One of the (many) great things about Christmas is getting the chance (and the social leniency) to listen to Christmas music. Like most Catholics and Christmasphiles and unlike most everyone else, I love Christmas music.
I understand the complaints about Christmas music. I even agree that, for the most part, it sucks. Like, nine out of 10 Christmas songs played on the radio and in malls and other stores are indefensibly terrible.* Nothing promotes lazier “creativity” in music than Christmas, with popular artists knowing that an album of a dozen shoddy covers of public-domain classics will sell tremendously, since everyone knows someone who likes Christmas music and thus thinks buying that person a Christmas CD is a great and thoughtful gift.
*To be fair, this isn’t much different from the usual ratio on the radio these days.
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Pitchfork recently released its list of the 500 best songs of the decade to predictable controversy. The truth is, I’ve long since passed the point at which Pitchfork’s opinion still bothers me. Pitchfork has a built-in audience that it constantly has to stay one step ahead of, so the lists and reviews it churns out are alternately predictable and erratic. It may seem capricious and arbitrary as to whom it deigns to support with itsgod-like power over hipsters, but there is a method to its madness.
It comes as no surprise, then, that certain songs by trendy and atrocious acts like Antony and the Johnsons, Cat Power, and Sufjan Stevens make this list.
What really puzzles me, though, is when crappy, uncool songs make the list. It makes absolutely no sense to me that a list that has Spoon’s “The Underdog” at 130 would also have “Party Hard” at 129. Andrew W.K.? Really? I used to play Madden 2003 on mute to avoid hearing that song. And if you’re going to include two Coldplay songs, don’t you also have to include “Vertigo” by U2 or some crap like that? Continue reading »