You know I had to

SLUT! was such a disappointment tbh it’s Snow On The Beach’s sister (they both suck yet people love them for some reason)

You are so right when you said tay impacted him in ways he doesn't even realise. Like not only did harry fall in love with her as a person he admired her as an artist. His childhood friend once said h had crush on her after watching 'love story's mv. Knowing he was a music nerd he might've grown up being wonderstruck by her artistry especially after SN.(i cant see hum not appreciating SN esp after knowing she wrote it alone)Then he became part of her world. He saw the behind the scenes of red and 1989 (and maybe beginning of whatever became rep because I lowkey think she wrote atleast something about their fwb(there is a theory of TIWYCF that doesn't strike to me as a CH song) but decided to prioritize her joe songs). He saw her making music out of missing HIM and HIM coming back and falling in love with HIM. I do think at some point he also thought 'what a mind'. Every time he spoke about her artistry he made sure he said 'she's good at it'. I think it also gave Taylor a confidence boost because her previous boyfriend said 'don't write about me' and definitely didn't respect her as a person let alone artist. She also taught him atleast a little about playing guitar and introduced him to a lot of music(sweet disposition). So while the flame had gone out the smoke lingers(stealing your words) through his(and hers) song.

not only did harry fall in love with her as a person he admired her as an artist. right, and in a way the artistic admiration is what's still very present. the relationship fell apart, but that never has. h having a crush on her as a musician before he knew her as a person makes total sense. their respective experiences and dealings with fame then ended up aligning in a particular way where it also made sense that they'd gravitate towards each other and have some understanding and common ground. he's one of the few people who'd even be able to comprehend what that was like for her. i think part of why the gp writes them off as not being that impactful is because most people don't realize how long that situation was ongoing, that it wasn't only a handful of months, but spanned a few years off and on. he was there when red was being written, he was present for at least a bit of its creation, and we know she shared 1989 with him in full before its release. that's why i mentioned she helped teach him about approaching songwriting (and playing guitar, that initially was taylor and niall for him afaik!), plus sharing music together (that winding wheel tweet...). that influence is immediately clear even on midnight memories, and i think he internalized and absorbed it to the point where it's intrinsic now rather than intentional. that was a very formative time in both of their lives, what would be college ages for other people, and it seems they learned quite a bit from one another respectively, as artists and in navigating the press and in what they actually wanted from relationships (even if they never managed to align it). i've never seen that theory about tiwycf, i don't think? but the idea of it linking back to h amuses me since that would doubtless have made crouton livid (he really had such a chip on his shoulder about h). that feeling of falling apart and falling back together weaves in and out of both of their music that they composed about it. ("him" was also...revealing.) i have no doubt he admired her mind, and continues to. no one she'd previously been with had valued her talent and passion in that way, as we know (not only jg, jm OPENLY insulted her, called her songwriting "cheap"), she had been belittled and disrespected so often, and certainly h wasn't perfect (nor was she, it's okay, they're humans and people are flawed and complicated!), but there's no doubt that he valued her skill as an artist beyond being in love with her.

also when i mentioned 1989 isn't as vulnerable outside of this love and clean (and yail), sometimes i feel like even me saying that isn't entirely fair (i have a message, maybe from you! about wonderland in here somewhere that i agree with, i'll have to find it), even though she was trying hard to curate and polish and seem perfect and less attached, there tends to be a knife-edge of emotion in a number of the songs, where if they were stripped back and played acoustically (like her grammy museum performance), that would hit differently. why'd you have to go and lock me out when i let you in?/i wish you knew that i'd never forget you as long as i live/we were lying on your couch, i remember; you took a polaroid of us, then discovered, the rest of the world was black and white, but we were in screaming color/you know for me, it's always you...in the dead of night, your eyes so green...and i know for you, it's always me. it's a different dynamic than what she detailed on red, obviously, not nearly as shattered. but the very real feeling is still there.

while the flame had gone out the smoke lingers - it does, and it's the most interesting thing about that in many ways, and why those songs continue to converse with one another and move us the way they do. the situation ended, but the music lasts.

Listening to Rolling Stone's Top 500 Albums of All Time

Rolling Stone released an updated list of their top 500 albums of all time and being trapped in the purgatory of covid quarantine this seems like the perfect moment to tackle what an almost completely irrelevant former counter-culture institution has to say about music (we can’t actually blame Rolling Stone for this list, a huge number of musicians and critics voted to make it). I am going to listen to every single one of these, all the way through, with a level of attention that's not super intense but I'm definitely not having them on in the background as simple aural wallpaper. Two caveats though: I can make an executive decision to skip any album if I feel the experience is sufficiently miserable, and I'm also going to be skipping the compilation albums that I feel aren't really worth slots (best ofs, etc.). In addition, I will be ordering them as I go, creating a top 500 of the top 500 (it will be less than 500 since we've already established I'm skipping some of these).

Here are 500-490:

#500 Arcade Fire - Funeral

I can already tell I'm going to be at odds with this list if one of the most important albums of my high school years is at the bottom. That being said, I haven't actually given this whole thing a listen since probably the early 2010s, before Arcade Fire fatigue set in and the hipsterati appointed band of a generation just kinda seemed to fade from popular consciousness. I actually dreaded re-experiencing it, since the synthesis of anthemic rock and quirky folk instrumentation which Arcade Fire brought mainstream has now become the common shorthand of insufferable spotify friendly folk pop. Blessedly, the first half of the album easily holds up, largely propelled by dirty fast rhythm guitar, orchestration that's tuneful rather than obnoxious, and lyrics which come off as earnest rather than pretentious. The middle gets a little sappy and “Crown of Love”, a song I definitely used to like, really starts the grate. And then we get to “Wake Up”, whose cultural saturation spawned thousands of dorky indie rock outfits that confused layered strings and horns with power and meaning. This song definitely hasn't survived the film trailers and commercials which it so ubiquitously overlayed, but the line about "a million little gods causing rainstorms, turning every good thing to rust" still attacks the part of my brain capable of sincere emotion. This album is probably going to hold the top spot for a while, because although so many elements of Funeral that made it feel so meaningful, that made it stand out so much in 2004, have been seamlessly assimilated into an intellectually and emotionally bankrupt indie pop industrial complex, the album itself still has a genuine vulnerability and bangers that still manage to rip.

#499

Rufus, Chaka Khan - Ask Rufus

Before she became a name in her own right, Chaka Khan was the voice of the band Rufus, and it’s definitely her voice that shines amongst some spritely vibey funk. That’s not to say that these aren’t some jams on their own. “At Midnight” is a banging opener with a sprint to the finish, and although the explicitly named but kinda boring “Slow Screw Against the Wall” feels weak, this wasn’t really supposed to be an album of barn burners. This was something people put on their vinyl record players while they chilled on vinyl furniture after a night of doing cocaine. “Everlasting Love” is a bop with a bassline like a Sega Genesis game, and the twinkling piano on “Hollywood” adds a playful levity to lyrics that are supposed to be both tackily optimistic about making it big out in LA and subtly realistic about the kind of nightmare world showbiz can be. “Better Days” is another track that manages to be a bittersweet jam with a catchy sour saxophone and playful synths under Chaka Khan’s vamping. This album definitely belongs on a ‘chill funk to study and relax to’ playlist.

#498

Suicide - Suicide

We’ve hit the first album that could be rightly called a progenitor for multiple genres that followed it. Someone could say there’s a self-serving element of this being on a Rolling Stone list (the band was one of the first to adopt the label ‘Punk’ after seeing it in a Lester Bangs article) but the album’s legacy is basically indisputable. EBM, industrial, punk, post-punk, new wave, new whatever all have a genealogy that connects to Suicide, and it’s easy to hear the band in everything that followed. But what the band actually is is two guys, one with an electric organ and one with a spooky voice, doing spooky simple riffs and saying spooky simple things. Simplicity is definitely not a dis here. The opener “Ghost Rider” makes a banger out of four notes and one instrument, and the refrain ‘America America is killing its youth’ is really all the lyrical complexity you need to fucking get it. “Cheree” and “Girl” have almost identical lyrics (‘oh baby’ vs ‘oh girl’) but “Cheree” is more like a fairy tale and “Girl” is more like a sonic handjob. “Frankie Teardrop” has the audacity to tell a ten minute story with its lyrics, but of course there is intermittent, actually way too loud screaming breaking up the narrative of a guy who loses everything then kills his family and himself. The song is basically a novelty, and I think you can probably say the whole album is a novelty between its brevity and character. But for a bite sized snack this album casts a huge shadow.

#497

Various Artists - The Indestructible Beat of Soweto

The fact that this particular compilation always ends up in the canon has a lot to do with the cultural context it existed in, being America’s first encounter with South African contemporary music during the decline of apartheid (it wouldn’t end until a decade later in 1994 with the country’s first multi-racial elections). Music journos often bring up the fact Ladysmith Black Mambazo, the all male choir singing on the album ender “Nansi Imali”, sang on Paul Simon’s Graceland like their virtue is they helped Paul Simon get over his depression and not, like, the actual music. But also like, how is the actual music? Jams. Ubiquitous, hooky guitars propel the songs along with bright choruses over low lead vocals, but I didn’t expect the synthesizer on the bop “Qhude Manikiniki”, nor the discordant hoedown violin on “Sobabamba”. “Holotelani” is a groove to walk into the sunset to.

#496

Shakira - Donde Estan los Ladrones

So this is the first head scratcher on the list. It’s not like it sucks. And I think I prefer this 90s guitar pop driven spanish language Shakira to modern superstar Shakira. But I mean, it’s an album of late nineties latin pop minivan music, with a thick syrupy middle that doesn’t do anything for me. The opener and closer stand out though.  ‘Ciega, Sordomuda’, one of the biggest pop songs of the 90s (it was #1 on the charts of literally every country in Latin America), has a galloping acoustic guitar and horn hits with Shakira’s vocals at their most percussive.

#495

Boyz II Men - II

So, if you were alive in the 90s you know Boyz II Men were fucking huge, and the worst song on the album is the second track “All Around the World”, basically a love song to their own success, and also the women they’ve banged. You can tell it was written specifically so that the crowd could go fucking wild when they heard their state/city/country mentioned in the song, and I’m not gonna double check but I’m sure they hit all fifty states. Once you’re over that hump though you basically have an hour of songs to fuck to. “U Know” keeps it catchy with propulsive midi guitar and synth horns, “Jezzebel” starts with a skit and ends with a richly layered jazz tune about falling in love on a train, and “On Bended Knee” has a Ragnarok Online type beat. Honestly this album can drag, but you’re not supposed to be listening to it alone in a state of analysis, you’re supposed to have it on during a date that’s going really, really well.

