yeah, that was one of the bigger head-scratchers (among many) on the list for me.

While "favorite" and "important" may, at these levels of inquiry, be equally subjectively determined, they do offer distinct ways of thinking about music. I can produce two lists for each decade (of my six) for music that in my judgement would be "important" and "my favorite."

And "important" could have clear criteria, both objective and critical. That is, what sold the most, how did it infilter MSM, what generated imitators... and what is most subjective but strongest criterion, what epitomized the zeitgeist.

Lists like this one, that both take on the concept of "important" while fealessly comparing apples and oranges are interesting. This particular list is interesting; lots of serious music gets surfaced.

And any list made within the decade it critiques is, of course, a failure of presentism. But is grist for the mill of synthesis and speculation that is amusing.

I believe that "every generation thinks its music is significant" is foundationally false. Every generation is not equal. There are moments, eras, generations where cultural and historical forces align to some greater significance. And in the succeeding generations from the 60s there has been entropic disillutionment about the very idea of significance. Hegemonic forces shape kids into both little units of production and nihilist droids who scoff at significance. "Significance " increasingly has become sentimental dreck.

"Rockstar" might be the best Strip Club song since "Make it Rain"

N.E.R.D.?

(Too lazy to go back to see if it's on the NPR list.)