I like Drake a whole lot and Hotline Bling might have the most trash lyrics of any pop song ever

I wonder if this means Kanye will be producing Drake or if Noah Shabib will be producing Kanye on some tracks? I'd be kind of intrigued about the latter, especially since Drake/Shabib's whole aesthetic was formed by Noah giving Drake something from 808s and Heartbreak to rap over

Kanye riffing on Drake's flow from Jumpman in FACT was not a high point of TLOP

His current fashion tastes hint at a readiness to have to wander through the desert for 40 days and 40 nights at any moment

I can see that, and I like the idea of people setting aside all usual notions of taste to just go as hard at someone as possible. In practice a lot of the jokes don't land for me, but honestly if anyone had to be told to kill herself, I'm glad it was Ann Coulter.

That's a really good point, and both those movies and their sequels are pretty different from one another.

I'm unfamiliar with this August Comedy Central Institution apart from reading occasional lines from them in articles, and they always seem incredibly crass and over-the-line, but I guess that's the point.There's this jocular fratboy sexism running through a lot of it.

It's funny, I didn't enjoy it (apart from a couple, and Jim Rash' episode is genuinely great), but my friend re-watched the whole run of Community with his girlfriend, who'd never seen it before and didn't know anything about the backstage drama, and she didn't notice a shift between S3 and S4.

It could be a go on to become an era-perfect recreation of high-concept mid-aughts shows that are completely charming for a single season then get increasingly rudderless. Stranger Things: Lost Heroes

Mike Mills thinks it's due a reappraisal, but it's hard to imagine its development looking like anything but the middle-aged rich xanax analogue to Fables of the Reconstruction's uneasy gestation. It just sounds like everyone is completely checked out and just pushing out songs as best they can under the circumstances.

All I remember of Around the Sun is Leaving New York (still a lovely track), Stipe yelping "electron blue!" in a peppy sort of way, and security beating the shit out of a drunk dude during Everybody Hurts when I caught them on that tour, which is the kind of on-the-nose juxtaposition that Zach Braff wouldn't touch on…

I feel like Around the Sun is how people who don't like REM hear most of their records, or at least imagine them. Earnest jangly Starbucks CD fodder. Whereas for Up they're reaching, at the very least. It's one of my favourite albums by them, and was my entry point to them after never quite managing to vibe with them…

It seemed incredibly harsh to schedule Britney just after Beyonce, like they were rooting for her to fail

I love "white shoe" as a law firm descriptor. White collar's kind of fancy, but white shoe? That's Bugatti money, friend!

[Mike Love, browsing the AV Club comments, as he regularly does]

On one hand this feels like the musical equivalent of all those department store chains stealing designs off Etsy. But Comes As You Are *does* lift directly from
Eighties by Killing Joke and they are pretty distinct pieces of work, and that lawsuit's never sat right with me. Something about a band as (cleverly)…

That was an extremely nuanced reply, thank you

Is nuanced a bad word choice because the subject of Britney Spears' hair is not a topic where nuance can be achieved, or because you felt the article lacked it?

Gotta be State of Love and Trust, it's such a wholly gratifying song that would probably be exactly what I'd have expected grunge to sound like if I'd never heard it and just seen the broody b&w publicity shots

It's the REM/U2 debacle for people who windmill in mosh pits