#494

The Ronettes - Presenting the Fabulous Ronettes

A singles compilation of the Ronettes, the only ones I immediately recognized were ‘Be My Baby’ and ‘Going to the Chapel of Love’, the latter of which I didn’t know existed since the version of the song I knew was by the Dixie Cups, which was apparently a source of drama since the Ronettes did it first but producer Phil Spector refused to release it. I feel like as a retro trip to sixties girl groups it’s full of enough songs about breaking up (for example “Breaking Up”) getting back together (for example “Breaking Up”) and wanting to get married but you can’t, because you’re a teenager (“So Young”).

#493

Marvin Gaye - Here, My Dear

This album only exists because Marvin was required by his divorce settlement to make it and provide all of the royalties to his ex-wife and motown executive Anna Gordy Gaye. It’s absolutely bizarre, phoned in mid tempo funk whose lyrics range from the passive aggressive (“This is what you wanted right?”) to the petulant (“Why do I have to pay attorney’s fees?”). There is a seething realness here that crosses well past the border of uncomfortable. I don’t think it’s an amazing album to listen to, but it’s an amazing album to exist: Marvin Gaye is legally obligated to throw his own divorce pity party, and everyone's invited.

#492

Bonnie Raitt - Nick of Time

I have never heard of Bonnie Raitt before but apparently this album won several grammys including album of the year in 1989 and sold 5 million copies, which I guess goes to show that no award provides less long term relevance than the grammys. The story around the album is pretty heartwarming, it was her first massive hit after a career of whiffs, and Bonnie Raitt herself is apparently a social activist and neat human being. I say all this because this sort of 80s country blues rock doesn't really connect with me, but the artist obviously deserves more than that. I unequivocally like the title track though, a hand-clap backed winding electric piano groove about literally finding love before your eggs dry up.

#491

Harry Styles - Fine Line

I do not think I have ever heard a one direction song because I am an adult who only listens to public radio. I’m totally open to pop bands or boy bands or boy band refugee solo artists, but I don’t like anything here. It’s like a mixtape of the worst pop trends of the decade, from glam rock that sounds like it belongs in a car commercial to folky bullshit that sounds like it belongs in a more family focused car commercial. This gets my first DNP (Does Not Place).

#490

Linda Ronstadt - Heart Like a Wheel

Another soft-rock blues and country album which just doesn’t land with me. But the opener “You’re No Good” is like a soul/country hybrid which still goes hard and the title track hits with the lyrics “And it's only love and it's only love / That can wreck a human being and turn him inside out”.

Current Ranking, which is weirdly almost like an inverse of the rolling stones list so far;

October Playlist

My October playlist is finished and it’s complete from Rico Nasty to Rachmaninoff. I absolutely guarantee there’s something you’ll love in this 3 and a half hours of music, and probably something you’ll hate too! Something for everyone!

If you’d like to have these playlists delivered to your inbox instead of having them randomly appear on your dash, please subscribe to my tinyletter here.

listen here

Santeria - Pusha T: In anticipation of Jesus Is King I relistened to the entire Wyoming Sessions project a few times, and a year removed from all the hype and controversy here's the thing: it's fucking great. The individual albums ranged pretty widely in quality and felt slightly unfinished for how short they were sometimes, but taking the project as a whole 5-album 120 minute playlist it turns out it's a masterpiece. My personal tracklist goes Ye/Daytona/Nasir/KTSE/Kids See Ghosts, which isn't release order but I think makes it flow the best - both Kanye albums bookending it and the less impactful Nas and Teyana Taylor albums buried a bit further in where you can appreciate them now that you're deep in the mindset of the whole thing rather than alone on their own.

Puppets (Succession Remix) - Pusha T & Nicholas Brittel: This remix is such a perfect match: Pusha T’s corporate villainy finally given a context and prestige it deserves. It’s also short enough that it could feasible be the actual theme song next season, which would be a marked improvement imo.

Use This Gospel - Kanye West, Clipse & Kenny G: I am and remain a Kanye stan, even after everything. It’s nice to see him going back to the extremely uneven mastering of MBDTF era, it’s a sound that is uniquely his and it’s fun to see him revisit it. The thick vocoder harmony is so soupy you get lost in it, and the way it opens up to include the full choir in the No Malice verse is beautiful. Kanye reunited Clipse through Christ and we have Him to thank for that at least. The Kenny G break is great, and the grain and dirt on the whole track when the beat kicks in is so gritty you can feel it.

Man Of The Year - Schoolboy Q: I didn't love the Chromatics album they surprise released but it did thankfully remind me of the time Schoolboy Q sampled Cherry for Man Of The Year. Taken exclusively on lyrics, Man Of The Year is a triumph: he's the man of the year and it's all worked out but the sample and the beat underscores the dead eyed melancholy that runs through the whole of Oxymoron of never winning even when you've won.

Cold - Rico Nasty: This song fucking tears your face off. Imagine STARTING your album at this level of intensity. She just goes straight to 100 and burns the house down. Outside of Lil John so few rappers can get away with just straight up screaming in the adlibs but the way she just lung tearingly screams GOOOO through this is fucking sick.

Fake ID - Riton & Kah-Lo: TikTok songs are becoming their own genre, but it’s a very nebulous sort of a mood encompassing everything from aughts pop punk hooks to skipping rope raps like this. It’s a strange new way for songs to blow up that everyone seems compelled to write articles about but my take on it is it’s exactly the same as ads were in the old days. Remember how many songs did absolute numbers because someone put it in a Motorola ad? Same thing except you’re not being sold a phone this time, so in some ways it’s better. Anyway, this song bangs. The spirit of 212 era Azealia Banks lives on even if she’s doing her best ever since then to kill it.

Doctor Pressure - MYLO & Miami Sound Machine: There was a very good era in the mid-2000s where you could just put mashups out as singles and they’d chart, it was sick. My only two examples are this and Destination Calabria but I’m sure there’s more. Drop The Pressure is a masterpiece but as an alternate version this mashup is equally masterful.  

If You’re Tarzan, I’m Jane - Martika: Martika is unfortunately best known for the 1989 one hit wonder Toy Soldiers, a sort of boring overdramatic ballad which is best known for being sampled by Eminem in 2004 in his quite bad super duper serious song Like Toy Soldiers. I say unfortunately because every other song on her first album is great, it’s all hypercolour 80s synthpop and I love this song especially because it is so completely stuffed with activity it becomes dizzying. It gets so lost in itself that they completely abandon the dramatic pause before “I’m Jane” for some reason toward the end and instead just layer three different tracks of vocal adlibs. Every part of this song is great, the weird ‘o we o we o’ chant before the second verse? The neighing horse guitar before the bridge? The musical tour of the world IN the bridge? The part where she says ‘I want to swing on your vine?’. This song has everything.

You Got Me Into This - Martika: Every part of the instrumentation in this is amazing. The bass sound, the main synth, the extremely athletic brass, the wonderful echoing 80s snare that’s as big as a house. I just love it. She also does some really intriguing slurs on the word ‘love’ all the way through, just moving it around absolutely anywhere.

Space Time Motion - Jennifer Vanilla: I love when someone has such a clearly defined aesthetic and mission from the very beginning. Jennifer Vanilla is the alter ego of Becca Kaufmann from Ava Luna who I've had in this playlist before but never competely investigated. Jennifer Vanilla feels like an episode of Sex And The City where Samantha gets really into Laurie Anderson and she is incredible. This video is the best mission statement I’ve ever seen and is currently criminally underviewed so please do your part and support the Jennifer cause by watching these two videos.

So Hot You’re Hurting My Feelings - Caroline Polachek: Caroline Polachek said watch me write a Haim song and did it. Apparently the very early versions of this album started when she was in writing sessions for Katy Perry, but then it started to turn into something else and she took it for herself, and I think you can hear that. With more normal production and a little faster this is a hundred percent a Katy Perry song, but instead it’s completely uniquely Caroline Polachek and it’s all the better for it. And also Katy Perry must be furious because her new songs are simply not good at all.

Electric Blue - Arcade Fire: I just love the obsession of this song in the outro, chanting over and over and over “Cover my eyes electric blue, every single night I dream about you”

Promiscuous - Nelly Furtado and Timbaland: I got a youtube ad for one of those Masterclass videos the other day and it was Timbaland teaching production. This ad went for five minutes for some reason and I watched the whole thing and it made me admire Timbaland even more. He’s demonstrating his compositional technique which is basically to just beatbox, and then loop it, and then add some extra percussion layers with more beatboxing and hand percussion, then loop that and add a little melody by singing or humming. ‘It’s that simple’ he says. Then later he goes back in and puts in actual drums or synths or whatever. I was stunned because suddenly a lot of his music makes sense. Without the barrier of instrument or timbre to get hung up on it allows him to write from this instantly head-nodding place of just making up a little beat you can sing and dance to immediately. Listening to a lot of his music now you can hear the bones underneath everything so clearly, all his beats are supremely beatboxable and all his melodies are very hummable, they’ve never overcomplicated by instrumental skill or habits, they just exist to serve the song.

Serpent - TNGHT:  TNGHT are back baby and this song is like nothing I’ve ever heard before. It feels like afrofuturist footwork from another dimension, the mbira sounding lead against the oil drum percussion in this cacophony of yelps and screams that just builds to an irrepressible energy without a bassline in sight.

Ghosts Of My Life - Rufige Kru: I'm reading Mark Fisher's Ghosts Of My Life right now and some good person has put together a spotify playlist of all the songs he mentions. He has a whole essay about why this song is sick so I’m not going to go into it here but it’s interesting to hear about someone growing up with jungle when it’s a genre that has always felt very niche to me. I guess partly as a result of it never really making it mainstream as a genre here, and also me being a little too young for it.

Renegade Snares - Omni Trio: My biggest introduction to drum and bass comes from the game Midnight Club 3: Dub Edition and this really great song from the soundtrack that is finally on spotify after a very long absence. At almost the exact same time as I discovered this song with its spacious piano and repitched snares, I discovered Venetian Snares and breakcore in general. Having no particular frame of reference for breakcore as an offshoot of drum and bass only amplified its appeal to me as a completely alien genre that sounded like nothing else I’d ever heard, and so my personal history with drum and bass is a story of walking backwards into it after the fact which is interesting if not helpful.

