pitchfork is dumb (#34985859340293849494 in a series.)

Rapture reads to me as a song about over-blown consumerism. At least it's the only way I can interpret those lyrics.

the "Man from Mars eating cars" parts

That's the only part I remember! It always reminds me of the Saturday Night Live "Rap Street" sketch.

Maybe the discrepancy for me is because of "The Adventures of Grandmaster Flash on the Wheels of Steel"?

Lol everybody trolling themselves talking to Moka

I'd take "Square Biz" over "Rapture" as far as '81-white girl rap goes.

Lol is true but they clearly have nothing better to do

A couple other early-80s rap tracks with original sung hooks, although in both of these they're secondary hooks: "Jam On It"; MC Fosty & Lovin' C - "Radioactive Rapp" (another one that probably didn't influence beyond the West Coast, at least until Snoop jacked its opening wholesale for "2 of Amerika'z Most Wanted", although my contraristan favorite flip of it is Mac Dre/Mac Mall/E-40's "Dredio")

nah they picked the right H&O

― brimstead, Monday, August 24, 2015 10:29 PM (Yesterday) Bookmark Flag Post Permalink

song is played

― mods = chickenshit idiots (D-40), Monday, August 24, 2015 10:02 PM (2 days ago) Bookmark Flag Post Permalink

oh no it's played... whatever that means?

Great song obv but it's been the Pitchfork-approved H&O song for years -- the same way "In the Air Tonight" and its spare electronics fits with P's ethos.

which Hall and Oates song did they pick?

Guess!

No can do

aw, thought it might have been Method of Modern Love

"billie jean" generates from "i can't go for that" so imo it was the appropriate pick. also that song will never be played for me, still sounds so effortless and packed with tiny melodic ideas

geeta wrote about the apple thing too the other day:

http://www.theguardian.com/music/musicblog/2015/aug/24/rolling-stones-greatest-songwriters-list-corporate-sponsorship-apple-music

― scott seward, Wednesday, August 26, 2015 9:13 AM (11 hours ago) Bookmark Flag Post Permalink

As someone who helped organize and write the songwriter list from its very beginnings, I can tell you that there was absolutely no editorial input from apple whatsoever, and any connection that geeta/guardian have intuited is based on absolutely nothing

curious what one would do apple music linkwise for the beatles, songwriting allowed for lennon and mccartney to be represented separately

ah, see that in the case of prince it goes to the itunes store instead of apple music, guess they could just do that

are their any artists that would plausibly make a pfork/stone canonical list with zero apple presence (music or itunes?) even seger's got some live shit available for apple

though i think the concern that apple-branding could hypothetically lead to artists being ignored is valid, considering its breadth of product i also believe in most cases the issue simply wouldn't cone up

come up

oddly with prince there's simply no link to apple music on the pfork list but there is a "listen on apple music" link for kate bush's "running up that hill" - which leads to a "not available in us"

First off, Moka is an idiot and no one cares about corny ass "walk this way." It's not even the best song on the album ("Peter piper")

She's not, be nice.

Also, where's the secondly?

First off, deej is an idiot and the best song on the album is "My Adidas"

I couldn't follow the Run-DMC argument upthread, but just wanna say that they are the best and Pitchfork's constant campaign to erase them from history will not stand on any internet that I also use

v chill dude calling women idiots on message boards

(right about "Peter Piper" tho)

who would've imagined this discussion of 80's music on the internet would disintegrate into ad hominem and narcissism of small differences; that we would live to see the day, what will we tell the children, etc

(RUN DMC are dope as fuck btw)

a lurking dmc breathing a sigh of relief at every parenthetical

(RUN DMC are dope as fuck btw)

I think on this point we all agree.

"It's like that" was the 12" that singlehandedly killed old school hip hop in one swipe. Or two--radio stations played both sides of the record. But it's like that was the very first run dmc record and their breakthrough single, beat still sounds fresh today

yeah, but the B-side >

v chill dude calling women idiots on message boards

― best beloved george benson (The Reverend), Wednesday, August 26, 2015 8:08 PM (13 minutes ago) Bookmark Flag Post Permalink

I thought Moka was a dude

you're blind, you can't see

also the piece mad about "straight outta Compton" being high on the list is extra stupid

imagine the good "piece" criticizing the choices on a pitchfork list

It's too bad that in that one piece of blurb real estate no one directly tackled NWA's sexism, because then it could more accurately reflect every other piece being written about NWA in 2015

that's not even the part i'm mad at, i can understand that critique at least

Because, seriously, nobody thinks ‘Straight Outta Compton’ is a better song than ‘Fuck Tha Police’.

this is a completely insane assertion

it's also insane because ... if that was the case based on his apple music conspiracy theory...either one would being promoting NWA?

they were closer to 2 live crew than public enemy, he asserts, as if this explains why straight outta compton is inherently and obviously worse than public enemy

Sorry about being an idiot. Just sparking some light conversation.

no apology needed i was just playing standard ilx music slapbox/roughhousing

sorry if i was being hella OTT, it was intended for dramatic effect

i do think 'walk this way' has aged pretty badly

always thought it was kind of a shame that walk this way was on raising hell. cuz i never liked it much and that album is so cool.

I just played Raising Hell for the first time in 12 years before the power went out and thought, Fuck, that's good this album is.

"imagine the good "piece" criticizing the choices on a pitchfork list"

i totally wrote one! and now they send me money. win/win!

"It's like that" was the 12" that singlehandedly killed old school hip hop in one swipe.

Ehh, this is the enshrined narrative, but it's pretty simplistic. It's not like everyone who was releasing records in the early 80's careers just stopped short the second Run-DMC hit. Both sides of the Furious 5 camp kept having at least minor hits through the mid-80s (including one that made this list), as did Bambaataa. Kurtis Blow (with a small Run-DMC assist, admittedly), Spoonie Gee, and Kool Moe Dee all had comebacks in the mid to late 80s, including Blow and Moe Dee's biggest hits. Electro happily existed on either side of the "It's Like That"/"Sucker MCs" line, as did Jimmy Spicer. Sugarhill Gang and The Sequence had already run out of steam, Funky 4+1 had broken up, Cold Crush Brothers and Crash Crew never had recording careers worthy of their live reputations. Whodini and the Boogie Boys were already bubbling under.

Yeah, it did totally change the sound of hiphop, but it was more of a gradual process than an overnight thing. Like I said earlier, disco-rap was already on its last legs by the time Run-DMC hit, although sure, they dealt it the death blow. But the biggest rap records of '82 were like...."Planet Rock", "The Message", "Rockin' It", "The Bubble Bunch", none of which sound like anything from 1981, let alone 1979. Things were already changing. And also like I said, it took a year or two for Run's sound to become dominant. Electro was huge, especially outside of New York.

It's interesting the variety of music you have in hiphop movies of that era, going from a very traditional sound in Wild Style to pure electro in Breakin' And Enterin' or Breakin' to the harder new sound (of course) in Krush Groove

apologies to anyone not interested in 80s hiphop chronology, but it's been a thing of mine lately

Blow pops up on Rene & Angela's #1 "Save Your Love" in '85 for example