Retro obsession neuters current music of the chance to make something great of itself.īut the dumb fun of a big hook and a silly dance trumps heavy thinking, and as quietly as a song anchored by a bleating siren can, "Party Rock Anthem" offered an antidote to nearly all of these anxieties. Narcissism in pop isn't such a bad thing there was a raft of responses to a book about our current obsession with all things "retro" and finally this week a piece by the author of said book that argues that our That psychological study about narcissism made everybody scratch their heads a little bit the one that argued that It's impossible to know what pop even means the one that set out to determine Pop doesn't mean as much as it used to the one that said that But 2011 yielded an unusually bountiful crop of think pieces about what pop means now: there was the one that worried that Summer is always a time to think about, and write about, pop music, not just to listen to it. No disrespect to "Pumped Up Kicks," but the indisputable song of the summer for 2011 is LMFAO's "Party Rock Anthem." We made a Spotify playlist for as many of the songs we've been talking about as we could. 1 doing the music that we love!” RedFoo told Billboard in 2011, adding, “and we feel like everybody is a part of our dream - our wet dream.” “Party Rock Anthem” was the pristine distillation of their formula: bulky synths, goofy yet instantly quotable lyrics (“On the rise to the top, no Led in our Zeppelin,” “Now stop – hatin’ is bad!”), and a lovably simplistic hook that oscillates with designed dance breaks.This week on The Record, we're looking at some of the songs that captured our attention (or held us hostage) this summer, and asking what they tell us about our standards, our anxieties and the places we want our music to take us when it's hot out. Throughout it all, RedFoo and Sky Blu were unabashedly themselves, reveling in the contained chaos. Before EDM acts like Skrillex, Swedish House Mafia and deadmau5 exploded into the mainstream themselves, LMFAO offered up-tempo choruses and wild live shows, with their tours often rife with animal-print merch, crass props and alcohol flowing from the stage. RedFoo and Sky Blu are actually uncle and nephew: Stefan Gordy and Skyler Gordy are the son and grandson of Motown Records legend Berry Gordy, and began trying to crack the club scene in the mid-2000’s before being scooped up by Kierszenbaum, Neil Jacobson and RedFoo’s pal Will.i.am of the Black Eyed Peas in a joint label deal. “Woven into its melody, lyric and chord changes are a buoyant joy which will always resonate with human ears and transcend time.” “‘Party Rock Anthem’ has performed so well because, at its essence, it’s extremely well-written,” says Martin Kierszenbaum, whose Cherrytree Records co-released the song. Eight years and change later, “Party Rock Anthem” somehow sounds like both a relic of a bygone era - one in which the top of the Hot 100 had a much more frenetic tempo, and one could un-ironically wear a tank top that read ‘Everyday I’m Shufflin’’ - and an enduring club staple. 2 on Billboard’s Top Hot 100 Songs of the Decade list, after spending six weeks atop the Hot 100 chart and being crowned the Song of the Summer in 2011. singer Lauren Bennett and producer GoonRock, finished at No. The time was right for these neon-clad court jesters to bring their party energy to the masses the result was the apex of the goon-pop movement, and one of the biggest hits of the entire decade. top 40 radio had increasingly embraced a higher BPM, with uncerebral electro-rap hits from Ke$ha, Pitbull, Flo Rida and Far East Movement dominating airwaves. But when “Party Rock Anthem” was unveiled in early 2011, complete with a music video featuring partying zombies doing the running-man-adjacent “shuffle” dance, U.S.
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