Punching In A Dream - The Naked And Famous: The Mark Fisher book also mentions the Tricky song which I’ve never heard from which The Naked And Famous got their name and I thought ‘man remember The Naked And Famous, they were sick?’. The sort of harder edged Passion Pit instrumentation mixed with pop punk, a winning combination.

Vegas - Polica: My favourite part of this song is the unexpected blastbeats after the chorus, using their two drummers to their full advantage and just shaking the song by its foundations every now and then lest you get too comfortable.

Right Words - Cults: I’m beginning to suspect I may be the last surviving Cults stan but if this be my lot I’ll gladly do it

Running From The Sun - Chromatics: The new Chromatics album got me to relisten to their definitive document Kill For Love, and something new I appreciated this time about an album I love a lot is its length. Kill For Love is almost 80 minutes long and it luxuriates in that length. It’s sequenced perfectly so it never feels like it’s long for no reason, but large chunks just completely space out and go out of focus in the soft neon light and the second half of this song is a good example. The whole thing just evaporates into smoke and it feels perfect. If this were a shorter and more concise song that had a proper ending it wouldn’t feel right, this whole album has no straight edges at all and it’s all the better for it.

Chance - Angel Olsen: I cannot belive this song. This feels like she wrote her own version of My Way looking forward instead of back. Instead of the ruefully triumphant "I've lived a life that's full / I've traveled each and every highway" it's “I don't want it all / I've had enough / I don't want it all / I've had a love." before the turn from the future to the present at the end, where she gives up on a forever love in exchange for right now. I love how raw this vocal take feels. It's not her best voice but it feels very very honest as a result. She's just singing her heart out in this huge showstopping closer. In an interview she said "I didn’t love the recording of it very much, and now I just feel in love with it as a closing statement, because it’s a way of saying, ‘Look, I have hope for the next thing in my life.’ I’m not going to anticipate negativity or hate or an end. But instead of us looking towards forever, why don’t we just work on right now?"

Something To Believe - Weyes Blood: This album just keeps paying dividends. I’m systematically going through long obsessive periods with every single song on it and now it’s Something To Believe’s turn.

Don’t Shut Me Up (Politely) - Brigid Mae Power: Without meaning to, Brigid Mae Power seems to have created some incredible fusion of folk music and stoner metal. The way this song absolutely sits unmoving on one deep and resonant chord for so long is amazing. When it does change chords it feels like a full body effort to get up and shift. She has a similar feeling to Emma Ruth Rundle, who more explicitly wears her metal influences, but Brigid Mae Powers' strength is in how much it resembles the traditional folk side of the spectrum. Her voice is also amazing, with the huge effortless runs she goes on about halfway through just coming unmoored from the song completely and floating off into space.

Sweetheart I Ain’t Your Christ - Josh T. Pearson: I had a real problem with Josh T. Pearson for a long time because of how he presents as so authentic on this album, and as I’ve previously discussed in these playlists the concept of authenticity in country music is a source of neverending anguish for me. But his newest album The Straight Hits! has largely cured that for me because it’s not good at all, is extremely contrived (all the song titles have the word ‘hit’ in them) and he’s shaved his beard and replaced it with one of the worst irony moustaches I’ve ever seen. So now I’m free to enjoy The Last Of The Country Gentlemen as a character construction, which allows me a far deeper and truer engagement than the idea of a man actually living and thinking like this which is frankly a little embarrassing.

Codeine Dream - Colter Wall: I love this song, it has that feeling that great folk songs do of feeling like you’ve always known it. The strongest moments on this Colter Wall album to me are in songs like this that chase this particular feeling of morose isolation, and where he leans away from storytelling like his biggest hit Kate McCannon - a kind of cliche country murder ballad. This song is fantastic because of the way it wallows in this black depression not as a low point, but as a reprieve from the lower previous point. Things are as bad as they get now, and they’re always going to be like this, but at least I don’t dream of you anymore.

Motorcycle - Colter Wall: I only just found out about Colter Wall this month and have been listening to this album over and over. When I first heard him I though it was strange I'd never heard of him before because he's obviously some old country veteran based off his voice, but it turns out he's 24 and this is his first album he just sings like he ate a cigar. I love this song especially because it's so straighforward. It's a simple and supremely relatable mood: what if I bought a motorbike and fucking died.

Who By Fire - Leonard Cohen: I watched American Animals a couple of weeks ago and it’s a great movie, highly recommended. This song plays near the end and I waited for the credits to find out what this great song was, and like a rube found out it’s only one of the most celebrated songwriters of all time. I’ve never had much of a Leonard Cohen phase, somehow. In my mind I always get him mixed up with Lou Reed, which I’m learning is actually way off. I love the harmony vocals in this, and the way they move around into the shadows in the ‘who shall I say is calling’ parts.

Words From The Executioner To Alexander Pearce - The Drones: Alexander Pearce was a convict who escaped Sarah Island’s penal settlement in Tasmania with seven other convicts in 1822. He was recaptured two months later alone. In 1823 he re-escaped with a fellow convict, Thomas Cox and again was returned alone.He was executed by hanging later having eaten six men during his escape attempts.

It Ain’t All Flowers - Sturgill Simpson: I found this album going through the Pichfork 200 albums of the decade list and I feel like a fool for not having heard it sooner because now I am completely obsessed. Sturgill Simpson is doing the very best work in country music right now because he's looking backwards with one eye and forwards with the other and this song is a great illustration: a perfect Hank Williams Jr type country song with big voiced hollers that morphs into a surprise psych freakout for the whole second half.

Desolation Row (Take 1, Alternate Take) - Bob Dylan: I’ve always liked Desolation Row a lot as a song but the acoustic guitar on the album version is simply not good, it's just kind of mindlessly playing this long directionless solo the whole time and over the course of a song this long it really adds up to just being annoying. Luckily because it’s a Bob Dylan song there’s a whole universe of alternate takes and mixes and this is a great pared down version I found without it. The best kind of Bob Dylan songs are the ones where he just makes an endless stream of allusions and bizzare imagery, and this and Bob Dylan's 115th Dream are my favourite examples of it.

Living On Credit Blues - El Ten Eleven: This is a groove I get stuck in my head a lot, and this is also a song I think would work well as a theme for a tv show. I've been meaning to do a 30 second edit of it just for my own amusement, maybe I'll do that soon. El Ten Eleven are a duo where one guy plays drums and one guys plays a double necked guitar/bass and looping pedals and somehow against all the odds of that description they manage to make emotional, driving instrumental music of very deep feeling, like this song which is one of my all time favourites.

Dusty Flourescent/Wooden Shelves - Talkdemonic: This is sort of a companion Living On Credit Blues, and Talkdemonic are similarly an instrumental duo with good drums. This entire album from 2005 is highly recommended, it's a sort of halfway between the post rock of the time and a kind of acoustic hiphop instrumentals that ends up sounding very rustic and homemade, like a soudtrack for a winter cabin.

Turnstile Blues - Autolux: This is a perfect song, built around a perfect beat. Every part just fits perfectly.

Fort Greene Park - Battles: The new Battles album is finally out and I absolutely love it. I cannot think of another band that has shed members in the same way as Battles; originally a quartet on their first album, then a trio for their second and third and now down to a duo for their fourth album - and somehow still performing material from their first album live. The paring down has seemingly only servers to focus them and the new album sounds fresh but still distinctively Battles, with no sense of anything lost or missing. This song is my standout so far, and the guitar line in particular is so good and interesting to me because I don’t think I’ve ever heard Ian Williams play something so distinctly guitar-y in his whole career. This is a straight up pentatonic riff with bends and everything. Filtered through his usual chopped and looped oddness it feels like he’s almost gone all the back around the guitar continuum and is this close to just doing power chords next album. And I’ll support him!

Diane Young - Vampire Weekend: I've listened to this song a lot in my life and I only looked up the lyrics the other day to find out that the opening line is 'you torched a SAAB like a pile of leaves' which I somehow never noticed. What a power phrase. There's also this very good quote from Ezra about it: "I had this feeling that the world doesn’t want a song called ‘Dying Young’,“ says Koenig, "it just sounded so heavy and self-serious, whereas ‘Diane Young’ sounded like a nice person’s name.”" and he was right to do it. This song is 100 times better because he’s saying Diane Young than it would be if he was saying ‘Dying Young’. That’s a songwriting tip for you.

Monster Mash - Bootsy Collins & Buckethead: Hey did you hear Bootsy Collins and Buckethead did a cover of the monster mash? Thank god for freaks.

The Dark Sentencer - Coheed And Cambria: There's not that many bands that I absolutely loved as a teenager that I've completely abandoned. I've moved on from a lot but I'll still keep up with them if they have a new album or something. Coheed And Cambria are one that I've almost completely turned my back on. They've had 3 apparently pretty patchy albums since I stopped listening after Year Of The Black Rainbow, which was extremely bad and really taught me what people mean when they say an album is 'overproduced'. On a whim I decided to see what they're up to now and listened to their album from last year and guess what: it rocks. It's got everything you'd expect from them: big riffs, bad and confusing lyrics, his weird high voice, overwrought and overlong songwriting, cheesy muscleman solos. Everything about this band is sort of cheesy and embarrassing and takes itself way too seriously, but I'm discovering slowly that that's what's so good about it. The weird pulp sci-fi story and mindset that underpins this whole band is ridiculous and overwrought and as a result it gives the music a reason to exist the way it does. It’s so big and dumb because the story it serves is so big and dumb. It feels exactly like reading Perry Rhodan or some increidibly long and dense but not especially good series like that, it’s pulp music and that’s what I love about it.

Romance In A (6 Hands) - Sergei Rachmaninoff: Piano works for 4 hands (where two guys sit next to each other on the same piano) have always seemed to tend towards the realm of the gimmick or party trick, and works for 6 hands (where three guys do it) even more so - but this Rachmaninoff piece is just beautiful and I can’t believe I haven’t heard of it before this month. It doesn’t overload everyone with a million things to do, it just builds this very wide harmonic bed for the simple melody to swim in - then the way the melody transfers over to the middle register is just magical before the tension of the final section takes over and builds.

Love's Theme - The Love Unlimited Orchestra: I’m so glad I got to learn about the Love Unlimited Orchestra this month. Aside from having one of the best names in music, they were Barry White’s backing band and had their own solo instrumental records too. Here’s a fun aside: Kenny G was a member when he was 17 and still in high school. This is a genre of music that has seemed to totally disappear into the realm of parody and farce only which is sort of a shame because it is unironically very beautiful and dense in its own way.

