matthewmcvickar + pop   10

Daphne Carr: It's 2012 and it's Nicki Minaj's world to make, but this album is not going to make it (Capital New York)
Her flow, including the corny hashtag raps and the growls and all the other forms of play that make her simultaneously so old school and so fresh, have already shifted the zeitgeist and inspired a new generation of pop lovers in one short year. Now it's time for her to figure out how to step up to sound like she what she says on the album’s third track: “I Am Your Leader.”
music  writing  pop  hiphop 
3 days ago by matthewmcvickar
Brandon Soderberg: Nicki Minaj and 2 Chainz’ ‘Beez in the Trap’ (SPIN)
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.
music  pop  hiphop  rap  criticism  writing 
9 weeks ago by matthewmcvickar
The Modern Serf: IV - V
Having heard ‘Erica Western Teleport’, Justin looks into his other favorite songs that have that song’s ‘simple IV-V-I progression’. A good bit of pop notes and theory that I need to look into further.
pop  music  theory 
9 weeks ago by matthewmcvickar
Brent DiCrescenzo: Madonna — MDNA (Time Out Chicago)
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.
music  review  criticism  dance  pop 
9 weeks ago by matthewmcvickar
David Wallace-Wells: Nicki Minaj's Kaleidoscopic Genius (New York Magazine)
‘Once upon a time, dance pop was about self-affirmation, and the thing being affirmed was usually some sort of identity—ethnicity, gender, sometimes class, and maybe even sexuality. The Nicki generation seizes a whole new subject for pop: not who you are and how you made it, but the meaning and experience of celebrity once you have it. In place of identity, these prima donnas are performing fame. And doing it with what you might even call “taste”: an idiosyncratic aesthetic vision for everyday life, one that has nothing to do with where they’ve been and everything to do with synthetic aspiration. Minaj isn’t being inauthentic about celebrity—celebrity is the most authentic thing about her.’
celebrity  fame  music  writing  pop  from instapaper
february 2012 by matthewmcvickar
Eric Harvey: tUnE-yArds, PJ Harvey, and St. Vincent Get Physical (Village Voice)
‘2011 indeed was a remarkable year for the pop body in all of its beautiful, ugly, complex, and grotesque forms.’
body  culture  music  writing  pop 
february 2012 by matthewmcvickar
Pitchfork: Why We Fight: Why We Fight #10
Nitsuh explores the Black Eyed Peas iPad app, and why so much party pop music — which is so often aspirational — has been sounding “rote and blanched of purpose”.
pop  music  writing  apps  culture  america 
january 2011 by matthewmcvickar
The Times: Come party with Lady Gaga
Humanizing and well-written. Spoiler: she doesn't have a penis.
ladygaga  music  interview  writing  fame  pop  musicindustry 
may 2010 by matthewmcvickar

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