The '90s Nostalgia Phenomenon

Alright, loyal readers, this is it. This is the final entry for “Smells Like the ‘90s.” This blog has had a solid four-year run, and I’ve enjoyed every moment of it. But all good things must come to an end (excuse the cliché).

So for my last entry, I decided to explore the reason I started this blog in the first place—nostalgia for the ‘90s. You can’t escape it and you can’t ignore it. Hell, you’re reading this blog right now, so you’re obviously somewhat interested in it. But what’s with all this retro revivalism? Why the hell have I been writing about it for the past four years?

What’s There to be Nostalgic About?

Deep-set nostalgia for a particular period of time is a fascinating phenomenon, but it’s definitely nothing new. Decade-centered nostalgia is usually 20 years removed, so it was only a matter of time before everyone started bringing grunge back (or at least the millennial notion of grunge).

Nineties nostalgia has slowly manifested itself in everything from clothing to food. But since this is a music blog, let’s talk about this retro obsession’s impact on your favorite bands.

With 20^th anniversaries popping up for some of the biggest albums of the ‘90s, bands have been milking their fans’ nostalgia by releasing ridiculously expensive box sets, most notably the incredibly overpriced 20^th anniversary edition of Nirvana’s In Utero. Do you really need all those unreleased tracks on vinyl? Of course not. But people will fork over the cash because hearing those unreleased tracks feels like Nirvana is releasing new material for the first time in 20 years. It’s like the band never stopped recording.

Along with box sets and reissues, ‘90s bands have also started touring together again, creating festivals designed specifically to make you feel young again. The most notable festival is the Summerland Tour (and yes, I’ve seen it twice).

The festival was created by Everclear’s Art Alexakis and Sugar Ray’s Mark McGrath in 2012, and is currently in its third year touring. The lineup has featured both one-hit wonders and alternative mainstays, including Marcy Playground, Gin Blossoms, Filter, Eve 6 and Spacehog.

"Wow! It's like I'm back in college,
except with a mind-numbing office job
and a receding hairline!"

As if that wasn’t enough nostalgia, Sugar Ray decided to break off and start their own (decidedly inferior) festival in 2013 called Under the Sun. This one features poppier bands like Smash Mouth and Fastball.

Both Summerland and Under the Sun are prime examples of nostalgia marketing. I can tell you from experience that the vast majority of the crowd includes aging Gen X dads reliving their college years, with some younger ‘90s enthusiasts (like myself) mixed in. While it’s a fun blast from the past, you slowly start to realize that it’s just not the same anymore.

Why Do We Get Nostalgic?

Nostalgia for anything provides a source of comfort. It reminds us of a somewhat simpler time when we didn’t have nearly as many responsibilities. For Gen Xers, that means thinking back to their formative high school and college years, before adulthood crushed their carefree spirits.

Okay, that’s a bit of an overstatement. Obviously adulthood isn’t a death sentence, but it’s still a frightening concept for people (like me, for instance) who are currently in that comfortable period between adolescence and the “real world” (and not the MTV version of the “real world”).

Marketers and the like are aware of this, so they try to make their audience feel as wistful as possible.

Internet culture is a huge part of this. Just browse Tumblr for a few minutes and you’ll find a metric ton of ‘90s nostalgia blogs. You can look through eBay and find your old Pokemon cards and unopened bottles of Crystal Pepsi and a rare Woodstock ’94 shirt that’s about three sizes too big, but you wear it anyway (okay, maybe that last one is just me).

Probably the only '90s GIF that matters.

Buzzfeed is also a huge culprit with its numerous articles and quizzes catered to Gen X. Just browse their “Rewind” section and you’ll never get anything done ever. “Remember that obscure cartoon series you loved in the ‘90s? So do we! Find out which character you kind of resemble through a series of unrelated questions! Here are some GIFs!”

I personally don’t have a problem with Buzzfeed, but the sheer number of nostalgic articles on that site is staggering. They know their audience well.

But of course, nostalgia tends to let us view the past through rose-colored glasses. Not everything about the ‘90s was perfect, but we tend to focus on the better aspects because hey, nothing will ever be that awesome again, right?

