The Slate T-Pain piece certainly isn’t my best - not least because, when the piece was written, in July of 2007, I didn’t even realize that T-Pain was using Auto-Tune to produce that vocal effect! (Embarrassing.) But the argument I was making was a bit more nuanced than the pining-for-the-good-old-days line you’re trying to pin on me. And “Can’t Believe It,” by the way, was #7. (I’m also on record as an Auto-Tune fan: lists are dopey, I know, but just for the record “Lollipop” was #1 on my list of top singes of 2008. You write: “T-Pain’s R&B isn’t the only example highlighting the ‘impassioned melismas’ that Rosen says ‘powered black popular singing’ before Auto-Tune messed everything up.” Nowhere in the Slate piece that you cite - nowhere, moreover, in any of the writing that I’ve done on T-Pain, or auto-tune, or contemporary R&B - do I construe that “Auto-Tune messed everything up.” I am the very opposite of sentimentalist about these things, and am in fact voluminously on record as a champion of production innovation and sonic novelty generally. But your reading of my Slate piece on T-Pain is way off: you took my comments out of context to set me up as a straw man. KITCHEN TALK: From Minimalism to Algorithm.MUDD UP BOOK CLUBB: Yan Lianke’s Dream of Ding Village.
New Years Eve Celebration The Whitney Museum.In 2012, Rupture gave away over a decade of his mixes.
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