But the rhythm of the mix tape is the rhythm of romance, the analog hum of a physical connection between two sloppy, human bodies.

Singing what's in your heart? Naming the things you love and loathe? You can get hurt that way. Hell, you will get hurt that way. But you'll get hurt trying to hide away in all that silence and leave your life unsung. There's no future without tears. Are you really setting your hopes on not getting hurt at all? You think that's an option? You clearly aren't listening to enough Morrissey songs.

Anyone watching '30 Rock' always knew Tina Fey was playing a fictionalized version of herself, a workaholic comedy writer who also plays one on TV. She's the boss; Liz Lemon just works here.

Seeing Taylor Swift live in 2013 is seeing a maestro at the top of her or anyone's game. No other pop auteur can touch her right now for emotional excess or musical reach - her punk is so punk, her disco is so disco. The red sequins on her guitar match the ones on her microphone, her shoes and 80 percent of the crowd.

Julia Louis-Dreyfus is just perfect in 'Veep.' She gets to show off the spiky claws beneath her patrician finesse. The obvious way to play 'Veep' would be to make Louis-Dreyfus a folksy heroine, one with more common sense or populist heart than her enemies. But she isn't one.

Unlike me, Renee was not shy; she was a real people-pleaser. She worried way too much what people thought of her, wore her heart on her sleeve, expected too much from people, and got hurt too easily. She kept other people's secrets like a champ, but told her own too fast. She expected the world not to cheat her and was always surprised when it did.

Morrissey was my Mrs. Garrett, the house mother from the Facts of Life, a soothing adult figure giving me words of wisdom.