It’s totally okay to get nostalgic about the past, especially if it’s comforting to you. But don’t get stuck in the past! The future may look daunting, but we’ve all got to move forward at some point. The ‘90s were pretty rad, but there are some great things happening right now.

So go ahead and take those Buzzfeed quizzes and listen to those ‘90s party jams (but please don’t buy those unopened bottles of Crystal Pepsi). Throw a ‘90s-themed party, but don’t stay there forever.

-- Sam Boyer, reporting from the ‘90s.

The MTV Generation

Well, hello there, loyal readers! In case you haven’t already noticed, I’ve decided to do something a little different this week. In lieu of the usual artist spotlight, this week’s entry will be about a little something called MTV—more specifically, about how MTV shaped the music industry in the ‘90s.

We will delve deep into a time when MTV actually played music (and why it makes sense that they don’t anymore), with emphasis on the most successful directors, VJs, music series and original programming. So let’s get to it!

A Brief History

Some of you may already be familiar with MTV’s beginnings. Since we’re only looking at one decade of programming, I’ll brief you on the embarrassing early years of MTV in the ‘80s.

The concept of a music-based television channel started with Sight On Sound, a specialized channel available on the interactive QUBE service based out of Columbus, Ohio. That channel only played live band footage, but it was an inspiration nonetheless.

Music videos weren’t a new concept by the ‘80s, either. Back in the ‘70s and even in the late ‘60s, very cheap (and very cheesy) videos were used as promotional material for bands. Even The Beatles had music videos (and boy, were they weird).

MTV premiered on August 1, 1981 with perhaps the most presumptuous (and coolest) broadcast intro in history—a proverbial “lift-off” featuring footage from the first Space Shuttle launch of the Columbia. The words, “Ladies and gentlemen, rock ‘n’ roll” ushered in a new medium of music consumption.

The very first music video ever played on MTV was The Buggles’ “Video Killed the Radio Star” (an appropriate choice). The network’s effect on record sales was almost immediate—artists such as Men at Work, Bow Wow Wow and The Human League got exponentially more attention, and MTV’s attention on non-US bands sparked the Second British Invasion.

Most of the early programming consisted of your run-of-the-mill promotional videos with some live footage thrown in for good measure. To break up the 24-hour music video format, MTV hired VJs (or video jockeys) to introduce new videos, relay music news and just generally promote the network. The original five MTV VJs were Nina Blackwood, Mark Goodman, Alan Hunter, J.J. Jackson and Martha Quinn.

MTV started broadcasting special events in the mid to late ‘80s, including the Video Music Awards (started in 1984) and Spring Break (started in 1986). Other original programming soon followed, and by the early ‘90s, MTV had become an entity much larger than anyone could have predicted.

The Alternative Explosion

Punk really didn’t break until 1991, but MTV was ahead of the curve in 1986. The network began airing an original show called 120 Minutes, which catered to alternative and “underground” bands of the late ‘80s and early ‘90s, such as The Jesus and Mary Chain, New Order and Butthole Surfers.

In 1991, a little ditty called “Smells Like Teen Spirit” premiered on 120 Minutes, but soon became so popular that it was moved to regular daytime rotation. Once Nirvana proved successful, MTV added bands like Soundgarden, Alice In Chains and Nine Inch Nails to their regular rotation. Soon, alternative rock and grunge had become as mainstream as Madonna.

I think we all like to point to Nirvana as the instigator of all this mainstream business, but let’s be honest—MTV was really the mastermind behind it. Nirvana’s success was directly affected by the video for “Smells Like Teen Spirit.” Sure, the song was getting airplay on radio stations, but the band’s image was a huge contributing factor.

And that’s what MTV sells—not necessarily music, but an image. It was more about the music in the ‘80s, but by the ‘90s, everything kind of shifted to the artist as a product. Grunge (which I typically characterize as a fad rather than a music genre) was everywhere in the early ‘90s, and MTV helped cultivate it, package it and sell it to its viewers.

