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Thank you for the music, Sleater-Kinney. This gang of three was the best American punk rock band ever. Ever.

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
Rock
Rocks
Band
American
Three
Best
Gang
Music
Punk
Ever
Thank

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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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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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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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Every moment of my life has a soundtrack, so I never know when some song is going to jump me by surprise and bring the memory alive.
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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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I didn't know what I was. I didn't have a noun.
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But the answer is simple. Love is a mix tape.
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'American Horror' goes for a very specific kind of Seventies suburban downer ambience - 'Flowers in the Attic' paperbacks, Black Sabbath album covers and late-night flicks like 'Let's Scare Jessica to Death.' It even has 'Go Ask Alice'-era urban legends.
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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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Baseball's Opening Day is full of time-honored traditions: the President throws out the first ball, the Cubs' starting pitcher walks away with a 54.00 ERA, the Royals get mathematically eliminated from the pennant race.
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I'd shut the whole world down just to tell you.
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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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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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Rebecca Black might sing like a robot, but that's just proof she has evolved beyond us. Her vocal is just a slightly exaggerated version of the robot glitch-twitch stutter that's been mainstream pop vocalese for the past 10 years or so.
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When you stick a song on a tape, you set it free.
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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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It's always that one song that gets to you. You can hide, but the song comes to find you.
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One of the billions of things I love about Beyonce: The harder she tries to come on crazy, the less crazy she sounds.
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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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