Dancing In The Moonlight - Liza Minelli: Can you believe I thought Dancing In The Moonlight by Toploader was an original until the other day when my girlfriend played this Liza Minelli version that predates it by several decades? This also isn’t the original! It was written by a band named King Harvest in 1972, with this version AND a version by Young Generation both coming out in 73 and a whole bunch of others in between (including a Baha Men version in 94) before Toploader finally had a proper hit with it in 2000. Truly the world works in mysterious ways. This version is the finest I think, it just goes and goes, frenetically unwinding at a breakneck pace before opening up into a flute solo of all things and then winding up again even and finishing in a kick line breakdown. Absolutely no limits.

Girls - Royal Headache: The sheer amount of power and melody that this song manages to pack into a minute and a half is incredible, and I don’t think I’ve ever heard a more instantly relatable opening lyric than “Girl! Think they’re to fine for me! Oh girls! And I’m inclined to agree!”

Pov Piti - Matana Roberts: In anticipation of Matana Roberts new volume of her Coin Coin album series that just came out I relistened through the three previous albums and they are even more powerful than I remembered. This song serves as a pretty good mission statement for the whole project, and the heartrending tortured screams that open it set the tone for the rest of it. Matana Roberts sings the injustices of slavery into being, and her sing-song delivery highlights the trauma - her indifferent delivery mirroring the indifference of the world at large. The way she rattles off this story like she’s gone over it a million times and grown numb to the facts only accentuates the pain in the telling, a pain that rises to the surface in the screams of her instrument and herself.  

Kingdoms (G) - Sunn 0))): This new Sun 0))) album is one of my favourites they’ve ever done because it’s so straightforward and back to basics. Every song is just ten minutes of straight up no-nonsense, big, rich, drone. They even put the notes in the track names so you can drone along if you like.

listen here

Lover track by track

SO. I’m currently out of the country and it took me awhile to finish this, but I’m sharing my thoughts for anyone who cares to read it. There’s SO much more to say and I wish it was better written because I like when words are nice and convey exactly what you want to say (I’m doing this all on my phone) but you get the general feel and that’s what’s important, the emotions. Come talk to me if you want!!!!

I tried to put a read more but I’m not sure if I can on mobile? Because mobile is its own special nightmare so I’m soRRY

I Forgot That You Existed | The way this song starts (and the whole thing) reminds me a lot of a Lauv song. Something about it just does. It’s a wonderful start to the album, I think, because it IS her moving on, but it isn’t yet the level of “step into the daylight and let it go.” It’s the first step; it’s realizing that not everyone deserves a place in your life, but closer to Reputation than other songs on the album (like the “so... yeah” which I LOVE but, I think, has a slightly different attitude than she ends with). I love her delivery of different lines in this song; you can hear the freedom in her comments, giggles, and speaking.

Cruel Summer | I saw a post that said fans of “Getaway Car” would like this one and I GET IT now. It’s inexplicably tied to that song in my mind, something about the production and melody and everything, even the ending on the third beat. And I love it. One thing I’ve missed about pre-1989 is her lyrics; not to say any album of hers doesn’t have insanely clever and meaningful lyrics (because they all do), but I think there is just something so incredible about her Speak Now and Red lyrics especially. It’s part of why pop music in general isn’t my main genre. But this early on and I knew Lover was everything I have ever wanted in a pop album. “Taylor Swift” is its own genre, and will always be my favorite genre, but this song just... so perfectly marries her older songwriting with her newer song production. Her voice when she calls him a devil oh my that was god tier I swear—and lines like “devils roll the dice, angels roll their eyes” and “in these trying times we’re not trying” are so clever and akdjslsjsk I love Taylor Alison Swift.

Lover | She mentioned that the album was almost called Daylight and even though I might’ve preferred that (lover is still not my favorite word), I’m so happy that “Lover” is the, as she calls it, flagship song. There is a palpable warmth and security in the tone of the song, and you can hear her smile as she sings. She is in love—a real, steadfast, quiet love. A love that isn’t composed of extraordinary moments that her younger self fantasized about in songs, but of little details and daily routines and the way love’s presence pervades every aspect of life.

The Man | Ugh she IS a fearless leader, she IS the alpha type—to write a song with as much BDE as this you have to be. She is the shit and she knows it, and I love the lyrics and vocabulary of the song! Like how she talks about being able to separate behavior from ideas and accomplishments or actions from character—it’s such a difficult thing to really work into a song as seamlessly as she does. Also, THE BRIDGE. Holy moly. I think it’s one of my favorite bridges on the album. I had no idea how badly I needed to hear her say “bitch” like this. I love her.

The Archer | I SEE RIGHT THROUGH ME! I SEE RIGHT THROUGH ME!!!! Also, the transition into “you could stay...” is just so beautiful. And I think it’s such an interesting choice that she doesn’t end it there, that she goes back to combat. It echoes what she says in “I Forgot That You Existed,” that she would’ve fought the whole town for them. She’s opening herself up to someone new and asking them to stay, but saying that if they do, she’s ready to fight for this love.

I Think He Knows | “Boy, I understand.” That’s it that’s the whole tweet. (Not). But also the snaps and “we can follow the sparks, I’ll drive” is just ?!?!!! Mind blowing. She’s incredible.

Miss Americana and the Heartbreak Prince | Okay... this was the most unexpected love for me, even though I know titles don’t mean anything, I was so surprised how much I love this one. I love the “okay!” and the way she yells different words, it really echoes the sounds of a high school sports game and that’s just so smart because that’s the theme of this song. I don’t know it’s just SO GOOD. And there are some really heartbreaking lyrics (“you are the only one who seems to care,” “no cameras catch my pageant smile/muffled cries”) where you just get this sense of loneliness and fear and in its own way it reminds me of “Safe and Sound,” when she says “don’t you dare look out your window.” The five of this song feels like her holding her lover’s hand and running behind him with their heads down through the storm of a high school hallways—“now the storm is coming but it’s you and me, that’s my whole world.”

Paper Rings | For whatever reason, this song gives me major “The Middle” vibes. I saw someone say that it’s “‘Stay Stay Stay’ 2.0” and it makes it even more adorable because then she was daydreaming about real love again... and now she’s here. The prechorus is everything, so much of this album has left me incoherent with its sheer perfection and genius honestly it’s so hard to comprehend... her MIND. It’s so cute I hate I can’t believe I literally could cry and also there’s one part where she says “I’m with YOU!” and it made me think she’s saying “YOU!” in the way she says “ME!” with that pure celebration and joy and loving him because he’s the only one of him, too. I’m with YOU like ME also that sigh and how she says she wants ALL of it, the complications and dreary Mondays and to have him in ALL her dreams, good, bad, and in-between. Just like she wants his midnights... she wants all the midnight moments, the celebrations, the magic... but ALSO wants to be around for absolutely everything, cleaning up bottles on New Year’s Day. The everyday, quiet moments of companionship.

Cornelia Street | Oh... this one is surprisingly hard for me to listen to. When I first heard “Lover,” I brought up this Brené Brown quote about rehearsing tragedy—she talks about how joy is the most vulnerable emotion we experience. It’s so hard to immerse ourselves in joy because of how fragile it feels (she says it more eloquently), and that’s where this song hits for me. “Lover” is her being able to experience joy and contentment and let go of the need to prepare for the worst while “Cornelia Street” references the pull to dress rehearse tragedy. The song captures the risk of opening up to happiness, love, joy, any good feeling... because how could you survive if you lose that? Isn’t it better if you never feel so deeply and don’t have to worry about what’ll happen if you lose it? And she talks about that fear, about not wanting to open up and risk being hurt or made a fool of when she says she left Cornelia Street... but then he showed his hand (don’t even get me started on that line oh my heart). That song walks that delicate line of not dress rehearsing tragedy, but really conveying the vulnerability in finding any kind of love. And I love that she ties it to a street, to this concrete place that is nothing spectacular but for her is associated with her most cherished memories. Because that’s the other thing about love and loss—it’s not only extraordinary moments that matter. Love touches every part of your life.

Death by a Thousand Cuts | What a METAPHOR. Like holy shit. “Flashbacks waking me up,” “looking through the windows,” “can’t pretend it’s okay when it’s not.” It’s death by a thousand cuts. It’s prolonged and painful and persistent. It lingers. Ugh her MIND is just so brilliant and I feel so lucky that I happen to be alive at the same time as her? Like how wild is that???? “Paper cut stings from my paper thin plans” is so clever?? The way she says “lawless” is so good???? And the LONELINESS of asking a traffic light if it will be alright... of hoping for a sign, any kind of sign. And rather than saying she found comfort or affirmation, she says their answer was “I don’t know.” The courage and loneliness and fear and heartbreak of living with that uncertainty... this is So Much™

London Boy | This song is so Pure 🥺 Like... that’s it that’s the song it’s so fucking cute and simple and sweet, using all these London terms... it is Soft and Pure there is no other way to describe this song.

Soon You’ll Get Better | I knew as soon as I heard about this song that it would be one of my favorites because it’s just who I am... but this song is so beautiful and reminds me of her older work because of how simple the production is. I think a lot of why I love this song is the same as why I love “You Learn to Live Without” and my analysis would be similar—the chorus is so simple and repetitive because she’s repeating it to herself, to her family, to anyone. “You’ll get better soon... because you have to.” It’s like telling someone, promising them, that it’ll be okay; you can’t know, you can’t ever know. But sometimes you say it because you have to. Because there’s no other option. In “You Learn to Live Without,” it’s a similar situation... almost every line starts with what “you learn” how to do. It’s repetitive and she relies on that when she falters. It feels like there’s no way to survive such a devastating loss, but you learn, because you have to. There’s no other option. The song is so simple and the lyrics are everything that makes Taylor Swift music so special. Personal, specific, and yet relatable in, even because of, its specificity. You can hear her shaky breaths, which is always devastating. The bridge took my breath away because I’ve expressed those exact feelings before, and it hurts my heart that she’s felt it but it also is why I love her so much, because it connects so deeply.

False God | Going from “Soon You’ll Get Better” to this is a LOT (to be fair, anything would be) but it also reminds me of desperation and makes sense in that way—how you turn to anything at all, even a false god, if it will help you make it through. And that line about daring him to leave her... what a mood. But also bless Joe Alwyn. Also we neED TO TALK ABOUT THE FLAWLESS TRANSITION INTO YNTCD THAT WAS SO SATISFYING HER M I N D.