Now, this doesn’t make MTV the enemy (though I’m sure some would disagree with me). There’s nothing wrong with being mainstream, despite what your unfriendly neighborhood music elitist might tell you. MTV just embraced “alternative” culture because, well, it looked cool. In fact, the term “alternative” is kind of ironic considering just how popular the “alternative” style was in the ‘90s. (Side note: There’s a wonderful article by Thomas Frank called “Alternative to What?” that addresses this issue perfectly. Unfortunately, I don’t have a link for it here, so you’ll have to go hunting for it.)

The Music Video as an Art Form

Yes, the primary purpose of any music video is to promote a band, but that doesn’t mean a video can’t be cinematic masterpiece. By the early ‘90s, MTV was playing a plethora of new and interesting music, which required new and interesting videos to promote it.

Enter the music video director. After pressure from the Music Video Production Association, MTV began listing the names of directors at the bottom of videos, beginning in 1992. As a result, MTV’s audience became acutely aware of who exactly was making these short spectacles.

The ‘90s spawned some incredible music video directors, including Spike Jonze, Michel Gondry, Anton Corbijn, Samuel Bayer and Mark Romanek, to name a few. Soon, music videos became more like short films than promotional snippets of live footage.

I appreciate music videos more than I think I should. I think it’s because I enjoy film in general, and after all, music videos (well, most of them) are basically just short films. Though I could go on and on about videos of the alternative variety, I have to give props to the rap and hip-hop videos of the ‘90s. Some of the best ones were directed by Hype Williams, including Biggie and P. Diddy’s “Mo Money Mo Problems” and Missy Elliott’s “The Rain (Supa Dupa Fly).” Even if you don’t like hip-hop, you have to admit those are incredible videos (especially Missy Elliott).

Why Doesn’t MTV Play Music Anymore?

I’m sure everyone’s uttered this question aloud before. Even those of us who didn’t grow up with classic MTV seem to ponder this.

So what exactly happened to MTV after the ‘90s?

Well, once everyone started pirating music, the record companies lost a shit ton of money, which left almost nothing to spend on music videos. The only videos MTV can actually play are from mainstream artists you probably don’t like (i.e. Justin Bieber, Katy Perry, Miley Cyrus) because they have the money to pay for the videos. And even those videos are awful because they’re usually made up of 90% product placement (again, because of the whole no money thing).

Sure, we all miss watching music videos on MTV, but can’t you do the same thing with YouTube or Vimeo? You may miss the sometimes brilliant “alternative” programming of the ‘90s, but isn’t that just your nostalgia clouding your judgment?

But if you don’t believe me, give this video a gander. It explains everything (in a delightfully sardonic way).

-- Sam Boyer, reporting from the ‘90s. 

Tori Amos

Sound Familiar?

“Crucify,” “Cornflake Girl,” “God”

Who Is She?

A classically-trained piano prodigy with some of the most personal songs you’ll ever hear.

Myra Ellen Amos started playing the piano at age two, and by the time she turned five, she had a hefty scholarship to the Peabody Conservatory of Music in Maryland. Yes, age five. I couldn’t even spell Christmas at age five.

As she grew older, Myra got really into rock music, much to her family’s disdain. As the age of 13, she began playing in gay bars and piano bars (with her father as a chaperone, of course). Myra didn’t get noticed on a local level until she won a teen talent contest in 1977 with a song called “More Than Just a Friend.” She won another contest with a song called “Baltimore,” which became her first single.

(Fun fact: Myra Amos performed under her middle name, Ellen, until a boyfriend told her the name Tori suited her better.)

At 21, Tori Amos moved to Los Angeles to pursue her music career. In 1986, she formed a group called Y Kant Tori Read (a reference to her days at the Peabody Conservatory, where she was able to play songs by ear, but couldn’t sight read). The group released a self-titled album in 1988, but it was a commercial failure. Y Kant Tori Read disbanded shortly after the album’s release.

Even though her band didn’t make it, Tori still had a six-record contract with Atlantic Records. The label bigwigs wanted a new album by 1990, so Tori gave them Little Earthquakes in 1992. The album touched on the more personal aspects of Tori’s life, including her religious upbringing, sexual awakening and sexual assault. Little Earthquakes became her commercial breakthrough and paved the way for her next two albums (1994’s Under the Pink and 1996’s Boys for Pele) to climb the charts.

