Was gonna do my whole intro about how happy I am to see this random-ass shit going viral, but then that Scorpion King joke popped into my head and I couldn't *not* use it, you know?
If you think I was under any instruction to generate pageviews by writing about fuckin Kid Rock, then you *really* don't understand how this media shit works. I just like what I like is all.
I'd guess that it's gotten slightly older. Whole lotta teenagers were hitting in the '50s and '60s.
Ages of this year's #1 artists have been: 26, 20, 31, 31, 34, 23, 20 but dead, 25, and 31. Whereas the singer on tomorrow's entry was 16.
Have always been confused about how the tambourine man is supposed to play a song. Like how do you play an entire song on the tambourine? (Did not see fit to include this trenchant insight in the story.)
I really like that album! That's the goofy part. There's just all this stuff in it that I hate and that I feel compelled to point out.
Had this whole riff on the Travis/Mike Dean connection, the one strong line between Houston rap history and Travis himself, that I meant to include and totally forgot about when I was writing this. I'd love to know more about their working relationship.
Nah, actually, I'm judging them against every other #1 song ever, with no regard for the rest of the artist's catalog. And I think this song is just OK. (Thanks for the defense tho.)
The whole Motown approach, taking talented kids and then drilling the fuck out of them, is pretty much exactly what the different K-pop agencies are doing in South Korea, except now they make them learn different languages too.
I think it's a really great song, but I'm trying to save those upper reaches for the truly exceptional. That's kinda hard during that period, since *so much* of what hit #1 is so amazing. But I can't spam those big numbers too hard or it won't mean as much when something really does reach it.
This is fair. If anything, he's SC-adjacent. Was iffy on putting Rich the Kid on the list for the same reason, since he's more of a regular Atlanta trap guy. But I do think their fans' ability to ignore those accusations is part of that same story.
If there was an artist who could fuse all these genres, with energy and inventiveness and emotional force, without rapping about how his little emo bitch like her wrists slit, then yes, I would've been all over it. Thought about going into the idea that the creativity wouldn't exist without the toxic impulses but this piece was already fucking long enough.
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