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'I'll Tumble 4 Ya' has to be one of the most ridiculous hit singles that any international superstars have given the world.

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
International
Given
World
Superstars
Tumble
Singles
Superstar
Ridiculous

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I was totally clueless about social interaction, and completely scared of girls. All I knew was that music was going to make girls fall in love with me.
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I didn't know what I was. I didn't have a noun.
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Tonight, I feel like my whole body is made out of memories. I'm a mix-tape, a cassette that's been rewound so many times you can hear the fingerprints smudged on the tape.
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A song nobody likes is a sad thing. But a love song nobody likes is hardly a thing at all.
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Nothing connects to the moment like music. I count the music to bring me back, or more precisely, to bring her forward.
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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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The hungry feeling and the lonely feeling merged until it was hard to tell them apart.
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Anyone watching '30 Rock' always knew Tina Fey was playing a fictionalized version of herself, a workaholic comedy writer who also plays one on TV. She's the boss Liz Lemon just works here.
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At an incredibly divisive point in pop history, Donna Summer managed to create an undeniable across-the-board experience of mass pleasure - after 'Bad Girls,' nobody ever tried claiming disco sucked again. It set the template for what Michael Jackson would do a few months later with 'Off The Wall.'
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There are all kinds of mix tapes. There is always a reason to make one.
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The first season of 'Community' stumbled a bit because the plotlines too often veered into realism, but that is not a problem anymore. Not when prize episodes concern a campuswide blanket fort, or a secret garden with a magic trampoline.
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But bringing people together is what music has always done best.
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It was bewildering and humbling to keep discovering how many brave things people can fail to talk themselves out of doing.
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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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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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Seeing Taylor Swift live in 2013 is seeing a maestro at the top of her or anyone's game. No other pop auteur can touch her right now for emotional excess or musical reach - her punk is so punk, her disco is so disco. The red sequins on her guitar match the ones on her microphone, her shoes and 80 percent of the crowd.
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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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When you stick a song on a tape, you set it free.
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I get sentimental over the music of the ’90s. Deplorable, really. But I love it all. As far as I’m concerned the ’90s was the best era for music ever, even the stuff that I loathed at the time, even the stuff that gave me stomach cramps.
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The times you lived through, the people you shared those times with — nothing brings it all to life like an old mix tape. It does a better job of storing up memories than actual brain tissue can do. Every mix tape tells a story. Put them together, and they can add up to the story of a life.
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