Young celebrities aren’t selling millennials on Hillary Clinton

Twitchy has been covering all of Hillary Clinton’scelebrity-studded events from Katy Perry to Demi Lovato to Lena Dunham to John “Bowzer” Bauman and noting that the younger the audience, the less likely they are to be swayed by star power. When Demi Lovato, 23, performed last week at the University of Iowa on behalf of Clinton, hundreds of Twitter followers told their idol they loved her music but she needed to #FeeltheBern.

Matt Drudge asked for “More Dunham, please” after a New York Times piece reported that Dunham hadtold the guests of Richard Plepler, chief executive of HBO, that she was disturbed by how, in the 1990s, the Clintons and their allies discredited women who said they had been sexually assaulted by former President Bill Clinton.

The Associated Press has come to the same conclusion: a three-song Katy Perry concert in Iowa including Clinton’s “theme” song, “Roar,” is about as likely toconvince even first-time voters as Grandmother Clinton’s bogus “Iowa Launch Party” playlist.

They’re catching on. As the New York Times recently reported:

Alexis Isabel Moncada, the 17-year-old founder of Feminist Culture, a popular blog, was not old enough to remember the 1990s, but lately she and her thousands of young female readers have heard a lot about the scandals.

I heard he sexually harassed people and she worked to cover it up, Ms. Moncada said of Mr. and Mrs. Clinton. A lot of girls in my age group are huge feminists, and we dont react well to that.

Read more:

Special musical guest announced for Jefferson-Jackson dinner

The relationship between Republicans and musicians usually goes somewhere along the lines of, “Stop using our song in your campaign.” Democrats are much more chummy with the artistic community, which explains how they were able to score Sheryl Crow to sing the national anthem before their first presidential debate.

Even better,Hillary Clinton superfan Katy Perry is going to perform at a rally for the former secretary of state this weekend in Iowa. What a coincidence husband Bill Clinton, who has laid low for most of the campaign, will be on hand as well.

Perry certainly does love her Democrats, to the point where she volunteered this summer to write Clinton a campaign theme song should the need arise and in 2012 literally performed dressed like a ballot filled out for Barack Obama (and Joe Biden which could prove awkward). We suspect Biden thought he and Perry had something, but now she’s backing a girl and she likes it. Sorry Joe.

TheKaty Perry performance is old news, though. The breaking news today? The musical entertainment at the Iowa Democratic Party’s Jefferson-Jackson dinner will be provided by candidate Martin O’Malley, who used today’s appearance on “The View” to show Perry how it’s done.

It’s true, and there’s video to prove it. If only O’Malley would put asidepartisanship, he could team up with Mike Huckabee on bass and make America great again.

And maybe a few million more supporters.

Read more:

Fireworks And Brimstone: The Personal God Of Katy Perry

The pop star’s Pentecostalism asserts that God plays an intimate role in every decision she makes, no matter how large or small.

Jenny Chang / BuzzFeed

What Katy Perry prays for, Katy Perry gets. She was just 11 when she asked God for “boobs so big that I can’t see my feet when I’m lying down.” It was the kind of prayer no one would expect God to take seriously, but Perry hails from a religious background that believes in a God who is eager to answer anyone’s prayers, no matter how small (or, ahem, big), as a way of proving His existence.

It’s the same God Perry prayed to on Feb. 1, when, as a fully grown pop superstar at the height of her career, she performed during halftime of the Super Bowl for an audience of 114 million. “I was praying and I got a word from God and He says, ‘You got this and I got you,'” Perry told Ryan Seacrest days later on the red carpet at the Grammy Awards.

When Perry talks about her relationship with God, it always sounds both personal and somehow refreshing. No other pop star talks about God so regularly and sounds so candid doing it. “I do not believe God is an old guy sitting on a throne with a long beard,” she once told GQ, and it shows. Her God is deeply interested in the details of her personal life, from her Super Bowl performance to her relationships to her cup size.

It’s not strange for someone raised in the Pentecostal church — someone who once said, “Speaking in tongues is as normal to me as ‘pass the salt'” — to feel like her success is the direct result of, and always dependent on, prayer. Her God is deeply invested in individual flourishing and prosperity. And a spirit as colorful as Perry’s would, in some ways, be a natural fit for Pentecostalism, which, with its emphasis on speaking in tongues and boldness in prayer, is one of the more fantastical forms of Christianity.