Tori took a detour into electronic territory with her last two ‘90s releases, From the Choirgirl Hotel and To Venus and Back. Both albums deal with womanhood, from marriage to miscarriages (Tori is very candid in her music, choosing not to sugarcoat any of her experiences).

Where Is She Now?

Still playing deeply personal piano ballads and just being a badass babe in general.

Tori became a mother in 2000, which inspired her to release a cover album in 2001 called Strange Little Girls. She recorded covers of songs written by men about women, choosing to reverse the gender roles to show a woman’s perspective. The album included covers of Eminem’s “’97 Bonnie and Clyde,” Neil Young’s “Heart of Gold” and Slayer’s “Raining Blood.” If that’s not an eclectic mix of songs, I don’t know what is.

After fulfilling her contract with Atlantic, Tori moved to Epic Records and released Scarlet’s Walk in 2002. Scarlet’s Walk is a concept album (or “sonic novel”) that explores Tori’s alter ego, Scarlet.

(Fun Sam fact: “A Sorta Fairytale” is one of my favorite songs, and the music video is one of the most amazingly bizarre things I’ve ever seen. Tori Amos + Adrien Brody + feet = romance.)

After a couple more concept albums, Tori left Epic Records and moved to Universal Republic to release Abnormally Attracted to Sin in 2009. A few classically-influenced albums followed (including Night of Hunters, which paid tribute to such composers as Bach, Chopin and Debussy), and soon after the release of her most recent album (2012’s Gold Dust), Tori formed her own label, Transmission Galactic.

But Why Tori Amos?

Her new album, Unrepentant Geraldines, is set to be released in spring of this year! According to Tori, this album will be a welcome return to her earlier, more personal work.

What Does Sam Think?

If you think I’m in love with Tori Amos…well, you’re right. Perhaps my intense admiration for Fiona Apple made it a little obvious, as both ladies rock it out on the piano. The difference between Fiona and Tori (and yes, there is a difference) is the delivery.

Fiona definitely has more angst, which is apparent in songs like “Sleep to Dream” and “Limp.” She isn’t afraid to be aggressive and a little intimidating. Tori, on the other hand, takes a more subtle approach. She does have some anger in her lyrics (see one of my favorite lines, “So you can make me come / That doesn’t make you Jesus” from “Precious Things”), but she has a much softer delivery. Her voice is incredibly emotive, but she kind of casually delivers biting lines like the ones I just mentioned.

I think Tori’s at her best when she keeps things personal. If you’re not familiar with her more recent stuff, that’s okay. I mean, unless you really like classical music, I would avoid it. Of course it sounds beautiful in a classic way, but it’s kind of a hollow beauty. Like I said, Tori is great at emoting in her music. And while she’s a fantastic pianist, I’m not really into hearing her play a sonata with little to no singing. I’m glad to hear that she’s going back to her original style, though.

One of my favorite things about Tori is that she continuously takes risks. She’s done everything from intricate concept albums (Scarlet’s Walk) to ambitious cover songs (Strange Little Girls) to classical compositions (Night of Hunters). Not all of them work, but at least she keeps things fresh. I do think it’s time that she returns to her confessional style of music, though. And of course I would like to see some more experimental music videos.

-- Sam Boyer, reporting from the ‘90s.

Sam's Top 24 Favorite Music Videos of the '90s (Part 2)

As a special Thanksgiving treat, here’s part two (the final part) of my Top 24 Favorite Music Videos of the ‘90s! Gobble gobble, my darlings.

12. “I Miss You” by Björk (1997), dir. John Kricfalusi (NSFW)

Björk has a lot of great videos, but I’ve always been drawn to this animated masterpiece. It has the same animation style as The Ren & Stimpy Show (probably because it was directed by the show’s creator, John Kricfalusi), which means it’s packed full of crude humor and surrealism. This animation style definitely suits an artist like Björk because it’s off-kilter and kind of unnerving. Warnings for cartoon nudity and some strange imagery that may not fly at work.

