr.org/blogs/bestmusic2012/2012/12/26/168097407/what-happened-to-music-writing-this-year?sc=tw&amp;cc=twmp">
    <title>Maura Johnston: What Happened to Music Writing This Year? (NPR)</title>
    <dc:date>2013-02-03T02:28:16+00:00</dc:date>
    <link>http://www.npr.org/blogs/bestmusic2012/2012/12/26/168097407/what-happened-to-music-writing-this-year?sc=tw&amp;cc=twmp</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>In 2012, attempts to stay ahead of readers' innate desires resulted in a collective throwing up of hands. Think pieces and reviews still existed, but they were accompanied by other attempts to lure readers: Trifles like album titles and track listings treated as news items worthy of their own "stories" (to maximize the possibility of people tripping over their fingers and into a unique view); artists out of the public spotlight for more than six months unearthed as if they were creatures from another dimension; Tweets and other public statements by artists taken out of context and drained of their tone so as to stoke "WTF" headlines; superlative-laden lists not even aimed at expressing an opinion in count-downable form; posts with factual errors seen as hits to institutional credibility and opportunities to wring double the traffic out of one story.</blockquote>]]></description>
<dc:subject>music writing 2012 journalism criticism internet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a5b4ca78375c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:internet"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.villagevoice.com/2007-01-30/pazzandjop/the-sheep-take-a-buffalo-stance/full/">
    <title>Chris Ott: The Sheep Take a Buffalo Stance (New York Times)</title>
    <dc:date>2013-01-15T20:10:37+00:00</dc:date>
    <link>http://www.villagevoice.com/2007-01-30/pazzandjop/the-sheep-take-a-buffalo-stance/full/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Everyone's relationship to music has changed because of the Internet, and in a way that invalidates year-in-review summaries: We rank and file music all year long on our blogs and web magazines, in the list-drenched advertorial press, and even on our iPods. If everyone's a critic, do we still need a critics' poll?</blockquote>]]></description>
<dc:subject>music criticism writing culture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a4ade94f45f9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.markrichardson.org/post/392693049/plux-quba">
    <title>Mark Richardson: Nuno Canavarro: Plux Quba</title>
    <dc:date>2012-12-31T06:21:31+00:00</dc:date>
    <link>http://www.markrichardson.org/post/392693049/plux-quba</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>Still, it would be dishonest to deny that the mystery of Plux Quba adds to its appeal. The fact is I’m particularly curious about Nuno Canavarro because this record seems so personal; I listen and feel like I know him. Plux Quba is a disjointed, unpredictable work that sounds like the aural representation one sensitive and intelligent individual’s subconscious thoughts. Like a mind, Plux Quba veers from one fragment to the next, leapfrogs over an idea and lands on another, recalls a forgotten memory for an instant only to have it vanish before it can be examined in detail. </blockquote>]]></description>
<dc:subject>music writing review criticism anonymity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:967eacd447d8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:review"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:anonymity"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.newyorker.com/online/blogs/books/2012/08/how-lester-bangs-taught-me-to-read.html">
    <title>Maria Bustillos: How Lester Bangs Taught Me to Read (The New Yorker)</title>
    <dc:date>2012-11-02T09:20:56+00:00</dc:date>
    <link>http://www.newyorker.com/online/blogs/books/2012/08/how-lester-bangs-taught-me-to-read.html</link>
    <dc:creator>matthewmcvickar</dc:creator><dc:subject>literature music writing culture criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:6664318839a9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:literature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.newyorker.com/online/blogs/books/2012/08/a-critics-manifesto.html">
    <title>Daniel Mendelsohn: A Critic's Manifesto: The Intersection of Expertise and Taste (The New Yorker)</title>
    <dc:date>2012-11-02T09:20:21+00:00</dc:date>
    <link>http://www.newyorker.com/online/blogs/books/2012/08/a-critics-manifesto.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>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.</blockquote>]]></description>
<dc:subject>writing criticism music film culture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:14888a7538ba/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://cityarts.info/2012/06/20/the-sandler-memo/">
    <title>Armond White: The Sandler Memo (City Arts)</title>
    <dc:date>2012-06-22T22:38:57+00:00</dc:date>