Kevork Djansezian / Getty Images

Jason Merritt / Getty


It’s not what good girls do/
Not how they should behave/
My head gets so confused/
Hard to obey

–Katy Perry, “I Kissed a Girl”

When “I Kissed a Girl” came out, I was just out of college — a small, Christian liberal arts college in Santa Barbara, Perry’s hometown. I went to a lot of weddings that year (There are a rash of weddings immediately after every Christian college graduation.) We had just graduated from a school that proscribed same-sex relationships, but everyone, young and old alike, was singing along on the dance floor: “It felt so wrong/ It felt so right/ Don’t mean I’m in love tonight.” Such was the broad appeal of Katy Perry.

She’s the closest thing we’ve got to a human emoticon — a totally lovable, expressive, candy-colored wink to pop culture. A word you keep coming across when reading about Perry is “cartoonish.” And cartoonish works for her image, but what it doesn’t do is tell us much about the person underneath the persona. “I have always been this character,” she told Glamour in 2010, “but I kind of cartoon-ized myself a little bit [in my stage persona]. So when someone really likes me, it’s like [she mimes opening a curtain] here comes a person! I wonder if you can handle this.”

Born Katheryn Elizabeth Hudson (she changed her last name to avoid being confused with the actress Kate Hudson) in Santa Barbara, California, in 1984, Perry’s childhood was tumultuous. Her parents, Keith and Mary Hudson, were Pentecostal preachers who moved wherever they felt the Holy Spirit call them, eventually settling back into Santa Barbara, where they founded the now-defunct Oasis Christian Center. “We were traveling all the time,” Angela Hudson, Katy’s older sister, said in the 2012 documentary Katy Perry: Part of Me. A traveling pastor’s salary — even doubled — isn’t much to survive on, so Perry’s family would occasionally eat from the food bank their church stocked. Katy, Angela, and their younger brother, David, weren’t allowed to eat Lucky Charms (“Luck” was too reminiscent of “Lucifer”) and had to call deviled eggs “angel eggs.”

It would be another 10 years before Keith Hudson would call his daughter a “devil child” in a sermon, and those 10 years held a world of change.

Katy Perry, like most of us, contains multitudes. The year she turned 16, she lost her virginity in Nashville in the front seat of a Volvo. The same year, she released Katy Hudson, an album of contemporary Christian music with songs like “My Own Monster” and lyrics like “Where can I go where can I hide from these evil sufferings?/ Oh these images painted on my walls/ They say there’s a place that I can hide in the shadow of your wings/ Oh Lord, bring me to this place of refuge.”

It’s precisely this tension between pastor’s daughter and good girl gone bad that makes Perry so intriguing — and, at first blush, cartoonish. But there’s a lot more under the surface, both to her appeal and to her life. “People love the story of good girl gone bad,” she said in Part of Me, “and they think my parents have disowned me, but that’s not the story at all.”

Keith and Mary Hudson have lived lives that evangelical Christians love to hear about, of the “I once was lost but now I’m found” variety. He played tambourine with Sly & the Family Stone and took LSD; she danced with Jimi Hendrix and got married in Zimbabwe, but was divorced before she met Keith. They became Christians and planted churches together across America while their children were young, preaching to new crowds on a weekly basis. There is a moment in Part of Me when we see Keith Hudson in front of a group of people in a small church with an eagle emblem on the wall behind him and, above it, the phrase “DECLARE HIS WORD IN ACTION.” He owns the room, as charismatic preachers do.

A hallmark of the charismatic church is the belief in an active, intimately involved God. Stanford anthropologist Tanya Luhrmann wrote a book about the American evangelical relationship with God, When God Talks Back. “Over the last few decades,” she writes, “this generation of Americans has sought out an intensely personal God; a God who not only cares about your welfare, but worries with you about whether to paint the kitchen table.” This upbringing has undoubtedly influenced Perry as it has so many of the faithful; to them, God isn’t a distant grandfather type but an omnipotent being who has an opinion about every possible decision they have to make, no matter how small.

