Quote

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.

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
Anyone
Watching
Tina
Also
Rock
Lemon
Play
Rocks
Workaholic
Always
Works
Lemons
Writer
Version
Playing
Boss
Fictionalized
Comedy
Versions
Liz
Knew
Plays
Fey

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You can hear the Celtic heartbeat all over Europe and America, from Bing Crosby to Jack White, from the Smiths to My Bloody Valentine, from House of Pain to Marky Mark and the Funky Bunch.
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But bringing people together is what music has always done best.
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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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You can't beat the beehive for glam punkette attitude.
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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.
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Just as Bowie, Zeppelin, etc., became rock stars by remaking themselves in the image of the California girls, the Go-Gos became rock stars by pretending to be the Buzzcocks and the Sex Pistols. Jane Wiedlin always said her biggest influence was growing up in L.A. as a Bowie girl.
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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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I didn't know what I was. I didn't have a noun.
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I realize that I will never fully understand the millions of bizarre ways that music brings people together.
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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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'So You Think You Can Dance' comes on as a high-minded leap up the evolutionary ladder from other reality shows - on this one, you're supposed to learn something, and the guest judges are fellow dance professionals rather than actual celebrities.
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There are all kinds of mix tapes. There is always a reason to make one.
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When you stick a song on a tape, you set it free.
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Thanks to the greatest invention of recent years, the MP3-playing alarm clock, I can now choose the song that wakes me up in the morning.
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'The Sopranos' gets praised as novelistic, but it follows the most banal of life patterns, showing the sheer tedium of being a mobster. It has dead spots, boring plotlines, weak episodes. Characters develop slowly, or don't. Like viewers, a gangster might get bored, fade out of the action, then come back to find none of his debts forgotten.
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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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It goes without saying that 'Buncha Losers' comedies speak to tough times. The massive unemployment of the Reagan years gave us 'Taxi,' 'Cheers' and the genre-defining 'Night Court,' a show you could never admit to watching without making people feel sorry for you.
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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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Every American wants a clean slate, but nobody wants to lose what they've got.
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The Stones suggested that if you dabble in decadence, you could turn into a devil-worshipping junkie. Paul McCartney suggested that if you mess around with girl worship, you could turn into a husband. So Paul was a lot scarier.
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