    <link>http://cityarts.info/2012/06/20/the-sandler-memo/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>It’s scary how the Memo makes Sandler and Murphy whipping boys, simply to sustain true Hollywood vulgarity. It perpetuates the collapse of critical thinking. When Sandler-bashing (and I don’t just mean the ludicrous Razzies, ratified only by tabloid media) turns into excoriation, it is necessary to examine the media’s cowardice and prejudices. The Sandler Memo has reduced criticism to a profession of chain letters.</blockquote>]]></description>
<dc:subject>film movies adamsandler culture class hollywood writing criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:653e70de6a49/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:movies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:adamsandler"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:class"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:hollywood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.oxfordamerican.org/articles/2011/dec/16/singles-girls-rise-female-rock-writing/">
    <title>Rachael Maddux: Singles Girls: The Rise of Female Rock Writing (Oxford American)</title>
    <dc:date>2012-06-10T07:59:39+00:00</dc:date>
    <link>http://www.oxfordamerican.org/articles/2011/dec/16/singles-girls-rise-female-rock-writing/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Comparing the excellent work and perspective of seminal music writer Ellen Willis and the horribleness of ‘Record Collecting for Girls’ by Courtney E. Smith.]]></description>
<dc:subject>women girls feminism music writing rock criticism culture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:17e3f1d57068/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:women"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:girls"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:feminism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:rock"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://pitchfork.com/reviews/albums/16522-the-flaming-lips/">
    <title>Stuart Berman: The Flaming Lips — The Flaming Lips and Heady Fwends (Pitchfork)</title>
    <dc:date>2012-05-24T22:43:53+00:00</dc:date>
    <link>http://pitchfork.com/reviews/albums/16522-the-flaming-lips/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>This piecemeal patchwork of tracks hangs together amazingly well as a front-to-back album.</blockquote>]]></description>
<dc:subject>music criticism review writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:c7f2503f86d5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:review"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://pitchfork.com/reviews/albums/16532-bright-eyes-fevers-mirrors-there-is-no-beginning-to-the-story-ep/">
    <title>Ian Cohen: Bright Eyes — Fevers and Mirrors/There Is No Beginning to the Story EP (Pitchfork)</title>
    <dc:date>2012-05-24T22:42:28+00:00</dc:date>
    <link>http://pitchfork.com/reviews/albums/16532-bright-eyes-fevers-mirrors-there-is-no-beginning-to-the-story-ep/</link>
    <dc:creator>matthewmcvickar</dc:creator><dc:subject>music writing criticism review</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:c820ea3016c7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:review"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.spin.com/blogs/listen-nicki-minaj-and-2-chainzs-beez-trap">
    <title>Brandon Soderberg: Nicki Minaj and 2 Chainz’ ‘Beez in the Trap’ (SPIN)</title>
    <dc:date>2012-03-29T04:54:02+00:00</dc:date>
    <link>http://www.spin.com/blogs/listen-nicki-minaj-and-2-chainzs-beez-trap</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>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.</blockquote>]]></description>
<dc:subject>music pop hiphop rap criticism writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a75993e317da/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:pop"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:hiphop"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:rap"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://pitchfork.com/reviews/albums/16426-mdna/">
    <title>Matthew Perpetua: Madonna — MDNA (Pitchfork)</title>
    <dc:date>2012-03-29T03:01:48+00:00</dc:date>
    <link>http://pitchfork.com/reviews/albums/16426-mdna/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>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.</blockquote>]]></description>
<dc:subject>music review criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:6cbb315bac8e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:review"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://timeoutchicago.com/music-nightlife/15199701/madonna-mdna-album-review">
    <title>Brent DiCrescenzo: Madonna — MDNA (Time Out Chicago)</title>
    <dc:date>2012-03-29T02:47:59+00:00</dc:date>
    <link>http://timeoutchicago.com/music-nightlife/15199701/madonna-mdna-album-review</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>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.</blockquote>]]></description>