When Perry talks about praying before her Super Bowl performance, she is talking about (and to) this kind of God. The charismatic God “really is unconditionally loving,” says Luhrmann over the phone from her home. He’s “a loving God and a buddy God…people do this back and forth when they’re talking to God, the way two young girls talk to each other. They’re sharing everything.”

Another observation Luhrmann makes is how much some charismatic worship songs “are almost sexual, with a touch so light that the suggestion could slip past.” She cites the song “Dwell,” which includes a line, addressed to God, in which the supplicants ask the man upstairs to “Come and have your way.” Perry subverts images and practices in this way — from religious to sexual — on her song “Spiritual,” from Prism: “Lay me down at your altar, baby/ I’m a slave to this love/ Your electric lips have got me speaking in tongues.”

Perry regularly incorporates her religious background into her public persona, whether she’s performing or on the red carpet or writing song lyrics. Rather than run from questions of faith, she embraces them in the same way she responds to queries about her family — with nuance. Her songs often point to what evangelicals would call “a hunger for something more,” whether it be the deep questioning from “Lost” (“So if I pray, am I just sending words into outer space?”), the Biblical reference in “Who Am I Living For?” (“So I pray for a favor like Esther/ I need your strength to handle the pressure”), or the sexual overtones of “Spiritual” (“Lost in sweet ecstasy/ Found a nirvana finally”). She has managed to integrate prayer and meditation, speaking in tongues and singing to arenas, support for LGBT rights and an open line to a personal God.

One of the most affecting things about Katy Perry — something that is easy to overlook at first glance, but impossible to ignore as you spend time learning about her — is her vulnerability. I suspect it’s part of what makes her music so moving to her devoted fans, and it’s also what lets her get away with her cartoonish persona. Perry performed a medley of hit songs at the Super Bowl halftime show, complete with dancing sharks and costume changes, and turned around a week later and sang about overcoming suicidal thoughts at the Grammys in a relatively minimalistic performance. In that song, “By the Grace of God,” Perry recalls her frame of mind just after then-husband Russell Brand left her: “By the grace of God (there was no other way)/ I picked myself back up (I knew I had to stay)/ And put one foot in front of the other/ And I looked in the mirror and decided to stay.”

It’s a far cry from Katy Hudson’s Christian music album, which was written with about as much vulnerability as a phone book. But there’s something human in the fact that it’s taken some time for Perry to bare her inner life to the public. It’s a scary thing to write about one’s fragile mental state; scarier even than singing about kissing girls. (Although that proved difficult for Perry, too, who asked her sister to tell their parents that “I Kissed a Girl” was going to be her first single.)

The charismatic church presents a friendly God because it is concerned primarily that people might not know God at all, that they might be put off by an angry God. Where other denominations, like the Southern Baptists, are most focused on making sure people aren’t heretics, the charismatic church, to put it crudely, wants to make sure that people believe. That is both a cause and result of their conception of God as unconditionally loving, and unconditional love is a prominent theme in Perry’s music. Her song “Unconditionally” was written for John Mayer after their first breakup.

To talk about your own need for unconditional love — and your willingness to love unconditionally — is this really vulnerable thing. It’s rooted, for Perry, in this idea that God is all-loving and very close, not judging you but ready to hear whatever is on your heart, even when what’s on your heart is only pain. There was a scene in Part of Me where Katy, hours before a sold-out performance, is sobbing alone in a chair. Her marriage has started to fall apart, but she hasn’t told anyone in her inner circle. They fret about her, ask her if she wants to cancel, offer her water and a washcloth. Like many of us, she doesn’t really know what she needs.

In March 2013, Mary Hudson published an article on Charisma magazine’s website titled “How to Pray for your Prodigal.” Aside from an author bio at the beginning, Hudson never name-checks her famous daughter. “Satan’s assault on our youth is relentless,” she writes, and makes mention of the evils found in “movies, television, music and the Internet.” But, in a kind of unexpected and sweet aside, she also encourages parents not to hound their unbelieving or wayward children: “The people around you, including your child or unsaved relative, are not the ones who need to hear your prayers. Only God needs to hear them.”

“You just love her,” Perry’s mother says in Part of Me. “No matter what she was doing or what she was singing about, she’s just a blessing.”