11. “Liar” by Rollins Band (1994), dir. Anton Corbijn

Henry Rollins is a god amongst men, and this video proves it. It starts simply enough—Henry struts around doing his jazzy, spoken-word thing in a couple different costumes (including a superhero and a cop). But as soon as the chorus kicks in, he goes full ape-man, jumping around the set covered in red body paint. If you want to know what Henry Rollins is all about, look no further than “Liar.”

10. “Intergalactic” by Beastie Boys (1998), dir. Nathaniel Hörnblowér

Ah, the Beastie Boys. I was torn between this video and “Sabotage,” but I have to be honest—I just love “Intergalactic” more. I mean, what’s not to love about this video? You’ve got robots, a giant squid monster and it’s all set in Japan. It’s the Beasties at their most irreverent, and boy, is it entertaining. The corniness of the special effects just makes it all the more hilarious.

9. “Let Forever Be” by The Chemical Brothers (1999), dir. Michel Gondry

You will see Michel Gondry again on this list because he’s just an amazing director. “Let Forever Be” is one of his best videos because it’s a perfectly synchronized, surreal dance epic. His work has a lot to do with dreams, and this video is no exception. It just looks like a dream with the camera angles, the color scheme and all the cool effects.

8. “Smack My Bitch Up” by The Prodigy (1997), dir. Jonas Åkerlund (NSFW)

Okay, this video is 100% not safe to view at work. Just warning you now. I actually did a presentation with “Smack My Bitch Up” in an English class last year, and let me tell you, the looks on people’s faces were absolutely priceless. Controversy aside, this video is incredible. It’s shot from a first-person perspective, which gives the whole thing a more intimate feel. We follow a particularly rowdy individual on a night out and things get a little extreme. This also has a great twist ending, but I won’t spoil it here. (Note: You may have to sign into YouTube to watch it, since it's age-restricted.)

7. “Closer” by Nine Inch Nails (1994), dir. Mark Romanek (NSFW)

Here’s another one you might want to save for a home viewing. “Closer” is a visually stunning video because it has a 19^th century torture chamber motif. Okay, so it’s just really creepy and I dig creepy videos. The editing in this video is pretty cool, too. In order for it to be shown on MTV, certain scenes had to be removed. They were replaced by a title card reading “Scene Missing.” And every time the word “fuck” had to be censored, the video appeared to stop, like a defective filmstrip. The film stock Mark Romanek used gives the whole video a nice vintage look.

6. “Losing My Religion” by R.E.M. (1991), dir. Tarsem Singh

This is a video that’s heavy in metaphorical imagery, but that’s what makes it great. There’s a lot of religious imagery here, but it’s not of the sacrilegious variety, as shown in “Closer.” The color contrasts are what really sold me—the video shifts between dark grays and browns in the band scenes and oversaturated colors in the other scenes. “Losing My Religion” is a gorgeously haunting song with an equally gorgeous music video.

5. “Everlong” by Foo Fighters (1997), dir. Michel Gondry

Didn’t I tell you that you’d see Michel Gondry again? This is definitely my favorite Gondry video. He still plays with the dream motif (this time by actually structuring the events of the video within a dream), but it has that trademark Foo Fighters humor to it. Also, Taylor Hawkins makes a surprisingly pretty woman.

4. “Longview” by Green Day (1994), dir. Mark Kohr

What’s a ‘90s countdown without Green Day? This was the band’s first music video, and it’s pretty underrated, if you ask me. It doesn’t have the cool special effects of “Basket Case” or the nice tracking shots of “When I Come Around,” but it perfectly captures the snotty essence of Dookie-era Green Day. Billie Joe Armstrong still has a nose piercing and the remnants of dreadlocks. Mike Dirnt and Tré Cool have enough pent up energy to rock out in a closet. This is what Green Day is all about.

3. “Heart-Shaped Box” by Nirvana (1993), dir. Anton Corbijn

Kurt Cobain had a particular vision for this video and Anton Corbijn executed it perfectly. “Heart-Shaped Box” is a surreal trip into Kurt’s imagination, complete with hospital beds, poppy fields, little girls in KKK uniforms, human fetuses dangling from trees and an old man representing Jesus in a Santa Claus hat. It’s creepy, but visually stunning.