<dc:subject>music review criticism dance pop</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:e317087e1cfc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:review"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:dance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:pop"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://pitchfork.com/reviews/albums/16420-foreign-body/">
    <title>Jenn Pelly: Mirrorring: Foreign Body (Pitchfork)</title>
    <dc:date>2012-03-23T03:52:58+00:00</dc:date>
    <link>http://pitchfork.com/reviews/albums/16420-foreign-body/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>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.</blockquote>]]></description>
<dc:subject>music writing criticism review grouper tinyvipers</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:6e1c3cedb49d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:review"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:grouper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:tinyvipers"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://stereogum.com/979892/in-defense-of-skrillex/top-stories/lead-story/">
    <title>Tom Breihan: In Defense of Skrillex (Stereogum)</title>
    <dc:date>2012-03-20T23:39:48+00:00</dc:date>
    <link>http://stereogum.com/979892/in-defense-of-skrillex/top-stories/lead-story/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>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.</blockquote>]]></description>
<dc:subject>music writing criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:a5f682a7633a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.avclub.com/articles/the-shins-port-of-morrow,71032/">
    <title>Steven Hyden: The Shins: Port of Morrow (The A.V. Club)</title>
    <dc:date>2012-03-20T23:38:49+00:00</dc:date>
    <link>http://www.avclub.com/articles/the-shins-port-of-morrow,71032/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[<blockquote>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.</blockquote>]]></description>
<dc:subject>music review criticism writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:6216faad77c3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:review"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.newyorker.com/arts/critics/musical/2012/02/06/120206crmu_music_frerejones?printable=true">
    <title>Sasha Frere-Jones: Lana Del Rey (The New Yorker)</title>
    <dc:date>2012-03-07T09:48:28+00:00</dc:date>
    <link>http://www.newyorker.com/arts/critics/musical/2012/02/06/120206crmu_music_frerejones?printable=true</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[‘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.’]]></description>
<dc:subject>ldr music writing criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:e3bbabc81f16/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:ldr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.spin.com/reviews/grimes-visions-4ad">
    <title>Eric Harvey: Grimes, 'Visions' (SPIN.com)</title>
    <dc:date>2012-02-23T12:55:40+00:00</dc:date>
    <link>http://www.spin.com/reviews/grimes-visions-4ad</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[‘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.’]]></description>
<dc:subject>music writing review criticism</dc:subject>
<dc:source>https://instapaper.com/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:4436c7b510b0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:review"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.spin.com/reviews/lana-del-rey-born-die-interscope">
    <title>Rob Harvilla: Lana Del Rey: 'Born to Die' (SPIN.com)</title>
    <dc:date>2012-02-19T01:28:32+00:00</dc:date>
    <link>http://www.spin.com/reviews/lana-del-rey-born-die-interscope</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[‘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.’]]></description>
<dc:subject>ldr music writing criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:db0a9e359f73/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:ldr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://pitchfork.com/reviews/albums/16223-lana-del-rey/">
    <title>Lindsay Zoladz: Lana Del Rey: Born to Die (Pitchfork)</title>
    <dc:date>2012-02-19T00:43:23+00:00</dc:date>
    <link>http://pitchfork.com/reviews/albums/16223-lana-del-rey/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[‘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.’]]></description>
<dc:subject>ldr music review criticism writing culture america sex gender</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:635e3dbabdc8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:ldr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:review"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:america"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:sex"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:gender"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://marathonpacks.tumblr.com/post/15085420479/mark-richardson-a-proposed-new-years-resolution-for">