Though public perception of Perry’s faith has led some to view her like an alien who has successfully adopted the form of a human being — “How did a fire-and-brimstone-preacher’s daughter become America’s sexiest pop star?” Rolling Stone asked — her life and lyrics point to an answer: “With help from my buddy God.”

Read more:

The Makers Of “Kim Kardashian: Hollywood” Will Release A Katy Perry Game

Glu Mobile, the company behind “Kim Kardashian: Hollywood,” says it’s repeating its formula with Katy Perry. (You know, the singer who was the backup act for Left Shark at the Super Bowl.)

The company behind “Kim Kardashian: Hollywood,” the addictive mobile game that’s been downloaded more than 28 million times, is partnering with Katy Perry on a similar game.

Glu Mobile said in a statement today that it will introduce the game, which will include Perry’s voice and likeness, in late 2015 as part of a five-year partnership with the singer. Glu noted in an earnings presentation today that Perry has more than 170 million fans on various social platforms compared with Kardashian’s 78 million, which could make it an especially lucrative deal.

Perry “is a cultural icon and we expect to translate key elements of her success into an innovative, highly entertaining mobile experience,” Glu CEO Niccolo de Masi said.

“Kim Kardashian: Hollywood” has been a cash cow for Glu Mobile, which successfully turned a national fascination with Kim Kardashian West into an app that many found just as addictive as say, Candy Crush Saga. Through the game, players work to achieve fame in virtual Hollywood under the tutelage of a pre-programmed, animated Kim. They travel to Kim’s regular haunts and interact with her sisters and mother. While it’s free to download, users can spend actual money on energy and outfits for their virtual selves to really make it in Tinseltown.

This fame and simulated interaction with the life of Kim has proved coveted. The Kardashian game raked in $74.3 million in sales for Glu last year, or more than one-third of its revenue, and spent seven months on a list of the nation’s top 30 grossing iPhone games, the company said today. (The figure may be disappointing to some, however; one analyst told Bloomberg News this summer that the game might bring in $200 million in in-app purchases.)

Executives noted on today’s call that “a real living, breathing, evolving person” is “perfect for game play.” They added that the company performs a “careful analysis” of where celebrities are going in the next three to five years when determining partnerships.

Glu’s second-biggest game by sales last year was “Deer Hunter 2014”, followed by “Eternity Warriors 3,” “Racing Rivals” and “Dino Hunter: Deadly Shores.”

In October, Glu’s CEO, Niccolo De Masi noted the Kardashian game “is unique, as you know, in that it mirrors a lot of what’s happening in the real world in the virtual space.”

Glu’s revenue last year

Glu Mobile / Via

Read more:

The Genius Of Taylor Swift’s Girlfriend Collection

Swift has spent the last two years “making friendship fun.” But her choice of Instagram girlfriends is also an incredibly savvy image maintenance strategy.

Around the October 2012 release of Red, when Taylor Swift had spent the gossip year linked with several boys — Jake Gyllenhaal, John Mayer, Taylor Lautner — and seemingly written songs about all of them, it became clear that the narrative of her life was spinning out of her control. So Swift changed the conversation: She stopped hanging out with boys (or at least viable boyfriend boys), and started hanging out with girls instead. Lots and lots of girls. And she documented it all on social media, mostly on Instagram, showing the world what cool, fun, awesome friends she had.

Thus began a new phase of Taylor Swift’s life: Strategic Girlfriend Collecting. It’s garnered her a lot of positive press; she’s been trumpeted by the New York Times for her emergence “as a single-and-loving it cheerleader for girl power,” with “a clique of BFFs — including Karlie Kloss, Lena Dunham, and Lorde — in her corner.” Us Weekly, People, and the gossip blogs have overflowed with reposts of Instagrams of Swift and her coterie; Glamour editor Cindi Leive has gone so far as to claim Swift has “made friendship cool.”

And the “reinvented” Taylor Swift “really likes” her life: “I have friends around me all the time. I started painting more. I’ve been working out a lot. I’ve started to really take pride in being strong. I love the album I made. I love that I moved to New York.” It’s a sweet life of Chicks Before Dicks, of playing house with Karlie and being your best self.

