by Leonard Pierce
Another Mayan apocalypse come and gone, and here we still are, writing end-of-year recaps. Searching for an overarching metaphor for the most annoying year in the history of music criticism proved difficult, as no comparison seemed worth of encapsulating the unique blend of lazy and self-righteous that characterized 2012. Was this the year that the chickens came home to roost, only to have their heads bitten off by the carny geeks that now pass for journalists? Was this the year that cultural criticism finally disappeared up its own ass, only to find the space hopelessly crowded by music bloggers, who find the stench tolerable given how cheap rent? Was this yet another Year of the Woman?