    <title>Eric Harvey: Mark Richardson’s ‘A Proposed New Year's Resolution for Music Critics’ (marathonpacks)</title>
    <dc:date>2012-01-09T10:15:25+00:00</dc:date>
    <link>http://marathonpacks.tumblr.com/post/15085420479/mark-richardson-a-proposed-new-years-resolution-for</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[‘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?’]]></description>
<dc:subject>history music modernism retro criticism culture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:df2042a73d33/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:modernism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:retro"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://nymag.com/daily/entertainment/2011/06/bon_ivers_indie_soft_rock_tran.html">
    <title>Vulture: Bon Iver’s Indie Soft-Rock: Transcendent or Torpid?</title>
    <dc:date>2011-06-27T05:33:03+00:00</dc:date>
    <link>http://nymag.com/daily/entertainment/2011/06/bon_ivers_indie_soft_rock_tran.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Nitsuh Abebe dares to say Justin Vernon is a little boring. Reading this, I think I understand why people aren't as impressed or as moved by stuff like Bon Iver and The National as I am — it has a certain New England, autumn/winter feeling and I think a lot of its appeal is in its power to evoke that snowed-in cabin, that 2am rainy city street, that drunken goodbye that we experienced or imagined. That’s how it is for me, anyway.]]></description>
<dc:subject>boniver music criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:7903ec9caed7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:boniver"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://teenageart.tumblr.com/post/4903581354/henry-rollins-wants-to-do-comedy-on-the-paul-reiser">
    <title>Teenage Art: Henry Rollins Wants to Do Comedy on 'The Paul Reiser Show'</title>
    <dc:date>2011-04-30T06:30:03+00:00</dc:date>
    <link>http://teenageart.tumblr.com/post/4903581354/henry-rollins-wants-to-do-comedy-on-the-paul-reiser</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[“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.”]]></description>
<dc:subject>criticism art writing internet culture celebrity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:3c6b2c2bf12a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:celebrity"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.avclub.com/articles/an-open-letter-to-lcd-soundsystems-james-murphy-fr,53960/">
    <title>The A.V. Club: An open letter to LCD Soundsystem’s James Murphy, from one critic to another</title>
    <dc:date>2011-04-08T03:05:59+00:00</dc:date>
    <link>http://www.avclub.com/articles/an-open-letter-to-lcd-soundsystems-james-murphy-fr,53960/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[“Like a lot of music critics, I feel a special kinship with you, because we are you. Or, rather, you are a better, smarter version of us. The relationship music critics have with you is similar to what film critics have with Quentin Tarantino, who, like you, started out as a know-it-all fan who, unlike most critics, took all the trivial, microscopic specificities he absorbed from every corner of his fan experience and found a way to create something new with it. But even if you guys are big-shot artists now, you’re also still critics at heart; you did it like Godard, critiquing art by making better art. Any time you’d take pains to find just the right detail to make a track really snap—a crisp snare, a squiggly synth, a warmly bouncing bassline—you were both nodding to the records you felt did it correctly, while also making an argument against the relatively chilly, slapdash way music is made in the point-and-click ProTools era. They say writing about music is like dancing about architecture, but your records actually were architecture, built from the spare parts of closely observed sounds you deconstructed and recontextualized from countless songs in your impeccably curated collection.”]]></description>
<dc:subject>lcdsoundsystem music writing history criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:914dc6f09d94/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:lcdsoundsystem"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://agrammar.tumblr.com/post/4166624859/odd-future-energy-inclusion-and-exclusion">
    <title>a grammar: Odd Future, energy, inclusion, and exclusion</title>
    <dc:date>2011-04-01T21:12:40+00:00</dc:date>
    <link>http://agrammar.tumblr.com/post/4166624859/odd-future-energy-inclusion-and-exclusion</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Nitsuh Abebe on Odd Future's energy, and their unfortunately exclusionary lyrics.]]></description>
<dc:subject>2011 music oddfuture hiphop criticism writing feminism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:1c3a321a148c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:oddfuture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:hiphop"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:feminism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://clembastow.tumblr.com/post/1134124574/katy-perry-teenage-dream-via">