Certainly she hasn’t made friendship uncool. It’s simply that the friends Swift chooses to present to the world serve to support crucial, carefully crafted components of Swift’s image. She isn’t coldhearted or utilitarian in her friendship so much as savvy to the ways in which the production of celebrity is, at its heart, utilitarian — and it takes a lot of labor to make something as manufactured as a celebrity image look as natural as Taylor Swift and Lorde on a beach, just being the wacky and carefree young women that they are.

But natural is precisely what all of Swift’s feed looks like: a bunch of (beautiful) friends just hanging out. Shopping, goofing around, taking selfies. Being 25(ish), and posing with their best sides to the camera. These friendships certainly do emanate an aura of cool, but they’re also each calculated to reflect a particular component of the Swift image. Lena Dunham and Rookie editor Tavi Gevinson suggest she’s an enlightened feminist without her having to come out and say it. The recent appearances of the sisters of the girl band of the moment Haim give her indie cool cred, balanced out by the mainstream cred of Justin Timberlake, Jay Z, and Beyoncé, all of whom made an appearance in her birthday Instagrams in November.

Swift seemingly doesn’t discriminate according to age or source of fame: One day she hangs out with 35-year-old Jaime King, best known for her role in The CW’s Hart of Dixie; the next she’s with 18-year-old Hailee Steinfeld, lately of True Grit and Romeo and Juliet. She’s all-American enough to bake cookies with figure skaters (Gracie Gold) and hang out courtside with Amanda Seyfried and Kate Upton, but crucially still makes time for select friends from home (including Tennessee best friend Abigail Anderson, a name familiar to anyone who’s listened to Swift’s hit single “Fifteen”).

Swift works hard to show she’s no friend snob — her wholesome birthday parties and 4th of July gatherings mingle all levels on the celebrity pyramid — even if they are, with few exceptions, white and skinny. The flattening frame of Instagram puts all her friends on the same playing field and invites you to feel like you could be part of it — a fantasy actualized in Swift’s numerous fan posts, which effectively catapult the fan to fame. Superfan Gena Gabrielle, whose bridal shower Swift “crashed” earlier this year, has 15,000 Instagram followers. With such benevolence, Swift comes across as the ultimate in magnanimity: the opposite of the Regina George insult Katy Perry flung her way earlier this year.

Of all the friendships, Lorde’s seems the most strategic. In the lead-up to the September 2013 release of Lorde’s EP Pure Heroine, the New Zealand artist told Australia’s Metro Magazine that “Swift is so flawless and so unattainable, and I don’t think it’s breeding anything good in young girls” (she later clarified and pseudo apologized on her Tumblr). At some point during this time — it’s unclear exactly when — Swift started texting her and sent her flowers to celebrate the release of her album, and by November, the two were hanging out at Shake Shack in New York; in 2014, Swift’s Instagram found them on the beach and going to cooking class. Carefully planned friend outings, appropriately photographed, that together suggest that Lorde and Swift, the golden yin and dark and twisty yang of contemporary pop, aren’t at war, but in harmony, oftentimes literally.

With the noted exception of Katy Perry, Swift doesn’t cultivate rivals so much as neutralize them: Take her posing with upstart pop competitor Ariana Grande, who also performed at the Victoria’s Secret Fashion Show, whom Swift pulled into an Instagram shot and smothered, captioning it “Oh my god she couldn’t be cuter.” She applied a similar strategy with British pop star Ellie Goulding, Swift Taylor first smotherfriended in 2012 and Instagrammed, photo-of-a-photo style, with the caption “Ellie Forever.” And even if Grande and Goulding wanted to reject Swift’s advances, their publicity team would undoubtedly tell them not to: a Swift Instagram appearance arguably makes you more visible, especially to a target demographic, than a magazine cover.

The smother is Swift’s modus operandi, whether it’s with boys or girlfriends: from 0 to 100 real quick. She doesn’t have hook-ups or casual acquaintances; she has forever loves and best friends forever. At least that’s how she manifests her relationships, both in lyrics and in social media. Which is exactly how she became friends with current BFF Karlie Kloss: According to now well-recited Swiftian lore, Taylor’s first friendship overture arrived in a February 2012 Vogue cover story, in which she exclaimed, “I love Karlie Kloss…I want to bake cookies with her!” More than a year later, they hung out at the 2013 Victoria’s Secret Fashion Show, with Swift singing (in a dress) and Kloss walking the runway (in wings and lingerie).

