Raised on irons Pitchfork 5-10-15-20-25 by MoMilli 12

iron fist of communism and of strict parenting, referring to early Seventies versus late Eighties trends as the mother ages and locks down (the child then mimics her behaviors)

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I never cut in line until the stars
aligned against my manger.
Pitchfork 5-10-15-20-25 by MoMilli 12

The only good line LORDE has written is “I cut my teeth on wedding rings in the movies.” This also has a sub-Parker or sub-Larkin feel.

Per the Lorde/LORDE play, the poem was written the week after Christmas and apes “Away in a Manger,” the innocent who can’t cry versus the martyr

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Compared the present tense in bed to 'rents Da Nang, Pitchfork 5-10-15-20-25 by MoMilli 12

Paraphrasing Albert Brooks' Modern Romance (“you ever heard of a no-win situation? Vietnam? Us?”)

http://www.youtube.com/watch?v=Dz7Sk8mhQ7k

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"Royals" Songs of the Year (2013) by Rock Genius Editors 159

I refer to Lorde as LORDE by convention because, like Kitty Pryde, I consider her bookish redheaded kook cum poet “competition” (in that it is no competition) for my favorite non-Davids Byrne/Longstreth wingnut of art, Ezra Koenig. And Koenig capitalizes stuff arbitrarily on the Internet, like the LORD in the BIBLE. LORDE should date Himanshu Suri. #fanfic

Trust me, LORDE’ll win. And this song is ultimately winning, if ultimately the opposite of what it promotes itself as, as an anthem. As social criticism, it’s like Noah Baumbach’s screenplay for suburban aimlessness Kicking and Screaming (“Tracey Austin? Yeah, I’d like to fuck her on the tennis court, if you get my meaning!”) LORDE is precocious to understand that you can fuck in both the tennis court and on the sink, via “Hold My Liquor” cover.

Was disappointed not to see a “That kinda LUX just ain’t for us!” pro-Harvard t-shirt at this year’s Harvard-Yale game. Failure of imagination until LORDE pulls a Danes and enrolls at Yale in 3 yrs between album cycles.

I like that she doubles herself here in the backup vocals, or that’s how it felt to me. I’m just not used to kids being as self-aware as digital natives are, and it freaks me out. But this one is sure catchy!

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"Bound 2" Songs of the Year (2013) by Rock Genius Editors 159

This list is not really in order, exactly, but I listened to “Bound 2” at least 3 times a day for a good six months. And specifically when I landed in Chicago the one time I visited the South Side this year around Thanksgiving (UChicago, OK, ya got me #sophistry). Per here you can see I made it to Christmas, if alone, but my favorite line is always, always [beat] “I wanna fuck you hard on the sink!” I felt from day 1 that 2013 fucked a lot of us hard on the sink. And I’m not being coy: To me Kanye was all about caricaturizing that monstrosity, and of people like him acting all atrocious as if they use expressions like “acting all” to describe their worst behavior.

In fact I wrote a poem about Jerry Saltz calling the video “the new uncanny.” The effort as a whole, “the new uncanny,” reminds me of the 2004 favorite “I Can’t Get Behind That!” spoken word piece by Henry Rollins and William Shatner.

It was a terrific year in spoken word.

The original “Bound” is also terrific.

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"Partition" Songs of the Year (2013) by Rock Genius Editors 159

I was going to make a joke about political partitions that didn’t come, but agree with Nico Muhly that the best part of the this album is really the first 90 seconds of “Blow” until the conclusion of what he called the Xhosa/woodblock tongue click before “FLAVOR.” The fact that Muhly got the Xhosa reference in a week after Mandela was pretty inspired, and so was the song. “Partition” is the most complete and allows music critics to write the best polemical criticism of the Houston rapping. Plus I always wished I look like Julianne Moore, and via French Lebowski sample Yonce does so, and how.' This album sounds as louche as 2013 felt but was never represented as through pop hits that ran less hot.

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"Get Lucky" Songs of the Year (2013) by Rock Genius Editors 159

I listened to original Chic way more than this record because I read the Nile Rodgers biography this past summer. And also to *E=MC2*, including a remix of Giorgio Moroder’s “I Wanna Rock You” with a house overlay of a gospel singer going “IF WE DO IT JESUS' WAY! ONLY IF YOU MARRY MEEEEE!” because I couldn’t get the original on iTunes. But MAN! That remix is as repressed as the Daft Punk song, which is so lovely and so restrained like when I thought Pharrell frontin' was chic when I was but a tween.

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"The Wire" Songs of the Year (2013) by Rock Genius Editors 159

I like that people who watch The Wire listen to “The Wire.”

I’m not sure I like “The Wire” that much anymore, but it sounds the most like the year in news, the lush hedonism cloaked by confessional singer-songwriting-style apologias.

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"Boys" Songs of the Year (2013) by Rock Genius Editors 159

Reminds me the most of “Be My Baby,” and Brian Wilson used to play that every morning when he was sad. So I started playing it every morning when I was sad for a good three months. The best music article I read this year was the profile of her in the Fader.

I wish I were as sexy as “I KNEW IT WAS YOU.” — ever.

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"No Right Thing" Songs of the Year (2013) by Rock Genius Editors 159

I really liked Dev Hynes as Lightspeed Champion, who I saw by total accident at a Phoenix concert years ago. Some girl at an earlier Phoenix show in Central Park thought I was press because I was wearing a trenchcoat all morose, which I felt gave me a spiritual tie to the arch Morrissey vibe Hynes was going for. Now I feel like Hynes and his scene are some scenester thing for which I’ve totally lost the thread. But I love Clams Casino for Based God, and Dave Longstreth should allowed to be his crazyass self on everything. It really upset me when he began polishing his voice, and I like that he does the exact opposite here. I also credit Longstreth on some level with Beyonce’s new album because he enabled, via Bitte Orca, reappreciations/reappropriations of B'Day like those that ended up on the actual album via people like Dev Hynes and Solange.

So how about that song!

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