    <title>Clem Bastow: Katy Perry — Teenage Dream</title>
    <dc:date>2011-02-08T10:16:45+00:00</dc:date>
    <link>http://clembastow.tumblr.com/post/1134124574/katy-perry-teenage-dream-via</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[“Perry’s ouevre is nasty, sticky and a little bit stupid; it’s a kind of Hello Kitty-themed update on Carry On; fruit-scented lube on a rather imposing black dildo. It works perfectly because the American ideal of the teenager - wholesome and optimistic - is of course at odds with its reality of unprotected sex and casual drug use.”]]></description>
<dc:subject>katyperry popmusic writing criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:0542eef4f7ea/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:katyperry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:popmusic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.villagevoice.com/2011-01-19/music/leave-chillwave-alone/">
    <title>Village Voice: Leave Chillwave Alone</title>
    <dc:date>2011-01-23T00:00:15+00:00</dc:date>
    <link>http://www.villagevoice.com/2011-01-19/music/leave-chillwave-alone/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[On why Altered Zones is Pitchfork’s *younger* ‘sister site’, and the fundamental difference between music producers and consumers who don’t remember music before the web, never knew it was something you paid for, and aren’t as concerned with the rating of certain music as ‘bad’.

I like this, but I have some big issues with this and want to return to it:

1. Altered Zones has its own set of problems, heavy among them the double-standard to which they hold DIY music. Baby bands at AZ get heaped with over-the-top praise, which at once unfairly removes them from helpful critical influence and subjects them to fame for which they aren’t prepared. As a result many are left in the dust of the Next Small Thing.

2. These music producers and writers don’t remember music before the web? I think this is patently false and that they absolutely do remember it; they generation that doesn’t isn’t reading Altered Zones yet. And what about those music producers sampling and being influenced by music that happened before the web (the 90s, the 80s)?

3. I don’t think Pitchfork is incapable of critically assessing the bands on Altered Zones; they just don’t have the time and energy for it. Which argument means I also don’t believe Altered Zones is not a filter for Pitchfork. How many bands debut on AZ or an AZ-affiliated blog, move on to the Forkcast, get a feature, and then get a bona fide Pitchfork Review? Several. Pitchfork’s own ‘The Week at Altered Zones’ pretty much is a filter by definition.]]></description>
<dc:subject>pitchforkmedia music writing criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:4ef8af504b3e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:pitchforkmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.waycooljnr.com.au/2009/03/13/how-do-i-get-my-music-reviewed-on-pitchfork-an-interview-with-scott-plagenhoef-pitchforks-editor-in-chief/">
    <title>waycooljnr: How to Get Your Music Reviewed on Pitchfork: An Interview with Scott Plagenhoef, Pitchfork’s Editor-in-Chief</title>
    <dc:date>2011-01-08T05:28:37+00:00</dc:date>
    <link>http://www.waycooljnr.com.au/2009/03/13/how-do-i-get-my-music-reviewed-on-pitchfork-an-interview-with-scott-plagenhoef-pitchforks-editor-in-chief/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[“What do you recommend is the best process for getting my music reviewed on Pitchfork?

“The easiest way to contact us to email and mail something to me directly, not just to the office. I would also read some reviews, find out which writers might like what you’re doing, and try to contact them directly. Targeting people who seem open to your music is an easy way to help it along. If you do send CDs, I would expect that a one-sheet, while it could be read, is more likely going to be discarded, so if you send a promo CD you should make sure any information that anyone might want– your website, short bio if needed, contact info for booking or PR if you have it, is on the back of the CD case itself.”]]></description>
<dc:subject>pitchfork musicbusiness internet criticism interview</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:b74e47a46cde/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:pitchfork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicbusiness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:interview"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nytimes.com/2010/11/21/arts/music/21kanye.html?_r=3&amp;pagewanted=all">
    <title>NYTimes.com: Kanye West, Still Unfiltered, on Eve of Fifth Album</title>
    <dc:date>2010-12-30T12:49:24+00:00</dc:date>
    <link>http://www.nytimes.com/2010/11/21/arts/music/21kanye.html?_r=3&amp;pagewanted=all</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Yeah, this is that nagging thing about MBDTF.