Swift’s been friends with model Lily Aldridge (another Victoria’s Secret Angel) since the two were neighbors in Nashville, but the friendship with Kloss has been next-level BFF-ing. They road-tripped to California, go to the gym together constantly, look really glam at Knicks games, and hang out with Swift’s brother Austin. The most in-depth recent profile of Swift, released in tandem with 1989, broadcast that she kept a room for Kloss in her New York penthouse, stocked with her favorite foods.

Over the year, Swift’s feed has gradually filled with more models: more Aldridge, plus Cara Delevingne, Martha Hunt, and Candice Swanepoel. Paparazzi photos caught Kendall Jenner leaving Swift’s apartment, but Swift didn’t Instagram the visit. Maybe a reality-star friendship, no matter how high-profile, just isn’t on brand.

It’s difficult to parse exactly what attracts Swift to models: I’ve had friends explain it in terms of body-matching (Swift’s finally found her tall, wispy people) or that Kloss, like her, has juggled fame since her early teens. The writer Durga Chew-Bose told me that “being with Karlie is probably the one time when Taylor can feel invisible.” I don’t think any of these explanations is necessarily wrong. But I think there’s something even deeper about Swift’s model affinity, especially to the Kloss-like variety that currently dominate the industry.

Kloss, like the other Victoria’s Secret Angels on stage at this year’s fashion show, function as “painfully desexualized,” “listless, leggy dolls,” flattened through endless Pilates and macrobiotic diets. They have all the parts that signify sex, but these Angels are far more sex doll than actual sex. Swift isn’t going for sex doll herself — when she appeared to sing “Blank Space” wearing a teddy, a robe, and a pair of feathered slippers, she seemed much more Sexy Great Aunt — but nor has sex ever been Swift’s endgame. Her wheelhouse has always been romance: the whisper of coupling to come, not the realization thereof. That’s why she refuses to show her belly button, opting instead for a ‘50s-style crop top and high-waisted pant/skirt/shorts duo.

It’s a flattering look, but it’s also very on brand: She talks in riddles in her songs because she wants you to try to solve them, and she dresses quasi-modestly because she wants you to think what’s beneath is all the more precious. She’s no pinup, though: When it comes to ‘50s idols, she’s far more similar to Natalie Wood years before the rumors of her sexual explorations emerged, and everyone just thought she was a wide-eyed girl with the best boyfriends in town.

Photoplay / Modern Screen

Before her girlfriend-collecting days, Swift defined herself by the men she loved. Think of Tim McGraw, as one of her first hit songs went, and think of her. Now she’s defining herself by the women who surround her — famous and non-famous — and has succeeded, rather triumphantly, in changing the way that people talk about her life. Crucially, it’s still Taylor’s World, with a cluster of friends in her orbit, blinking in and out of visibility. But we’d never know: Part of the genius of Swift’s Instagram game is how, apart from Kloss, no one makes more than a few appearances, usually spaced over a period of months, making it effectively impossible to speculate as to an inner circle, frenemies, or fake friends. (Just last month, she shut down gossip about her once robust friendship with Selena Gomez with this post.)

In the absence of boys or friend drama, the only thing left to gossip about in Swift’s life is her friendship with Karlie Kloss. Photos of them hanging out (and embracing/maybe kissing) on a balcony were quickly transformed into evidence of a relationship. Even the gossip press, which should be sated with the stream of Swift paparazzi and Instagram photos, is on board.

OK Magazine

As evidenced by the abundance of “Kaylor” fanfic on Tumblr, there’s a serious audience and appetite for those rumors coming to fruition. But Swift’s popularity ultimately hinges on her image being mom-safe. Perhaps that’s why she can hang out with Lena Dunham but never say a word about Girls or Dunham’s memoir, why she distanced herself from Gomez when she went back to Justin Bieber, and why she spends more of her time with Kloss, who spends her time promoting her charitable vegan cookie line for Momofuku, than Cara Delevingne, a model in the bad-girl Kate Moss tradition who parties with Rihanna and dates Michelle Rodriguez.

