'American Horror' goes for a very specific kind of Seventies suburban downer ambience - 'Flowers in the Attic' paperbacks, Black Sabbath album covers and late-night flicks like 'Let's Scare Jessica to Death.' It even has 'Go Ask Alice'-era urban legends.
Ronnie Spector's hair was taller and meaner and scarier than all four Shangri-La's combined, plus the drummer from the Honeycombs. You just know her rat-tail comb was a switchblade.
One of the best moments of any Liars show is hearing the crowd squawk 'We're doomed! We're doomed!' on cue during 'We Fenced Other Houses with the Bones of Our Own.' Maybe not the most uplifting audience sing-along in the indie rock world, but one of the most reliably entertaining.
But MTV relishes its vestigial role as a star maker, so every year it puts all its clout into making the VMAs the biggest, splashiest, loudest show-biz extravaganza of the year, honoring all this music for existing, after a year of paying barely any attention to it.
You can't beat the beehive for glam punkette attitude.
We all get as miserable as Erika M. Andersen sometimes, but we rarely approach her musical-ideas-per-miserable-minute ratio.
Thank you for the music, Sleater-Kinney. This gang of three was the best American punk rock band ever. Ever.
One nice thing about growing up Catholic is it makes you open-minded about other people's religions, since ours is nuttier than yours.
Madonna was so flamboyant in terms of her look, her style, her public pronouncements, her religious taboo-smashing.
Donna Summer would be remembered as a ground-breaking artist today even if she'd retired the day after she recorded 'I Feel Love' in 1977.
Celebrity despicability is a precious thing.
Our amour fou with 'The Sopranos' is headed for long-term parking, like so many of its most memorable characters. We'll never see a show like this again.
Rebecca Black might sing like a robot, but that's just proof she has evolved beyond us. Her vocal is just a slightly exaggerated version of the robot glitch-twitch stutter that's been mainstream pop vocalese for the past 10 years or so.
Ron Swanson is more than the MVP of the 'Parks and Recreation' squad, more than just the funniest character on TV - he's the perfect depiction of aggrieved American manhood at the twilight of the empire.
The Word 'Repulse': I hate this word. I believe 'repel' is a perfectly good word, and 'repulsion' is the noun, as well as the title of an excellent Dinosaur Jr. song. A compulsion compels you; an impulse impels you. Nobody ever says 'compulse' or 'impulse' as a verb. So why would you ever say 'repulse'? This word haunts me in my sleep, like a silver dagger dancing before my eyes. Renee looked it up and I was wrong. But I still kind of think I'm right.
I'd shut the whole world down just to tell you.
The dilemma of the eighth-grade dance is that boys and girls use music in different ways. Girls enjoy music they can dance to, music with strong vocals and catchy melodies. Boys, on the other hand, enjoy music they can improve by making up filthy new lyrics.
You'd think if anyone could charm America into caring about the evening news, it would be Katie Couric, the Tri Delt from Virginia who became America's sweetheart on the 'Today' show. But her ratings have been dismal - she comes in last place every week.
You can hear the Celtic heartbeat all over Europe and America, from Bing Crosby to Jack White, from the Smiths to My Bloody Valentine, from House of Pain to Marky Mark and the Funky Bunch.
When Ke$ha tries to rap like L'Trimm, she sounds like any ordinary lonely teenage girl stuck in a nowhere town, singing along to her radio and dreaming of a party where she's the star. Ke$ha's greatness is that in her voice, you can hear both the loser girl and the star. All hail the Queen of Noi$e!
When I started out as a music journalist, at the end of the 1980s, it was generally assumed that we were living through the lamest music era the world would ever see. But those were also the years when hip-hop exploded, beatbox disco soared, indie rock took off, and new wave invented a language of teen angst.
'The Voice' has lots of singers who fit the 'Idol' mold of young, innocent ingenues with psycho stage moms. But it also has long-suffering adult pros, with a whiff of thirtysomething despair in their voices. That adds an edge of realness.
'The Sopranos' gets praised as novelistic, but it follows the most banal of life patterns, showing the sheer tedium of being a mobster. It has dead spots, boring plotlines, weak episodes. Characters develop slowly, or don't. Like viewers, a gangster might get bored, fade out of the action, then come back to find none of his debts forgotten.
The sax solo as we know it today would not exist without Gerry Rafferty. His 1978 soft-rock classic 'Baker Street' has to be the 'Ulysses' of rock & roll saxophone, giving the entire chorus over to Raphael Ravenscroft's sax solo, creating one of the Seventies' most enduringly creepy sounds.
'The Queen Is Dead' is not merely the Smiths' best album, but it is one of those timeless, perfect, inexhaustible artifacts that could only have been made by a gang of sullen, sun-deprived rock & roll boys fighting off adulthood tooth and nail.
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