“On Monday Mr. West, who is 33, will release his fifth album, ‘My Beautiful Dark Twisted Fantasy’, and it’s terrific — of course it’s terrific — a startlingly maximalist take on East Coast rap traditionalism. And yet that doesn’t matter nearly as much as it should, at least partly because of Mr. West’s insistence on his own greatness. By not allowing for responses to his work other than awe, the value of the work itself is diminished; it becomes an object of admiration, not of study. Instead the focus is on the whole of Mr. West’s persona and character, which is more fractured, and subject to a far wider range of responses. The result is that Mr. West becomes a polarizing public figure who happens to be the most artful pop musician of the day, not the other way around.”]]></description>
<dc:subject>kanyewest music criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:dd396be37a34/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:kanyewest"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://agrammar.tumblr.com/post/353041639/internet-paradox">
    <title>a grammer: internet paradox</title>
    <dc:date>2010-12-30T09:14:41+00:00</dc:date>
    <link>http://agrammar.tumblr.com/post/353041639/internet-paradox</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Thoughts on the tendency of the internet to empower and break down niches.

“You can be a niche, but you’re a public niche, so you can’t expect to be left alone about it, or understood on your own terms. The internet makes niches possible, but it’s also a massive space in which loads of different people communicate — and spaces like that tend to pull everyone toward the middle, developing conventions and enforcing a cultural center. So far, this hasn’t stopped plenty of corners of the internet from getting extremely insular and specialized, but it’s still a form of cultural policing on this front.”]]></description>
<dc:subject>nitsuhabebe writing internet society culture criticism niche via:paulford</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:5fdc417f8978/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:nitsuhabebe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:society"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:niche"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:via:paulford"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.archive.org/details/LowlandsASighCollective">
    <title>Marc Weidenbaum — Lowlands: A Sigh Collective</title>
    <dc:date>2010-12-27T08:41:09+00:00</dc:date>
    <link>http://www.archive.org/details/LowlandsASighCollective</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Another ‘response album’ from Marc Weidenaum's blog minions, this a collection of recordings that use a human sigh as their source material. The response is to the grumpy, narrow-minded art critic Richard Dorment, who questioned the integrity and quality of artist Susan Philipsz’ Turner Prize-winning ‘Lowlands‘, as well as a number of other artistic endeavors that he considers unworthy of anything more than a ‘long low collective sigh’.]]></description>
<dc:subject>music criticism free art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:92e9245b59a7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:free"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://fuse.tv/music/columns/listen-closely/111610-3.html">
    <title>Fuse.tv: Listen Closely by B Michael Payne: Love the Music, Ignore the Message: How Critics Are Failing Odd Future</title>
    <dc:date>2010-11-16T21:24:48+00:00</dc:date>
    <link>http://fuse.tv/music/columns/listen-closely/111610-3.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA["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."
]]></description>
<dc:subject>music writing criticism misogyny culture america hiphop rap lyrics</dc:subject>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:722672e7690b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:misogyny"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:america"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:hiphop"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:rap"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:lyrics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://shallowrewards.blogspot.com/2010/11/be-real-it-doesnt-matter-anyway.html">
    <title>Shallow Rewards: Be real, it doesn't matter anyway</title>
    <dc:date>2010-11-14T10:24:53+00:00</dc:date>
    <link>http://shallowrewards.blogspot.com/2010/11/be-real-it-doesnt-matter-anyway.html</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[A good overview of where music creation and criticism is in late 2010. At least in terms of the sorts of bands who are making music for the sorts of people who are reading these sorts of blog posts (a lot!).