You Need to Calm Down | The “oh-oh” totally gets to me because when she was about 12-14 months, my focal child used to go “uh-oh” in almost the exact same way, so I always hear it in her voice. I love these lyrics because they’re just... so fun?? To shout???? And SHADE NEVER MADE ANYBODY LESS GAY SO

Afterglow | I had no idea what to expect from this song, but I love it. The connection she makes about fighting because there’s “chemistry until it blows” is so good because then you can really picture and understand what she means when she says “meet me in the afterglow.” It’s the quiet after the storm, when things are calm and hazy and you can take a step back and reflect. You can truly listen. And if you stay, like she asks him to, you can survive it. You may even have a stronger relationship because of it. And she wrote this song about taking responsibility and the messy parts of a relationship and how hard it is when you hurt someone you love and it’s just so beautiful that she allows us into this process, all the messy and flawed lessons in learning how to heal and forgive and love.

ME! | I’m so proud of her for reaching this point because it’s true, she’s the only one of her. There will never be another Taylor Swift... her incredible ability to write songs, to make music, to connect, her generosity, her love, everything about her... she is SO special.

It’s Nice to Have a Friend | I’m going to give this one a little more time because I love the idea of the song, the lyrics, the simplicity, but I need more time to really decide how I feel.

Daylight | This song makes me so emotional in the way I always get when I listen to “Call It What You Want” and hear how happy she is, she’s doing better than she ever was... she’s so happy and I love her so much and this is all I wanted for her agh but also this song, what a beautiful song. “I’ll tell you the truth but never goodbye” is just... unconditional love. I’m in love with the way she sings “daylight,” it echoes the entire song. Something about it is just lighter, louder in a soft, airy, ethereal way. It gets lighter, like you can hear it take on the quality of daylight. There’s so many things calling it back to old songs, too. I kept thinking about “this love is glowing in the dark” because this song is about how love, true love, is golden like daylight. It glows. And how she’s been sleeping in the darkest, longest night, but now all she sees is daylight. This love glows in the dark and glows so bright that it overcomes it. And then she so explicitly calls back to “Red” and how she used to think love would be burning red, but she’s realized instead that it’s golden. Red love is so fiery and passionate in all its emotions, and the idea of something being fiery means that it could, occasionally, be golden, when it’s glowing bright. But that’s an intense golden... this golden is soft. Ethereal is the best word I have for it. She sings of golden daylight, and this song is that—daylight. It’s true gold; it isn’t burning red because it’s softer. It’s warmth, not heat. It’s contentment, it’s quiet, it’s safety, it’s trust, it’s reconciliation. It’s illuminating, but not blinding. I just... this song is bursting with warmth and softness and light and I can’t get over it or put it into better words.

tl;dr I love Taylor Swift with my whole heart and Lover is simply incredible and, quite frankly, THAT bitch. 💘💕✨

Speaking Freely: An Interview with Christian Frank

Christian Frank is a freelance IT consultant who was born and raised, and currently resides, in Cologne, Germany. Last year, he did some work protesting the Article 13 demonstrations in Europe, a topic that he remains passionate about, as you’ll see in this interview.

Our conversation gives some perspective as to the differences between German and U.S. views on freedom of expression, particularly when it comes to hate speech. But there’s also a lot of similarities: Christian’s experiences growing up in Germany during the split between East and West, with parents who experienced World War II, have shaped his views about who should—and shouldn’t—regulate what we can and cannot say.

We also discussed the promise of social media, and the internet as—to use Christian’s words—“another living space” that we need to keep fighting to protect.

Jillian C. York: Thanks for joining me today, Christian. Let me start with a basic question: What does free speech mean to you?

Free speech to me means that I can speak my mind without fearing for reprisals. It doesn’t mean that I can berate or hate on people, but it means that I can speak my mind without fear.

York: We’re at a difficult moment right now when it comes to a variety of different online speech. What do you think we should be doing when it comes to speech online?

For me, there is a distinction between free speech and hate speech. As long as I speak my mind, I don’t think we should do anything. If I start hating on other people, I would expect someone to stop me. I think there’s a different. There’s this old saying from Rosa Luxembourg: “Your freedom ends where the other’s begins.” That’s kind of my take on it.

I would object to any kind of censorship, but free speech is not an excuse for hate speech. At least that’s how I see it.

York: I’m curious then...you said you’re against censorship. Do you think that some limitations on even hateful speech could be censorship?

That’s probably the most difficult question, and I don’t have an answer. From where I grew up, in Germany, we’ve always had a limit on free speech, and that limit is that you’re not allowed to speak in favor of the Nazis. I think that’s quite okay; I would not consider that censorship, but that’s also because of my cultural background and the fact that it’s always been that way.

I don’t think that it’s curbing your free speech if you’re required to use some civility and not spread hate that way.

York: From where I sit, one of the concerns that I have is the question of who gets to decide what is hate speech, or who is a terrorist, and so on. What do you think about the current state of play on the internet in terms of how much control corporations have over the governance of speech?

Well, at the moment, corporations have all control, right? There’s no governance body outside of the corporations. And I personally think the corporations, because they’re not bound by ideology, are actually doing a reasonable job. I would much rather have the corporations continue than to introduce a state-run body. That’s open for misuse.

The generation before mine perfected this, and I don’t want that again. I don’t want states to control free speech. Corporations aren’t necessarily evil, they just want to make money.

York: Huh, I feel like that position really must depend on which state one comes from.

Well, both my parents were in the last war, so I have direct connections, so to speak. The other half of Germany was a dictatorship until 1989, and we all know what the state can do to free speech. Censorship is a really powerful instrument, I think, and I would not give this amount of control to a government. Governments can change, democracies can go away. Maybe we could introduce some kind of neutral body, but I don’t know.

Don’t get me wrong, I wouldn’t trust Mark Zuckerberg as a person, but even Facebook is doing a good job to protect their ad revenues, which is a much better driver than ideology.

York: Is there a personal story you’d be willing to share that helped shape your views on speech?

Well, for me, that story is visits to the GDR. In the GDR, they had a very strong secret service, the Stasi, so whatever you were saying, even in private settings, you had to be very careful about what you said. And we, as Westerners, were under double scrutiny. That was not free at all, it was very oppressing.

I never had any personal consequences, but every time I was in East Berlin, I was very very careful. As a West German citizen, I had to cross over back from the east at 10pm, so even if you were with friends at 9:30, you had to rush, since it was a nightmare if you didn’t make it. I remember at midnight, the American broadcasting station in Berlin would be tolling the Liberty Bell, and I would sigh and think “I’m home.”

But—I grew up white and male, I’m absolutely privileged. In my daily life in West Germany, I never had an issue.

York: Still, it’s an important perspective. Many people who grow up with some sort of privilege never get to see these things firsthand.

So let me ask this: What advice would you give to the next generation, the younger generation? I worry sometimes that younger folks don’t care that much about free speech anymore.

May I digress? I’d actually like to object to what you’re saying, because from my view, Generation Z is so political...at least the people that I see. Around Article 13, they were brilliant. It was so much fun to go to the streets with them. When I was young, after the ‘68 student revolts, we were very political. We’d march against nuclear energy, missiles. Then, after us, nothing happened, there were a lot of apolitical generations after us. But this current generation is so political! I was happy to be able to support them with Article 13, and now I’m happy to be able to support them on the climate strike, doing grown-up stuff for them.

So, to Generation Z, the only thing I can say is: Don’t give up. Go on. You’re already on the right path.

I think this generation values speech very highly. If you hear them talk about climate justice, it has a very social and very liberalist aspect. So, like I said, with the current generation, I’m not worried at all.

York: I love that! Okay, then I guess I want to also ask you a little more about Article 13. It’s an unfortunate and interesting time when it comes to copyright. A lot of people don’t see the right to share, the right to remix, as a speech issue. So, how do you frame it as a free speech issue?

What I see the big music labels and publishers do is try to protect their revenue stream. I don’t think it’s really an issue of free speech or not [for them], they’re just trying to protect their revenue stream. What they ignore completely, is that all the provisions in Article 13 would close social media.

For me, it’s not as much about free speech—even if it comes into full effect, I can say what I want, I just can’t share what I want. From my point of view, it’ll kill social media, it’ll kill off the environment that my kids grew up in, which I’m pretty mad about—they are too—but I can still put myself out in front of a white wall without music and say “our government is shite.” That Article 13 won’t prohibit. It’ll completely cut down my reach, but it won’t disallow me to speak my mind. It’ll kill off social media, all the discussions, the communication, the conversation. It’s absolutely awful.

Now, here, it’s taken a backseat to climate issues, but we still have to fight it. It’s not over. There’s still hope.

York: Yes, I agree, there’s still hope. Well, I think we’ve covered most of my questions, but: Are there any other thoughts you want to add?

What really worries me is the right-wing groups putting out their hate under the cover of free speech. There’s a lot of servers—not just 4chan or 8chan, but even on diaspora*, where a “free speech” server will play host to hate. They’ve kind of occupied the term, and this is enabled by the US president, who would say that if you don’t publish these nutters, you’re against free speech.

York: So the term has been co-opted?

Yes. And that’s something that we, “liberal-minded intellectuals”, need to think about. Free speech is important, it’s a basic human right. If you can’t speak your mind, you can’t think. It’s a massive violation of your basic human rights. But still, I don’t want to give it to the right-wing people and have them spout their fascism, which is not free speech.

York: Well, it is in the US.

I know, I know. I can only speak from my point of view, and yes, I’ve spent most of my time in Europe. I think what we need to do is take back control of free speech as a fundamental liberal value. Free speech is ours.

York: I’m curious what you think about the idea that fascists will always find their way around censorship. You can ban the swastika, for example, but they’ll just use other symbols to identify themselves.

Well, I grew up in a country where the swastika is banned, and I think it’s a good thing. Yes, they can come up with other symbols, but you can ban those too. I don’t see this as a problem. But that’s my background—I grew up with the understanding that the limit to free speech is the Third Reich, and none of that is allowed.

Banning symbols is one thing, but hate speech or inciting violence is another thing. If they start using code words, the mass appeal is gone. They can’t reach as many people if they’re not speaking plain language. If someone says “kill the Jews,” I think it’s right for them to be banned. I don’t see that as censorship, personally.

York: Well, that's possibly incitement. But social media platforms have also co-opted “hate speech” as a term. On Facebook, for example, “kill all men” is hate speech, but Holocaust denial isn’t. That doesn’t make sense to a lot of people.

I mean yes, that is entirely wrong. That’s not how it should be. But that’s probably close to Mark Zuckerberg’s beliefs. He doesn’t strike me as very liberal. But we can always go to Twitter.

The point is, social media is run by corporations, and run for profit. So we cannot expect a company to provide a platform that adheres to the Universal Declaration of Human Rights (UDHR). It’s theirs, it’s not mine. I use it, but it’s theirs and they can do what they please. It’s a corporation, not a state, not people.

