Sonny Figueroa/The New York Times

Sonny Figueroa/The New York Times

When Jerry Seinfeld was asked a few years ago what TV shows he watches, he said, “I don’t watch that much television. I was television.”

Jennifer Keishin Armstrong’s book, Seinfeldia: How a Show About Nothing Changed Everything proves this was true to some extent.

If you’re a die-hard Seinfeld fan, you probably already know all the stuff in this book. But if you’re a younger or more casual fan, or you just get off on reading about the show, then this book is for you.

Forbes

Forbes

The book is basically a complete history of the show. It begins with Larry David and Seinfeld realizing their funny back-and-forth in a deli could be a television show and goes all the way up to the hoopla surrounding the finale a decade later. It explains the origins of “yada yada yada,” the Soup Nazi, Susan’s death, Elaine’s “little kicks” dance, the J. Peterman Reality Tour, and even the development of the theme song.

It also details all the ways in which the show almost died on the vine and what it almost was before it was fully developed into what we know today. Elaine wasn’t even going to be a character at first and it was originally going to be called The Seinfeld Chronicles. Gag me.

Some of my favorite Seinfeld moments not mentioned in this book: When Kramer starts Kramerica Industries and hires his own intern, the whole Merv Griffin Show episode, George’s answering machine song, and one of the greatest scenes in television history: When Kramer unfolds his coffee table book about coffee tables into a coffee table.

Eventually, Seinfeld will be irrelevant to a generation so far removed it can’t relate to it at all, but the the main point of this book is the show is still a dominant force in pop culture almost thirty years after it debuted. 

Heavy on the nostalgia, this will make you want to go back and watch the show over again. When Armstrong recounts the extreme public interest in the finale and that episode’s enormous viewership, it’s easy to see how Seinfeld can make the case that he was, in fact, television.

Solid book, I’d give it a B.

Blog Author: 
Lucy Burdge

Late Thursday night, Major Lazer released “Cold Water,” a summer anthem candidate featuring Justin Bieber and MØ on vocals.

Long story short, it’s great and it brings to light one interesting point: All three of these artists might have set the bar impossibly for projects involving one another. “Cold Water” is going to be played nonstop for the next two to six months, yet it isn’t even close to the best of what’s become a growing list of hits made involving at least two of Diplo, Bieber and MØ. That’s absolutely fine.

The creme de la creme is “Where are U Now,” which Diplo and Skrillex put out last summer as Jack U with Bieber. Right up there with it is “Lean On” from Major Lazer (of which Diplo is one third), MØ and DJ Snake. Not to be forgotten, however, is MØ and Diplo’s “Kamikaze” or “XXX 88,” the first song the two did together.

“Cold Water” is going to be gigantic because Diplo, Bieber and MØ have become the James Franco, Seth Rogen and (insert third “Freaks and Geeks” cast member) of pop music: People just want them to do stuff together and it’s going to be beloved no matter. It’s also written by Ed Sheeran and Benny Blanco, with whom Bieber had major success on last year’s “Love Yourself.”

Much like “Love Yourself,” this song kind of plays it down the middle. There’s no mucked-up-Bieber-turned-dolphin-sounding hook like in “Where Are U Now.” There’s no immediately memorable riff like in “Lean On” or “Kamikaze.” In fact, there’s no break at all from the first chorus to the second verse or from the second chorus to the bridge. In that respect, production and dance breaks can’t carry the day the way they can in so many of Diplo’s hits. Bieber’s vocal performance has to support the song and absolutely does. This is maybe 100 times the performance that he turns in on “Where Are U Now,” a far superior song.

In fact, MO’s bridge might actually be the most “produced”-sounding part of the song. Often times artists sound better with other singers providing harmonies. Diplo knows MØ’s voice is too unique for that method, so what you get is a bridge dripping wet with MØ’s vocals. It’s the best part of the song.

The lack of shiny objects in “Cold Water” isn’t necessarily a bad thing — it just means it’s not going to blow you away on the early listens. Yet it also means that this crew is capable of moving even closer to formulaic Top 40 and it working, because this song 100 percent works.

In summary, Diplo + Bieber, MØ or both of them = fire flames city. You’ll enjoy your weekend because these three just made damn sure of it.

Blog Author: 
DJ Bean
Former rock jock Gary Tanguay channels his radio past to attempt to "hit the post" of several classic soft rock favorites as Minihane eggs him on.
Somewhat reluctantly, Kirk and Gary take calls on who would start a one-game playoff for the Red Sox right now between Steven Wright, Rick Porcello and David Price

[0:07:21] ... now I'm now I notice like to go to a rest stop Mass Pike in before pretty pretty firm. Kind of boldly took your breath. Skis and does little to shoveled. Guy that you just old ...
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[0:08:13] ... would fictional. Because slick of go out to get a Little League Vince Wilfork didn't you know he was you know Paul Pierce at the all star game and that's when he when we've really in. ...
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