]]></description>
<dc:subject>music writing criticism culture</dc:subject>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:401de1bdfb32/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://squashed.tumblr.com/post/1525250467/truth-and-patriotism">
    <title>Squashed: Truth and Patriotism</title>
    <dc:date>2010-11-09T20:12:19+00:00</dc:date>
    <link>http://squashed.tumblr.com/post/1525250467/truth-and-patriotism</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA["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."
]]></description>
<dc:subject>patriotism america culture history war writing criticism</dc:subject>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:c7229e4b6fd5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:patriotism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:america"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:war"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://17dots.com/2010/08/05/emusic-qa-rob-sheffield/">
    <title>eMusic Q&amp;A: Rob Sheffield</title>
    <dc:date>2010-08-10T22:51:34+00:00</dc:date>
    <link>http://17dots.com/2010/08/05/emusic-qa-rob-sheffield/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA["To mark the publication of rock critic Rob Sheffield’s second book, an 'I Love the 80s'-style tribute to the music of his youth called Talking to Girls About Duran Duran, eMusic’s Michaelangelo Matos took a unique approach to the author interview: a jukebox jury in which music critics, rather than songs, were the focus of discussion."
]]></description>
<dc:subject>music musicbusiness criticism writing 80s 90s rock indie punk duranduran</dc:subject>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:fffa31307abe/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:musicbusiness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:80s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:90s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:rock"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:indie"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:punk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:duranduran"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.pitchforkreviewsreviews.com/post/673925866/what-it-might-mean-when-you-are-hearing-music-as-bad">
    <title>Pitchfork Reviews Reviews: what it might mean when you are hearing music as BAD and a defense of Rebirth</title>
    <dc:date>2010-06-07T23:19:21+00:00</dc:date>
    <link>http://www.pitchforkreviewsreviews.com/post/673925866/what-it-might-mean-when-you-are-hearing-music-as-bad</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Is Lil Wayne's 'Rebirth' really that bad?
]]></description>
<dc:subject>lilwayne music writing criticism pitchfork culture</dc:subject>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:c7a98370d429/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:lilwayne"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:pitchfork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://pitchfork.com/features/why-we-fight/7813-why-we-fight-4/">
    <title>Pitchfork: Why We Fight: The Trouble with Maya</title>
    <dc:date>2010-06-07T00:17:40+00:00</dc:date>
    <link>http://pitchfork.com/features/why-we-fight/7813-why-we-fight-4/</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Getting politics wrong and getting pop wrong.
]]></description>
<dc:subject>music writing pitchfork politics mia criticism</dc:subject>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:ec08d6069c98/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:pitchfork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:mia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nytimes.com/2010/05/09/weekinreview/09aoscott.html?pagewanted=all">
    <title>NYTimes.com: Gen X Has a Midlife Crisis</title>
    <dc:date>2010-05-31T04:52:28+00:00</dc:date>
    <link>http://www.nytimes.com/2010/05/09/weekinreview/09aoscott.html?pagewanted=all</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[They're are distraught and stuck in a pre-maturity funk.
]]></description>
<dc:subject>bookreview criticism culture psychology youth genx film</dc:subject>
<dc:identifier>https://pinboard.in/u:matthewmcvickar/b:96e916d3b150/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:bookreview"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:youth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:genx"/>
	<rdf:li rdf:resource="https://pinboard.in/u:matthewmcvickar/t:film"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://agrammar.tumblr.com/post/359990238/the-rules-of-the-game-a-fuller-thought-on-j-hopper">
    <title>a grammar: The Rules of the Game: A Fuller Thought on J. Hopper and Vampire Weekend</title>
    <dc:date>2010-03-11T14:21:04+00:00</dc:date>
    <link>http://agrammar.tumblr.com/post/359990238/the-rules-of-the-game-a-fuller-thought-on-j-hopper</link>
    <dc:creator>matthewmcvickar</dc:creator><description><![CDATA[Nitsuh Abebe on exactly why people need to stop talking about how "white" Vampire Weekend are.
]]></description>
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