2. “Criminal” by Fiona Apple (1997), dir. Mark Romanek

So if you read this blog on a regular basis, you already know that I’m in love with Fiona Apple. This is one of her best videos because turns the whole female exploitation thing on its head. Fiona was barely legal at the time, making the scenes of her mostly naked a little risqué. Though it was deemed controversial, the video was all Fiona’s idea. She said, “I decided if I was going to be exploited, then I would do the exploiting myself.” Nicely played, Fiona.

1. “Tonight, Tonight” by Smashing Pumpkins (1996), dir. Jonathan Dayton & Valerie Faris

There are too many things to love about this video. Based on the groundbreaking silent film, George Méliès’ A Trip to the Moon, “Tonight, Tonight” successfully evokes a sense of whimsy and pure magic. It’s almost frame-for-frame identical to the film, with shots of the band performing in the clouds added for good measure. I’m actually speechless when it comes to this video. It’s just perfect, okay? 

Sam's Top 24 Favorite Music Videos of the '90s (Part 1)

What’s that? You want another countdown? Well, your wish has been granted, dear readers. If you were a fan of my Top 50 Favorite Albums of the ‘90s countdown, you’ll love my Top 24 Favorite Music Videos of the ‘90s countdown!

I love music videos. I appreciate the artistry of matching music with visuals, and the weirder the visuals, the more I love the video. So get ready for some cinematic adventures, kids. Look for part two next week. (Warning: Some of these videos are not safe to view at work. I’ll label them to spare you the embarrassment.)

24. “This Is Hardcore” by Pulp (1998), dir. Doug Nichol

“This Is Hardcore” is a song about pornography, so you would think the accompanying music video would reference that. Well, you’re wrong. Pulp opted out of the obvious porn parody video and instead produced a collection of dramatic film noir scenes that feel just as seedy as a homemade porno. The characters are dark and empty, much like adult film actors going through the motions.

23. “Tommy the Cat” by Primus (1991), dir. Mark Kohr

I had a hard time deciding which Primus video would make this list. It was between this video and “Mr. Krinkle,” but I ultimately went with “Tommy the Cat.” I think this video captures the true essence of Primus. You’ve got hyper-sexualized cartoon cats, Monty Python references and a special appearance by Tom Waits. And damn, that’s a funky bass line.

22. “Just” by Radiohead (1995), dir. Jamie Thraves

My music video preferences tend to fall on opposite sides of the spectrum. On one hand, I love weird, extravagant videos full of metaphors and symbolism. On the other hand, I really appreciate simple videos with a strong hook. The hook in Radiohead’s “Just” is the mystery of one person’s actions. A man lies on the sidewalk and refuses to explain why he’s doing it until the very end. But we never hear his words.

21. “Everybody (Backstreet’s Back)” by Backstreet Boys (1997), dir. Joseph Kahn

Most boy bands in the ‘90s tended to make cheesy videos that mostly consisted of either synchronized dance breaks or “come hither” bedroom eyes. I definitely have to give the Backstreet Boys props for this extravagant ode to old horror films. Those pretty boys weren’t afraid to get ugly for this video. Vampires and werewolves and mummies, oh my!

20. “Give It Away” by Red Hot Chili Peppers (1991), dir. Stéphane Sednaoui

This video is a great introduction to the Chili Peppers. It just shows Anthony Kiedis and company as a bunch of funky, shirtless dudes who like to get weird. That is the RHCP philosophy in a nutshell. Also, the camera work in this video is trippy as hell.

19. “Who Was in My Room Last Night?” by Butthole Surfers (1993), dir. William Stobaugh

Butthole Surfers didn’t have a ton of success with this song, but this video just screams ‘90s MTV. The Surfers play in a creepy bar with even creepier characters buying drinks, but the animated sequences are the really rad parts (those scenes were animated by RobZombie, so you know they’re badass). “Who Was in My Room Last Night?” is basically a Saturday morning cartoon on acid with some live action shenanigans thrown in.