The difference is if I go to a community-run diaspora* server and I get banned, I can appeal, and it works. But if I go to Mark’s student project [Facebook] and he doesn’t like me saying things, well...it’s his server. I’m not even a customer, which would give me certain rights, I’m just using it. If we’re in a commercial space, can we really argue with fundamental rights? I don’t know!

York: [laughing] That’s what I’ve been doing for the past decade, so we certainly can!

Right, right. But if I go to national German radio, for example, I can force them to adhere to the UDHR. Can I force a corporation? I don’t know.

York: Right, I understand. It’s difficult to find a way to hold companies accountable to a human rights framework.

Obviously, I would fully support it, but now, the question is: Who can hold them accountable? They’re transnationals. The only body that could reasonably hold them accountable would be the United Nations. And I’m fully for it, the more we can force them to adhere to basic civility and liberty, I’m for it. I’m just thinking aloud: Where’s the body? Who can actually go to a corporation and say “you’re misbehaving”? And it means different things in Germany, or Saudi Arabia, or Hong Kong. So the only universal body would be the United Nations, and I would be all for it if they came up with a framework for social media.

York: I think that we’re getting to that point.

And yes, I think that would be the right body. It’s not up to the German government to make rules for Facebook. Even the EU is too small, in my opinion. The one thing that I don’t want to go back to is regional networks. Having a truly global network like social media—that’s something that I would like to protect. I don’t want it to be like, “In India you can say this, in Germany you can say this,” and if you want to talk across borders, you have to use your passport.

I lived through the transition of having to use a passport to go to the Netherlands to having free travel. And we also have free travel on the internet. If I want to talk to someone in Yemen, I can, provided we speak the same language of course. So that is, for me, also a huge freedom that social media has brought us. The internet has always had it, but social media for me made the internet accessible, and now I can chat with, say, Japanese guys.

York: Yeah, it’s easy sometimes for me to forget that the internet is still providing such an incredible way for people to meet across boundaries.

Yes, there’s a huge freedom in social media that we need to protect, that I would like to see protected. I have “internet friends” all over the world, and the only rules I need to obey are, for example, YouTube’s community guidelines. Okay.

So the question is: Is YouTube the right person to set those guidelines? Eh, maybe not, but who else? Most definitely not my government, I don’t want them to interfere at all.

The internet, to me, is like another living space, a second world. It needs protection. I’m always so fascinated to see the way my kids grew up—at 12, they had more connection to the world than I had at 30.

York: Indeed! Thank you so much Christian, I learned a lot.

from Deeplinks https://ift.tt/2GDAg8s

472.

5000 Question Survey Pt. 21

1902. What takes your breath away? traveling somewhere for the first time and seeing a view of the city/nature. 1903. What did you do today that you regret? buying shapewear without trying it on first. Will you ever do it again? probably. 1904. Is happiness something to be achieved and sought after or is it something to be retained and held onto always, no matter what happens? i think it should be held onto. i can always cheer myself up a bit by thinking of a happy memory. 1905. Would you rather live in a world of perfection or do you like the world the way it is? i’d have no idea what a world of perfection would even be like.

1906. Is a frightening world an interesting world to live in? i don’t think being scared of your safety/life is ‘interesting’.  1907. What gives people depth and character? their past, personality, skills. 1908. What band, together or not would make you want to JUST FLY after seeing their show? idk. 1909. Speaking of flying, can you fly? no. How do you know? Have you tried? no. 1910. Recently a 10-year-old grilled cheese sandwich in which some people saw the image of the Virgin Mary sold on ebay for $10,000. What do you think of this? eh, so stupid. 1911. Who is the next person you will hug? probably my boyfriend. 1912. Where was your last vacation to? usa. 1913. Where was your last car ride to? home from the mall. 1914. Where was your last bus ride to? from work to home. 1915. Where did you last walk to? around the mall? 1916. What is the worst band in the universe? idk. 1917. What is the next book you want to read? i haven’t decided yet. my kindle is filled with a ton of books so i’ll just choose among them. 1918. What are the 3 most useless items on the planet? haha idk, i’m sure there are uses for everything. 1919. What gives you a peaceful feeling? knowing everyone i love in my life is happy and okay. 1920. Do you ever stay up late watching infomercials? back in high school yeah. Did you ever BUY anything from an infomercial? nope. 1921. Are you a light sleeper? not when i’m really tired. 1922. Are you a toys R us kid? not really? i loved looking in there as a kid though. 1923. Are you part of the mile high club? nope. 1924. Do you like: pina coladas? i don’t mind them. getting caught in the rain? no. yoga? never tried it properly. intelligence? yes. making love at midnight? making love at any time. health food? only if it tastes good. champagne? i hate it. the feel of the ocean? sometimes. 1925. What was the funniest way that you ever misheard the lyrics to a song? i used to list these down as a kid, but for some reason i can’t think of anything lol. 1926. What have you never seen anything lovelier than? idk. 1927. Have you ever painted on a: wall: yes. ceramic: yes. painting: yes. model: no. sun catcher: no. face: yes. body: yes/ 1928. If you believe in heaven are there seperate heavens for different animals (kittie heaven. dog heaven, bird heaven, etc)? who knows! 1929. If you could build your body from scratch using the parts from different celebrities who would you combine? rihanna’s everything. 1930. If you could build your perfect match from scratch using the parts from different celebrities who would you combine haha idk. 1931. Avril Lavigne or Michelle Branch? avril.  Vanessa Carlton or Britney Spears? britney.

1932. When you sleep next to someone do they fall asleep first usually or do you? my boyfriend, always. If they do, do you watch them sleep? nah, it’s just normal now lol. 1933. How many people have a piece of your heart? my boyfriend. 1934. What are your day dreams about? life. 1935. What is your usual breakfast? leftovers. kinda bad. 1936. How quickly are you willing to take drugs to numb pain? not quick at all. 1937. Finish this sentence. I pity the fool that: idk. 1938. Can you think of three adjectives that DO NOT apply to you even a tiny bit? ignorant, small, stupid. 1939. What do your salt and pepper shakers look like? no shakers, they’re just in whatever we bought them in. 1940. When was the last time you hurt yourself? it’s been awhile. gym i think. 1941. Would you rather never have to sleep but also never be able to dream or just leave things as they are? leave things the way they are. i love sleeping. 1942. Have you ever had your car towed? no. 1943. Have you ever used kool-aid to dye your hair? no. 1944. Would you rather be naked and famous or dressed and non-famous? dressed and non famous. 1945. What band or singer do you believe started rock and roll? not a huge rock fan, so idk. 1946. Think of an object that is shaped like your body: coke bottle. hahaha nah idk. 1947. If you had a large black vase-pot-thing in your house what would you put in it? flowers. 1948. Where would you like to live when you want to start a family? not sure. definitely not too far from my home now though. 1949. Would you rather live in the city, suburbs or the country? suburbs. 1950. Were you parents born by the year 1950? no, my dad was born in that decade though. 1951. Would you ever participate in a 'sock hop'? no? 1952. Once there was a green house and inside it was a white house and inside it was a red house and inside it was a bunch of little brown babies. What are we talking about? Solve this riddle. i have no idea lol. 1953. Have you ever built something? yes. 1954. What is the hardest thing to face each day? work, if i’m working that day. 1955. Who's voice irritates you like fingernails on a blackboard? a couple people actually. none that i’m around too often. 1956. What is your favorite plant? flowers or an avocado tree hehe. 1957. What simple things in life do you appreciate? unexpected compliments. 1958. Have you ever read a book by Tom Robbins? no. 1959. Are you more of a maker and giver, or a taker and user? giver and user. 1960. What do you contribute to society? not much. 1961. Do you take naps? only if i haven’t had enough sleep. 1962. Do you have any cavaties? yes. 1963. What is the difference between art and fine art? i couldn’t answer that. 1964. Do you believe that there has been a man on the moon? yes. 1965. What music makes you so happy you could burst? haha none at present. 1966. What do you think of the band They Might be Giants? idk them. 1967. Would you ever go into a sex shop? i’ve been once with friends out of curiosity . 1968. If you had to choose would you rather go into a sex shop with your mom or your dad? omg... my mum i think. 1969. Do you buy holiday gifts early or at the last minute? i’m going to buy them early this year. i must!!!! 1970. What do you want to do today? i already have plans. 1971. You see a girl in a long ruffled off white dress carrying a bag painted with a sunflower and playing a ukelele while twirling around the cafeteria. What is your first reaction? free spirited. Could you become friends with this girl? i could become friends with anyone, it just depends if our personalities click or not. 1972. Let's just say your school team is on a winning streak. One of the cheerleaders cheers both for your team and the other team during games. Does it make you angry? it depends how patriotic i am about the team. One day you ask her why she does it and she says that, "It's just so much fun, no matter who wins." What do you think of that? that’s cool. 1973. Do you laugh when there is no joke and dance when there is no music? no. 1974. What would the perfect pair of socks look like? those invisible socks, preferable black with the right amount of softness and fit. 1975. What is the longest you have ever gone with out sleeping? over 24hrs. it was hell. i was at work. 1976. Have you ever had a halucination? i don’t think so. 1977. Are you generally happy? yes. 1978. Are you a sore loser? sore winner? neither tbh. 1979. Were you an 80's baby? nope. 1980. What's in the room with you right now that you can't see? ha ha funny. 1981. Do you ALWAYS thoroughly wash your hands after going to the bathroom? ok not always, if i’m half asleep and need to go bathroom i’ll probably just go straight back to sleep. i’ll always wash my hands at work or in public places though. 1982. If someone else were to describe you what would you hope they would say? she’s smart, kind and beautiful. so far from the truth lol. 1983. What is the sound of one hand clapping? ask a crowd to do it. 1984. You are filling out a 5000 question survey. What would you rather be doing right now? holidaying someone nice. Why aren't you doing it? i can’t afford it right now. 1985. Do you prefer carnivals, festivals, circuses, parades or fairs? carnivals or fairs. 1986. Are you useful? i’d hope so. 1987. Are you a: bitch/bastard? probably. lover? yes. child? no. mother/father? no. sinner? yes. saint? no. 1988. What is the dirtiest habit you can think of? a sex addict that has unprotected sex with random people. very dangerous. 1989. What kind of person will you ABSOLUTELY never date? someone older than my dad. 1990. What were you doing at ten fifteen last saturday night? working. 1991. Do you ever need 'quiet time'? nope. 1992. What are you made of? blood, water, bones lol. 1993. What does 'you are what you eat' really mean? idk. 1994. What was the last thing you counted? these questions to see how long i’ve got left. 1995. Do you think it is harder for a parent to outlive their child or for the child to lose a parent? child to lose a parent. that would suck. 1996. Do you believe in psychic ability or is it a sham? i think it’s bullshit but whatever. 1997. What is your favorite classic rock song? bohemian rhapsody. 1998. Who are you anyway? me. Are you your resume? pretty much. 1999. When are you the most insecure? going to events with friends i haven’t seen in a long time. 2000. Who would your fantasy threesome involve? my boyfriend and avan jogia.

yellin’ at songs: weeks 28 & 29

thoughts on the songs that debuted on the billboard charts of 7.19.1997, 7.26.1997, 7.21.2007, 7.28.2007, 7.22.2017, and 7.29.2017.

spoiler: that too many songs

Week Twenty-Eight

7.19.1997

17) "Gotham City," by R. Kelly

There is nothing of value to be said here, especially by me, who enabled the monster for so long. There is nothing in this song that could justify the lives he's ruined. I hope his body rots worse than his soul.

