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At their best, skits reinvigorate the album form as not just an arbitrary collection of songs but a space for storytellingīut the death knell for skits hasn’t sounded – quite the opposite. That’s just one more way to annoy people unwilling to pay for Spotify Premium”, where you already suffer the interruption of advertising. Why would you stick a song on, say, a sexy playlist if it had a minute-long monologue from the artist’s grandma at the end? And if it was a separate track on the album, would you not just skip it? Indeed, in his 2015 article charting the history of the phenomenon in hip-hop, writer Jeff Weiss said: “In today’s streaming chaos, few things seem more anachronistic than including skits.
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Such interludes were not solely the preserve of rap, though: Meat Loaf’s You Took the Words Right Out of My Mouth opened with an attempted seduction on that hot summer night, Destiny’s Child recited lines from the Bible on the outro track to Survivor, and Britney had an ill-fated exchange with an earnest astronaut on Oops! … I Did It Again.īut as digital formats and curated playlists took over, many announced that the album was a dead format and that skits would die with them. Interspersed between songs, these comedy sketches or spoken-word interludes aimed to bring you deeper into the album, with records such as the Fugees’ The Score showing how poignant this could be (a child being shot at the end of Cowboys) or how puerile (the Chinese restaurant at the end of The Beast). There was once a time where skits like these, particularly in the age of tapes and CDs, were a staple of hip-hop. D e La Soul played a gameshow on 3 Feet High and Rising, kids discussed love on The Miseducation of Lauryn Hill, Eminem faced his irate manager on The Marshall Mathers LP, Outkast parodied themselves at a record store on Aquemini, Biggie Smalls actually received fellatio on Ready to Die, and Eazy-E probably didn’t actually receive fellatio on Just Don’t Bite It.