For a young woman so mindful about the power of friendship, it feels noteworthy that of the 16 acts that have opened for Swift over the North American leg of her last three tours, none have been women. In this, she’s very much alone: All other major female pop acts — Katy, Gaga, Miley — have at least one female opener. As evidenced by the success of Ed Sheeran, a slot in the Taylor Swift opening lineup has the potential to launch a career. But Swift, who loves to do things like surprise fans with Christmas gifts and give them cash for dinner, seems less interested in actual female collaboration and partnership than the appearance thereof.

It’s no coincidence that the aesthetic of 1989 is that of the Polaroid: a technology that, in its contemporary manifestation, connotes thick feelings of authenticity, immediacy, and wistful nostalgia not unlike Instagram’s own filters. Look closer, though, and the Polaroid, while tangible, is still just an overexposed image, flattering vis-à-vis its limited technological capacity to show the fullness of the moment. From far away, a Polaroid can communicate bold strokes of fun, bliss, friendship. But get closer, and you see it’s flimsy, unclear, and impossible to replicate.

Additional reporting by Kelley Dunlap.

Read more:

The 2012 Grammy Nominees; Award Ceremony set for February 12th

The 54th Annual GRAMMY Awards will be held Sunday, Feb. 12 at STAPLES Center in Los Angeles, and will be broadcast live in high-definition TV and 5.1 surround sound on the CBS Television Network from 8 – 11:30 p.m. (ET/PT).

The Recording Academy®’s GRAMMY Recordings® and Universal Republic Records have joined forces to release the 2012 GRAMMY® Nominees album on Jan. 24, 2012. The 18th edition of the best-selling series will showcase many of this year’s GRAMMY-nominated artists and songs. A portion of the proceeds from sales of the album will help support the year-round efforts of the GRAMMY Foundation® and MusiCares® Foundation — two charitable organizations of The Recording Academy.




Press release — Universal Republic Records and The Recording Academy®’s ( GRAMMY Recordings® have partnered to release the 2012 GRAMMY Nominees album and give a lucky music and GRAMMY fan an opportunity to attend the 55th Annual GRAMMY Awards in 2013. The album, which will be available January 24, 2012, features 22 critically acclaimed smash hits from a myriad of chart-topping artists from various genres.

The 18th edition of the best-selling collection includes many of the most widely recognized GRAMMY categories representing nominees for Record Of The Year, Album Of The Year, Best New Artist, Best Country Album, and Best Pop Duo/Group Performance. The album is made possible by a special arrangement with all of the major music distribution companies and rotates labels from year to year. A portion of the proceeds from the album benefits the MusiCares® Foundation ( and the GRAMMY Foundation® ( — two charitable organizations established by The Recording Academy.

Additionally, in conjunction with the 2012 GRAMMY Nominees album, Universal Republic Records and The Recording Academy will give a lucky music fan an opportunity to attend the 55th Annual GRAMMY Awards in 2013. Each 2012 GRAMMY Nominees album purchased in stores or online will include a special game piece featuring a unique entry code for the 2013 GRAMMY Ticket Game. To participate, the code must be entered at for a chance to win a trip for two to the 55th Annual GRAMMY Awards in 2013. The second-place winner will receive a GRAMMY Awards T-shirt and the third-place winner will receive an official GRAMMY Awards poster.

“Rolling In The Deep”
Record Of The Year
Album Of The Year

Record Of The Year
Album Of The Year

Record Of The Year

“Moves Like Jagger”
Best Pop Duo/Group Performance

“Super Bass”
Best New Artist

“What’s My Name?”
Album Of The Year

7. J. COLE
“Work Out”
Best New Artist

“Yoü And I”
Album Of The Year

“Pumped Up Kicks”
Best Pop Duo/Group Performance

“Scary Monsters And Nice Sprites”
Best New Artist

Best Pop Duo/Group Performance

Album Of The Year

“If I Die Young”
Best New Artist

“The Cave”
Record Of The Year

Record Of The Year
Best New Artist

“Just A Kiss”
Best Country Album

Best Country Album

“Honey Bee”
Best Country Album

“Drink In My Hand”
Best Country Album

Best Pop Duo/Group Performance

“Don’t You Wanna Stay”
Best Country Album

“Body And Soul”
Best Pop Duo/Group Performance

“Hot ‘N’ Cold” Cover by American Idol Top 36 Group 3 (VIDEO)