19) "Whatever," by En Vogue

This is a lovely palette cleanser! A fairly groovy R&B tune by a known entity, not particularly deep and focused solely on being a joy to listen to. Washes the bad taste of the men we watched do harm right out of our mouths, and it leaves us ready to dive back into music we like from uncomplicated humans who DON'T have actual sex slaves!

47) "Take it to the Streets," by Rampage ft./Billy Lawrence

This was pretty okay. Rampage is Busta Rhymes' cousin, so that's neat for him. What a boon that must have been for him in his career. I -- I'm sorry, the big 1997 project is over, and now 1997 is just a fact of everyday life and not a fun treat for us, and now everything feels like an obligation instead of a delight. Or maybe these songs are just enh, I don't know, anyway, next we have a selection off a shitty rock band's worst album, hoo boy, really getting excited for 1997's first week as a YAS regular.

57) "Last Night on Earth," by U2

This is a U2 single. They made a video for it. They have a VEVO and an official account, a U2be if you will, and that music video they made for this song is on neither. All I can find are unofficial uploads. The views on these uploads don't appear to crack the 500,000-view barrier. Even people who LIKE U2, whose job or hobby involves promoting and sharing U2's music would rather not think about this song. Nor should they, it's a dumb song no one should like, but man, if people who like this dumb band aren't into it, what hope did this song have with me?

70) "Four Leaf Clover," by Abra Moore

I shouldn't be the one to feel the instinct to teleport on seeing an Abra, but here we are. 1997 picked a hell of a week to have its worst week, y'all. I timed this poorly.

79) "When You Talk About Love," by Patti LaBelle

A fun way to set expectations for a song is to see what other auto-complete results pop up when searching for the song. One of the ones for this was "zumba." I can hear that. This is a song fast enough to exercise to, but doesn't go hard enough to inspire you to do actual exercise, you just stay with the DVD you found at Target with the fun name. I feel like I should be more into a Patti LaBelle song than I currently am, but I am for some reason in no mood to 1997 right now! It's head of the class but not graduating with honors.

83) "Up Jumps the Boogie," by Magoo & Timbaland ft./Aaliyah & Missy Elliott

It's interesting that Billboard gave Magoo top billing over Timbaland! It's weird that I never hear Magoo brought up when they talk about Timbaland, but I'm excited to h -- wait. ...Wait, is that... OK, no, okay, Magoo? Magoo. You had to know you were awful at this, right? You had to know you had no chance to succeed, that you would be transcended. Oh, Magoo, I am so sorry that this is your life. Anyway, Timbaland! This is dope. I have my issues with Timbaland's sound in 2007, but Timbaland is yet to drown in excess, this track has a nice build to it, and I have enough nostalgia that I am willing to forgive any amount of Magoo if it means a Timbaland/Missy collaboration. But Magoo is just unbelievably bad. They made a version of this song without him, right? It'd be a travesty if they didn't. Like, Magoo is keeping this song out of the Top 20.

91) "I Say a Little Prayer," by Diana King

I bet a "Say a Little Prayer" cover had some novelty value before American Idol kind of ruined covers of standards for the rest of the world. Like, I've heard enough versions of "Say a Little Prayer" in this lifetime that I didn't need this reggae version intercut with scenes from a romantic comedy. She does have another single called "Shy Guy," though. She and I have the same favorite Super Mario Bros. 2 enemy! That's one thing I got. Ugh, heck next week, TAKE ME 2007. I AM READY TO LOVE YOU AGAIN. TAKE ME INTO Ywhat do you mean "love theme from transformers"

7.21.2007

68) "You Know What It Is," T.I. ft./Wyclef Jean

T.I. claims, "I had the album of the year, Grammy or not." At first blush, this may seem overly boastful; after all, it's been established that T.I. may not be one of the 100 greatest rappers of all time, and T.I. never quite had the superstar power of a Kanye or a Kendrick or the type that usually wins the award. But the 2007 field for Best Rap Album was actually sorta weak. You have a Ludacris album with zero signature hits, which is notable given that Ludacris is the Foo Fighters of rap, an album from Pharrell that is only there because Pharrell made it, and albums from Lupe Fiasco and The Roots that were never going to win but do let the Grammys signal to their audience that they know what's up. Plus, 2006 in general was a shitty year for rap. You'd have to really stan for OutKast or Jay-Z to defend Idlewild or Kingdom Come, and apart from Food & Liquor, there aren't any classics bubbling just under the mainstream. Much in the same way 1989 was the best pop album of 2014 because everyone else's albums sucked, T.I.'s King was the best rap album of 2006. Unless you're into the Jeezy album or the Rick Ross album. Maybe those? I don't fuckin' know, I don't know history, this song is OK.

85) "LoveStoned," Justin Timberlake

Kind of unpleasant going from fun and actually composed music from Timbaland to "here's a thousand noises I slapped together TURNED TO ELEVEN" Timbaland. See, look at that, it has been like fifteen minutes, and I'm already nostalgic for the '90s. Only '90s kids will remember when Timbaland didn't make confusing music.

86) "Before It's Too Late (Sam and Mikaela's Theme)," The Goo Goo Dolls

Hey, remember in YAS '90s when I lamented the death of the soundtrack? Sure would be nice if we could pinpoint the exact moment the soundtrack cut died, the one soundtrack cut that ruined the commercial viability for future soundtrack cuts to come. Might be an interesting quest to take, to find the last soundtrack cut! Anyway, love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers love theme from Transformers

93) "Cupid Shuffle," Cupid

/went to bed at midnight /had a day at work where he said zero words to people /rough bus ride home /faced with 30 pop songs /plus self-imposed deadline /slumped over on desk /twitching more like... /labored breathing stupid shuffle /ugly crying that sounds like coughing

94) "Tough," Craig Morgan

It has been nearly two weeks since I've heard a country dude. I'm not even going to count the three country dudes I heard during YAS97, because one was George Strait and that treacly-ass nonsense about how daughters are awesome or whatever is about as country as a skyscraper. Not that this goes that much harder, it's a song celebrating a mother's toughness (which is honestly about as feminist as country gets), but you can really hear the difference in production values in country dude songs between 1997 and 2007. Songs get built better in the modren era, and while this eventually leads to the trashification of country, and also this song is cheeseball as hell, this is so much better to listen to than that Bros Brothers track.

95) "Everyday America," Sugarland

Songs like this are uncomfortable to contend with in an age where billionaires co-opt this sentiment to trick America into plunging itself into a totalitarion nightmarescape. This is a song that plays during the preamble to a rally where a man yells at you that the best way to save this version of America which never existed is to strip yourself of health care and just spray poison straight into the sun so that billionaires can pocket an extra $50k. I'm sorry, Sugarland. Usually I don't get in this mood, but this is 2017 we live in, and also all the things I said in the Cupid section.

99) "Misery Business," Paramore

I can hear the criticism of this song as something somewhat unfeminist, but expecting any 19-year-old to walk this earth cognizant of all social issues and doing their best to fight them is stupid. 19-year-olds should be making songs about some asshole what stole their boyfriend. It kinda sucks she used the word "whore?" But we all said shitty sings when we were 19. Most of the shit I said is archived on Facebook, and Hayley Williams has the singular misfortune of having her problematic years attached to THIS SONG WHICH GOES HARD AS HELL AND IS A POP/PUNK MASTERPIECE. This song rules. It's childish in all the right ways, and I'm always gonna have that nostalgia blind spot for it. Heck you for trying to ruin it with valid points about the song's less-than-chill attitude towards gender roles, just sit back, dawg. It could get worse. Remember when R. Kelly had a top 20 hit in this post?

100) "Guys Like Me," Eric Church

In the sense that this built a foundation on which Eric Church built up enough clout that he earned the creative freedom to make "Mr. Misunderstood," this song is worthwhile. In every single other sense, I can't believe I expressed something like positive thoughts about modren country music.

7.22.2017

(70) "Mi Gente," by J Balvin & Willy William

I was stoked to jump back into 2017 with some Latin pop. I've been down with this Latin pop revival (insofar as Latin pop needed to be revived (it was still thriving just not in the states (like duh))), and I was stoked for this song, but the translation shows that this is a song about how good this song is. I mean, hey, I've heard worse, but that doesn't mean we can't do better than this. Still, I like that fun kazoo noise, and this song has as much a right as any to shout about how good it is. Not a classic, but we ragequit this project after DJ Khaled took the top song, so hey, we're already doing better!

(78) "Rake it Up," by Yo Gotti ft./Nicki Minaj

Having heard every rap song that hit the Hot 100 from January through July 1997, I can confirm that literally all but one rapper in 1997 was better at the act of rapping than this Yo Gotti character. I have no nostalgia goggles for '90s rap, I am completely ignorant of any rap history that didn't make it to Shea Serrano's Rap Yearbook, I literally just mainlined the entirety of 1997 rap, and I can state from a position of authority that Yo Gotti is garbage to listen to. He has an advantage on Magoo, I am not here to engage in hyperbole, but he is worse at this thing he is being paid to do than all that preceded him. Nicki has a fun verse, her verses are usually fun, but this dude is awful. I'm supposed to think this is rap after having heard the "Not Tonight" remix? Come on, man.

