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Donna Summer would be remembered as a ground-breaking artist today even if she'd retired the day after she recorded 'I Feel Love' in 1977.

Rob Sheffield

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Rob Sheffield
Age: 58
Born: 1966
Born: February 2
Journalist
Music Critic
Writer
the United States of America
Robert James Sheffield
Even
Breaking
Would
Remembered
Love
Ground
Summer
Artist
Today
Donna
Feel
Recorded
Feels
Retired

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But MTV relishes its vestigial role as a star maker, so every year it puts all its clout into making the VMAs the biggest, splashiest, loudest show-biz extravaganza of the year, honoring all this music for existing, after a year of paying barely any attention to it.
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Like many other touchstones of twenty-first-century pop culture, 'The Sopranos' was hatched in the late Nineties, predicting a future that never arrived. It was designed for a decade that would be just like the Nineties, except more so, in an America that enjoyed seeing itself as smarter and braver and freer than ever before.
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Every American wants a clean slate, but nobody wants to lose what they've got.
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I was the only kid at Camp Don Bosco who would admit he was an alter boy back home, so I served two masses a day all summer. But I loved the cassock and surplice, ringing the bells, lighting the candles - it was like being a glamrock roadie for God.
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You can't beat the beehive for glam punkette attitude.
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When I started out as a music journalist, at the end of the 1980s, it was generally assumed that we were living through the lamest music era the world would ever see. But those were also the years when hip-hop exploded, beatbox disco soared, indie rock took off, and new wave invented a language of teen angst.
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When I was a junior, my school introduced badminton, which was clearly a P.E. department ploy to get me away from the wrestling room, and it worked, since the first time I played badminton was like the first time I tasted sushi or heard the Beatles or read Wordsworth. This was a sport? This counted for gym requirements?
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But bringing people together is what music has always done best.
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But the rhythm of the mix tape is the rhythm of romance, the analog hum of a physical connection between two sloppy, human bodies.
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I'd shut the whole world down just to tell you.
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On 'Idol,' Steven Tyler will be sitting at a table with two other judges, and part of his job will be keeping his yap zipped while they talk. This makes no sense at all, since Tyler has zero yap-zipping skills.
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'American Horror' is the debasement of the suburban family, the way a lonely kid would have imagined it in the Seventies.
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Falling in love with Renee was not the kind of thing you walk away from in one piece. I had no chance. She put a hitch in my git-a-long.
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One of Renee's friends asked her, Does your boyfriend wear glasses? She said, No, he wears a Walkman.
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Morrissey was my Mrs. Garrett, the house mother from the Facts of Life, a soothing adult figure giving me words of wisdom.
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Our amour fou with 'The Sopranos' is headed for long-term parking, like so many of its most memorable characters. We'll never see a show like this again.
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When you stick a song on a tape, you set it free.
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It was R.E.M. who showed other Eighties bands how to get away with ignoring the rules - they lived in some weird town nobody never heard of, they didn't play power chords, they probably couldn't even spell 'spandex.' All they had was songs.
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'Revenge' is a shameless soap in the style of Eighties shoulder-pad slap-offs like 'Dallas,' 'Dynasty' and 'Falcon Crest.' Yet there's no wink-wink camp.
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When Ke$ha tries to rap like L'Trimm, she sounds like any ordinary lonely teenage girl stuck in a nowhere town, singing along to her radio and dreaming of a party where she's the star. Ke$ha's greatness is that in her voice, you can hear both the loser girl and the star. All hail the Queen of Noi$e!
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