Quote

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!

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
Trying
Along
Sounds
Queen
Like
Hear
Stuck
Tries
Stars
Lonely
Loser
Party
Radio
Queens
Sound
Star
Nowhere
Voice
Greatness
Rap
Hail
Girl
Singing
Town
Teenage
Dream
Ordinary
Towns
Dreaming

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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.
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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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'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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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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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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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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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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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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The dilemma of the eighth-grade dance is that boys and girls use music in different ways. Girls enjoy music they can dance to, music with strong vocals and catchy melodies. Boys, on the other hand, enjoy music they can improve by making up filthy new lyrics.
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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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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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'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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The hungry feeling and the lonely feeling merged until it was hard to tell them apart.
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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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A song nobody likes is a sad thing. But a love song nobody likes is hardly a thing at all.
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But the answer is simple. Love is a mix tape.
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There are all kinds of mix tapes. There is always a reason to make one.
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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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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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It's always that one song that gets to you. You can hide, but the song comes to find you.
Rob Sheffield