(85) "Bodak Yellow," by Cardi B

I picked up Gangsta Bitch Music Vol. 1 based on the recommendation of a basketball podcast, and I was impressed. I thought there was a lot of potential there, and I'm glad to see it's getting harnessed into something. I might've picked a better person to mimic than Kodak Black, but I'm not gonna complain about a solid song. "Said little bitch/You can't fuck with me if you wanted to/These expensive/These is red bottoms, these are bloody shoes." I kinda fucking love that. Like, just casually letting you know she's already stomped on people. I'm into this. I hope she gets to do something less derivative in the future.

(87) "Who Dat Boy," by Tyler, the Creator ft./A$AP Rocky

I will never complain about Rocky in any situation. I actually haven't listened to... gosh, anything Tyler's made since Goblin. I think that's understandable, what with Goblin being terrible. But this is really cool. This isn't as Adult Swim as the Odd Future cohort can get. It still sort of sounds weird for weirdness' sake, but there's focus, there's actual dedication to making this sound like the nightmare Tyler thinks his head is. Plus, Rocky. I like that guy. Not bad! That counts as high praise, given my history with Tyler, the Creator.

(89) "Heartache on the Dance Floor," by Jon Pardi

he's not even a good singer. there is nothing about this dude's voice that is pleasant to hear, it sounds like an imitation of better singers, like what if you replaced everything that gave chris stapleton's voice depth and clarity and distinctive tone and replaced it with gross goat sounds. he has a range of "the note he sings in this song." fuck this dude and fuck everyone that ever believed in him.

(99) "Extra Luv," by Future ft./YG

Did... Did Future take inspiration from his collaboration with Calvin Harris? Because I don't think I've ever grooved this hard to a Future song. I don't think Future has ever made a song to be grooved to. It's usually music to make you run through a brick wall or music to contemplate every dark thought you've ever had, never a song that just exists for the sake of being fun to listen to. Like, did Future just go into the studio with Calvin Harris and just have his mind blown, like, "Wait, music can sound like THIS? I gotta try this shit out! Hot damn! This is a game-changer!" Still some sadness, it's about a woman loving how rich Future is and not Future himself, but it's packaged so differently from the rest of Future's stuff and I'm so thrilled if this is the direction Future will take with his next five albums!

Who won the week?

While we would like to give 2007 a shout-out for the individual achievement of Paramore, man, the rest of 2007 is horrible this week. 1997 and 2017 don’t fare a ton better; 2017 at least gives us three tracks that are interesting and, given how salty and/or burnt out I am, are probably a lot better than I think they are in my current mental state. It’s 2017.

Week Twenty-Nine

7.26.1997

31) "Someone," by SWV ft./Puff Daddy

Very nice work! Bob exclaimed, stirring himself from the Soulja Boy Tell'em passage he was writing because he doesn't need to listen to "Crank Dat" to know how "Crank Dat" makes him feel. You girls sure rocked the house! he said, wondering why he admitted he was looking past this song and not giving it the fair chance he gave other songs before it. Bob doesn't know what's happening in this paragraph, and while Bob would like to start over, he won't, because he wrote all these words, and deleting them would mean having to write more, y'know?

32) "I Can Love You," by Mary J. Blige ft./Lil Kim

A'ight, if you're gonna make me listen to this much R&B in one sitting, I appreciate that you're gonna give me something close to a standard. One day, man, I'm gonna get familiar with Mary J. Blige, and this song is a reminder of all the great things I'm missing out on, like I'm in a world right now where I'm not sure where this song ranks in the Mary J. Blige canon but can be absolutely certain it's not in the top tier. I'm gonna get to it, I've got other shit to work through but I swear, I'm gonna get to it. Gosh, I'm like seventy-five seasons behind on R&B musc.

57) "To the Moon and Back," by Savage Garden

...This could've stood to be a tad more dramatic. Like, I don't know, I'm trying to evaluate this song on some unspecified criteria, I lack the capacity of language to be writing these posts in the first place, I have no idea how to tell you what I'm looking for, but this song sounds like it's on this middle road between "beautiful subtle ballad" and "epic overblown power ballad," and I wish it would just choose a side, ever give me all the emotions or try to get at one specific emotion. It's alright, I didn't want to switch the YouTube video off, it just feels like nothing.

85) "(Freak) And U Know It," by Adina Howard

I've used the words "trash" and "garbage" a lot over the past week, because those are accurate descriptors of certain kinds of '90s music, but we also need to acknowledge when "trash" is a positive virtue. This song is trashy in all the right ways. It is completely unconcerned with engaging with the listener intellectually, focusing instead on the private parts, which she would very much like to freak. While sometimes it's disheartening when someone we know can do better doesn't try to do better, this song wouldn't work if it were concerned with anything but the basest desires. You should generally want something that is worth thinking about after you finish the song, but sometimes, you want a sexy voice over a funky bass line asking if you wanna go down.

7.28.2007

47) "Crank Dat (Soulja Boy)," Soulja Boy Tell'em

This song is a singular achievement in American culture, and the day it was brought to our attention is the day we were alerted to the meaning of life.

100) "Never Too Late," Three Days Grace

YAS ALT-HISTORY: if everything went according to plan, I was going to pretend "Never Too Late" didn't exist and make Soulja Boy Tell'em take on the offerings of 2017 on his own, the last Spartan warrior screaming at the cloud of arrows. You can't know anything close to the disappointment I felt in the twenty seconds it took me to scroll from 47 to 100, getting more and more excited for the Soulja Boy Tell'em vs. The World narrative, and then finding, of all songs, this buttrock ballad, here to ruin everything, here to drag Soulja Boy Tell'em down. Like, Three Days Grace was one of the better buttrock bands; "Animal I Have Become" is legit, and the entire One-X album is the best thing any buttrock band put out, but this ballad sorta blows, and it completely ruined what should have been Soulja Boy Tell'em week. I can't forgive this song for doing that to me.

7.29.2017

(23) "The Story of OJ," by Jay-Z (35) "4:44," by Jay-Z (47) "Bam," by Jay-Z ft./Damian "Jr. Gong" Marley (51) "Family Feud," by Jay-Z ft./Beyonce (55) "Kill Jay-Z," by Jay-Z (56) "Smile," by Jay-Z ft./Gloria Carter (63) "Caught Their Eyes," by Jay-Z ft./Frank Ocean (86) "Moonlight," by Jay-Z (90) "Marcy Me," by Jay-Z

Jay-Z is great and 4:44 is great and all of these songs are great and 2017 has pulled off two wins by cheating. Like, if there's one thing I learned from 1997, it's that, when Drake gets 20 songs on the chart, he's taking those spots away from weird and/or wonderful songs by artists that will never hit again. I can't stop thinking about "Fulton St." two or three days after hearing it, but if it happened to drop one of those weeks an AAA artist dropped an album in 1997 and the Billboard chart was using the formula it is today, I wouldn't have heard it. That's not to say these songs aren't great, it's just an unfortunate quirk of these modern times, that Jay-Z gets nine hit songs and someone smaller is gonna lose their shot at something like notoriety.

(33) "Bank Account," by 21 Savage (94) "Famous," by 21 Savage

has this dude ever felt an emotion? i dunno, it's entirely possible i didn't feel like paying attention, but both of these songs were rapped in the same passive tone, never changing, just a voice maintaining at some level of chill without acknowledging anything like a feeling. which is impressive, if the goal is to get people to listen and never stop listening, this is the voice you need to perfect, this is a voice that can lull you into a trance where you wake up two hours later and realize you've listened to two of this dude's albums, but i know i have to hit skip at the end, and it's so fucking boring DO SOMETHING

(25) "Praying," by Kesha

Kesha went through a lot to make this song, and, as is stated, she has been through hell, through no end of pain and torture the likes of which no one should ever have to know. I can respect that.

(52) "Sorry Not Sorry," by Demi Lovato

I'm into Demi Lovato. I'm into shallow fun pop songs. I hated every second of this. Here's my conspiracy theory. I mentioned 1989 when discussing T.I. What if there's a conspiracy going on to make all pop music sound really shitty so that, when Tay Tay releases her album, she doesn't have any insurmountable hills to climb to claim Album of the Year again? (Yeah, DAMN. happened, but To Pimp a Butterfly was better than 1989. Didn't stop the Grammys!) Like, I'm into everything Julia Michaels has done, and I'm gonna love any album she releases, but she's not on that level. Selena Gomez is doing fun stuff, but she needs one more "Bad Liar" if she wants to hit that level. We're apparently not into Lorde anymore, we're finally over Katy Perry, no one else seems to be willing to release an album, I mean, Tay Tay's gonna take another weak year and use it to trick people into thinking an A- album is an A+. Big Machine somehow ruined this song, and we need to figure out how deep this goes.

(89) "Glorious," by Macklemore ft./Skylar Grey

I am as interested in Macklemore without Ryan Lewis as I am in six untoasted hot dog buns.

(91) "Get Low," by Zedd & Liam Payne

Oh good, the EDM dudelords are starting to rip off Calvin Harris' funky sound. Great. Look what you did, "Slide." (And to some extent, we should hold "Run Up" responsible, except "Run Up" is perfect and you never gave it a chance.) Now Zedd thinks he can make a shitty summer song. I didn't want to hear what Zedd thought summer sounded like. Turns out Zedd thinks summer is good! What a bold take, never saw that coming.

(92) "Fetish," by Selena Gomez ft./Gucci Mane

pop music is bad and i should not have added more of it to my weekly routine. "you've got a fetish for my love." that's fucking stupid. like, see! we had two decent songs from selena gomez, then this tanks her momentum! we're setting up for another year where tay tay takes a bye into Album of the Year consideration, and it won't even be as good as Red. she'll take her special brand of adult top 40 and amaze people who haven't heard a good song in weeks. man. what an unfortunate week to attempt to pull a double shift. the right thing to do would be to go to tumblr and say i'm cranky and need more time, but despite how bad the weeks were, i think i have some solid jokes. also, we got to think about jay-z for a few seconds! that was nice. thank you for making music this year, jay-z, i truly appreciate the work you put into making this post not a chore.

Who won the week?

It is kind of cheating to roll out a classic rap album, especially when the rest of 2017′s offerings were so enh. (I might like 21 Savage more if I weren’t so over everything.) But 1997 and 2007 don’t bring much to the table, either, and I can’t help how the charts get made. 2017 wins another one, which actually puts it ahead in the season standings: 2017: 11 1997: 10 2007: 8 Next week, 2007 rolls out High School Musical 2 and Billy Ray Cyrus against “Mo’ Money Mo’ Problems,” which I think is going to go very well for 2007! 2017 will likely feature that shitty bro country dude’s attempt at being Chris Stapleton. Congratulations, 1997. (Hey, Bob, when you gonna do 1987, it only m)NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO