The FADER Weekend Reading List
7 of our favorite pieces from this past week, covering symbols, Silicon Valley, and more.
Adam Liptak, New York Times (6/26)
"The Supreme Court ruled that the Constitution guarantees a nationwide right to same-sex marriage." Enough said.
Ta-Nehisi Coates, The Atlantic (6/22)
In response to the country's debate over the Confederate Flag in the wake of the massacre in Charleston, Mr. Coates over at The Atlantic compiled excerpts from each Confederate state's casus belli (that's "An act or event that provokes or is used to justify war" for those of us who don't speak Latin) in order to investigate America's past. As Coates writes, "It is difficult for modern Americans to understand such militant commitment to the bondage of others," and in today's racial and political climate it's crucial that we understand the “sick and twisted” beliefs that incited the Civil War.
For more on the issue, read Charles M. Blow's NYT Op-Ed on symbols and institutional racism.
Billboard Staff (6/22)
Billboard "followed the money" in order to find out who makes the most and the least dollars within the music industry. You can probably guess who rakes in the most ca$h, but Billboard's infographic is pretty cool to see. They've also got charts for "big" versus "small" artists, as well as for streaming and journalism.
Samantha Cooney, Mashable (6/22)
"Darling, she’s a businesswoman dressed as a pop star" is probably the aptest description of Taylor Swift there is (also, props for that "Blank Space" reference). After Apple changed its mind about paying artists during their free streaming trial period at the behest of Taylor, the 'net blew up into a million think pieces. This one by Samantha Cooney at Mashable paints a picture of Swift as a powerful businesswoman, which she definitely is. Read about "how Taylor Swift became so awesome," and how her actions can be "useful business advice any woman—or anyone—can use."
Vinson Cummingham, The Awl (6/24)
The Brooklyn Museum exhibited Kehinde Wiley's first career survey, Kehinde Wiley: A New Republic from February to May of this year. Wiley's works portray contemporary African Americans using the style of traditional European portraits in order to raise questions about race, gender, and politics. Vinson Cummingham's commentary on the exhibit is unconventional, and brings Kanye West and Kendrick Lamar into the conversation about art and the pop landscape.
Nick Stockton, Wired (6/24)
Life in the digi age is beyond weird—cyber communication cuts out nuance and context from interactions (as in, no body language, no tone of voice, no sarcasm)—and emojis help to add that missing context to texts, tweets, and the like. In this Wired article, Nick Stockton examines the use of emojis as more than just "emotional punctuation," and proposes the idea that emojis might evolve into a "discrete, complete means of communication." Language is really c00l. :-)
Will Oremus, Slate (6/22)
According to Will Oremus at Slate, "Moments, you might say, are having a moment." If you're plugged into at least one social media platform, then you'll know what a "moment" is. Instagram and Snapchat are two of the biggest platforms to latch onto the new buzzword, but companies like Spotify, Google, and Facebook are jumping on the "moment" train as well. It might take you more than a moment to read, but Oremus' exposition of the trend is worth the time.