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Cuts 4, 5 (both re-recorded vocals, 5 edited): Released on GOT LIVE IF YOU WANT IT, London PS 493, December 10, 1966, and GOT LIVE IF YOU WANT IT, London 820137-2 (CD), July 4, 1988.

Cuts 4, 5 (4 unmixed, 5 re-recorded vocals and edited): Released on Abkco 7493-2 (CD), December, 1986.

Skrillex joined him again for Sorry, but his touch is notably lighter there: zero wobbly bass lines; not even one fist pump.

Its just that Beyonc released Formation on a Saturday, and then performed it at the Super Bowl on Sunday, and as of Monday I hadnt gotten around to it, for reasons that are incredibly uninteresting: I happened to have been doing other stuff, which seems as if its probably among my rights as an American.

Either I needed to dutifully consume this object of conversation and develop an opinion about it or I needed to develop a defense of why I hadnt yet done so.

Weve spent the past century or so trying, in creaky and convulsive ways, to figure out what music is even for, and how we intend to use it.

When and where will we listen to it Will other people be there Should people own music Who should write it the performers Whats a normal amount to release at once How will we find out about it Will there be pictures Are you absolutely, definitely sure we have to pay money for it For the moment, theres only one answer to these questions that seems to connect strangers in a truly monocultural way: We shall gather in huge, fawning riots around towering pop singles to trade politicized takes on them.

One of the great tricks of pop music is that no matter how much we like to imagine its about musicians expressing themselves, it tends to be more useful as a way for listeners to figure out their own identities: Each song lets us try on a new way of being in the world.

Then came high-speed Internet and a touching enthusiasm for the idea of playlists: With so much of the worlds music at our fingertips, wed express our intelligence and taste by playing D.J.

Showing off your eclectic, handpicked treasures This has become such a common online performance that theres no one left in the audience.

One song, one digestible thing, with millions of people standing in a circle around it, pointing and shouting and writing about it, conducting one gigantic online undergraduate seminar about it, metabolizing it on roughly the same level that cable-news debate shows metabolize a political speech.

A song like Formation isnt set up as a story, or an interior monologue its set up as Beyonc, the public celebrity whose biography you already know, addressing the world, like an op-ed with drums.

Thus can we argue not about what the song says to us, but about what we think the rest of the world needs to be told, and whether Beyonc is telling it right.

What do we make of her dancers Black Panther styling Is she allowed to work with beloved artists from New Orleans or use references to the aftermath of Hurricane Katrina How does the song sound through a feminist lens, through a queer lens, through an anticapitalist one Can we have a conversation about her daughters hair, and also about police violence People talked about these things until, three days in, Id been quoted every last line of a song I still hadnt heard.

But it does throw into stark relief the things we have a much harder time talking about, at least with strangers: the way songs make us feel, the things we discover in them that arent already on other peoples minds, the obscure pleasures were willing to risk trying to explain from the darkness.

He had transformed in the public eye from a teen-star brat to a grown-up brat, with the D.U.I.

He had become a hollow hashtag of a person.

When he visited the Anne Frank house, he wrote in the guest book that he sincerely hoped Frank would have been a Belieber.

Not only did he come off like Joffrey Baratheon with a Hitler-youth haircut, his callow bad-boy affectation reeked of a keening need to be cool anathema, as any teenager can tell you, to actually being cool.

But the backlash to the backlash is here, and much like both videos, it has less to do with Bieber the actual Bieber than youd expect.

It has been classified as tropical house and dancehall, but everyone seems to agree on one thing: Its a banger.

The song is about a relationship Bieber has screwed up, and in the lead-in to the hook, he asks, Is it too late now to say sorryCause Im missing more than just your body.

Its the best part of the song, and Bieber seems to appear in it only as a sample.

And Sorry is a savvy suspension of ego in the service of the hit-making machine.

Say what you will about the decisions surrounding his very public personal life; in his sonic shopping spree for Purpose, after a year of terrible decisions, Bieber made good.

He became besties with Diplo and Skrillex together Jack and they made an excellent song together, Where Are Now, irksome umlauts notwithstanding.

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