i. miss atomic bomb- the killers| ii. a case of you- gabrielle aplin|iii. re:stacks- bon iver| iv. song for zula- phosphorescent| v. sort of- ingrid michaelson|vi. babylon- angus and julia stone| vii. run away with me- aaron tveit| viii. the ladder- andrew belle| ix. simple twist of fate- bob dylan| x. don’t you want to share the guilt- kate nash| xi. hands clean- alanis morissettte| xii. commes des enfants- coeur de pirate| xiii. foolish games- jewel| xiv. fade into you- mazzy star| xv. 23- jimmy eat world| xvi. last goodbye- jeff buckley| xvii. all too well- taylor swift| xviii. diamonds and rust- joan baez| xix. say hello, wave goodbye- david gray
Blur's Damon Albarn recently said, "Look at music now. Does it say anything? Young artists talk about themselves, not what’s happening out there. It’s the selfie generation." How do you feel about that?
What is this 'music now' that he’s referring to? What better, more altruistic musical era is he comparing ours to? His own? When 'Song 2' came out (a megalith of mindful lyricism, to be sure) the top five Billboard songs of the year were 'Something About the Way You Look Tonight' by Elton John, 'Foolish Games' by Jewel, 'I’ll Be Missing You' by then-Puff Daddy, my karaoke staple 'Un-break My Heart' by Toni Braxton, and 'Can’t Hold Me Down,' again by Puff Daddy. I just wiki’d that knowing what I’d get – wonderful classics that are about people’s feelings.
Artists young and old have and always will talk about themselves. But you know what? Young artists talking about themselves can be the most political thing done today, and is something a lot of them couldn’t have done before, or at least not to an audience. Now that music has been greatly democratized by the internet, young artists, non-cis male artists, artists of color, artists who even a decade ago wouldn’t have been given a voice by the few controlling the airwaves, are starting to find bigger platforms to talk about their previously silenced personal histories.
They can reach out to and unite with other people like them, and maybe even create change through their art. All Albarn sees are younger people talking about things their own generation is facing, and he doesn’t understand them, or doesn’t see those issues as important, so he deems them unimportant altogether.
That doesn’t seem very evolved. That seems like a stereotypical wealthy, white man only considering his own concerns as important, his own perspective as legitimate. I would suggest he go to a Downtown Boys show, if they ever play near wherever he’s living, and see if he’s still of the same mind by the end of their set.
'Uptown Funk' One Week Away From Longest Stay in Hot 100's Top 10
Mark Ronson’s former 14-week Hot 100 No. 1 “Uptown Funk!,” featuring Bruno Mars, descends 6-8 on the Hot 100. “Funk” has now tallied 31 weeks in the top 10, leaving it one week away from tying the record for the longest stay in the top 10 for a single in the Hot 100’s nearly 57-year history. Here’s an updated count of the titles with the lengthiest top 10 Hot 100 runs:
Singles With the Most Weeks in the Top 10 on the Hot 100
Weeks in Top 10, Title, Artist(s), Peak Position, Year
32, “How Do I Live,” LeAnn Rimes, No. 2, 1997
31, “Uptown Funk!,” Ronson feat. Mars, No. 1, 2015
30, “Smooth,” Santana feat. Rob Thomas, No. 1, 1999
29, “Party Rock Anthem,” LMFAO feat. Lauren Bennett & GoonRock, No. 1, 2011
28, “You Were Meant for Me”/“Foolish Games,” Jewel, No. 2, 1997
26, “Truly Madly Deeply,” Savage Garden, No. 1, 1998
Thus, as it potentially closes in on tying Rimes’ mark, “Funk” has already achieved a notable highlight: it passes “Smooth” to become the Hot 100 No. 1 with the most weeks ever totaled in the top 10.