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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.

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
Term
Show
Shows
Amour
Character
Sopranos
Many
Parking
Long
Headed
Never
Memorable
Like
Characters

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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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'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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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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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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When you stick a song on a tape, you set it free.
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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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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 sax solo as we know it today would not exist without Gerry Rafferty. His 1978 soft-rock classic 'Baker Street' has to be the 'Ulysses' of rock & roll saxophone, giving the entire chorus over to Raphael Ravenscroft's sax solo, creating one of the Seventies' most enduringly creepy sounds.
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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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'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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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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But bringing people together is what music has always done best.
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Thank you for the music, Sleater-Kinney. This gang of three was the best American punk rock band ever. Ever.
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...some people aren't worth the trouble of being kind to, because they have neither the brains nor the power to make something for themselves out of your kindness.
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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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I didn't know what I was. I didn't have a noun.
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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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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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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.
Rob Sheffield
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Davy Jones was the grooviest of the Monkees, which makes him one of the grooviest pop stars who ever existed. He was the best dancer in the Monkees, the Cute One, the one with the coy English accent, the bowl-cut boy-child who shook those cherry-red maracas and always got the girl. He was also the guy who stole David Bowie's original name.
Rob Sheffield