18. “Three Little Pigs” by Green Jellÿ (1993), dir. Fred Stuhr

If you’re not familiar with Green Jellÿ (pronounced “green jello”), sit yourself down and watch the video for “Three Little Pigs.” You will probably love it. Green Jellÿ is a comedy rock band that promoted itself as “the world’s first video-only band.” “Three Little Pigs” is part of the band’s video album, Cereal Killer. The video is ultra cheesy claymation, directed by the guy responsible for Tool’s “Sober” video. Unlike “Sober,” “Three Little Pigs” is hilarious.

17. “Just a Girl” by No Doubt (1995), dir. Mark Kohr

Okay, so this is probably because I have a huge girl crush on Gwen Stefani, but I’ve always loved the “Just a Girl” video. It sets up a nice contrast between the “boy’s club” and the “girl’s club.” Gwen is stuck in the girl’s room with the pretty pink walls and mirrors, while the rest of her bandmates are jamming away in the boy’s room. The visuals really complement the song here. And Gwen looks her best.

16. “Jeremy” by Pearl Jam (1992), dir. Mark Pellington

Most of the videos on this countdown are fun videos, but I do appreciate a music video with a serious message. “Jeremy” is powerful in its simplicity. We get a glimpse of the title character’s story through newspaper clippings and brief flashes of his home life and the final controversial scene in the classroom. The subject matter is dark, but it’s handled so well on the screen.

15. “Prison Sex” by Tool (1994), dir. Adam Jones (NSFW)

Tool produces some of the most thought-provoking music videos I’ve ever seen. Though most people tend to like “Sober,” I prefer “Prison Sex.” Both videos use claymation, but the message behind “Prison Sex” is much stronger. Though the visuals are mostly metaphorical, the song itself is about the cycle of child abuse. In the video, we see the larger, more menacing creature play around with the smaller creature like a helpless doll, only to put it back on the shelf.

14. “Freak on a Leash” by Korn (1999), dir. Todd McFarlane

Say what you want about Korn, but this video is badass. Using the same camera techniques as The Matrix, “Freak on a Leash” follows a bullet in slow motion as it travels through various objects (and leaves them shattered). White boy, nu-metal angst aside, the bullet trick in this video is beyond cool.

13. “Violet” by Hole (1994), dir. Mark Selinger & Fred Woodward

I was torn between this and “Doll Parts,” but “Violet” resonates more with me. I love the ballerina/stripper dichotomy presented in the video, and Courtney Love shifts between virgin and whore seamlessly. The old-timey film stock also gives the video a gritty feel to it, making the whole song just that much more aggressive.

Blind Melon

Sound Familiar?

“No Rain”

Who Are They?

The neo-psychedelic wet dream of every hippie in the ‘90s.

Three Mississippi transplants, a Pennsylvania misfit and some guy from Lafayette, Ind. got together in 1990 to start a band. And just where did a bunch of hippies get a name like Blind Melon? From a Cheech and Chong character, of course! (The character was Blind Melon Chitlin.)

After the band released a four-song demo called The Goodfoot Workshop in 1991, Capitol Records came running with a contract. Blind Melon gained even more industry attention from Guns N’ Roses’ Axl Rose, who just happened to be a good friend of frontman Shannon Hoon. (Fun fact: Shannon provided backing vocals on the GNR track “Don’t Cry,” along with other songs from Use Your Illusion I and II.)

The band hooked up with producer Rick Parashar (who produced Pearl Jam’s Ten) and released its self-titled debut in 1992. Blind Melon initially sold poorly, but once MTV got a hold of the video for “No Rain,” the album shot to #11 on the Billboard Top 40 chart the following year.

(Fun fact: The “Bee Girl” in the “No Rain” video is Heather DeLoach. She did a bit more acting after her debut, but eventually became a small business owner in California. She currently runs a company that makes specialized candy bars for special events: Sweet Bee Candy Stations.)

Blind Melon toured extensively in support of the album, landing opening slots with Neil Young, Lenny Kravitz and The Rolling Stones. Shannon and company even made an appearance at Woodstock ’94. (Watch this incredible performance of “Soup.”)

Unfortunately, Shannon had a major drug problem during this time, so he was in and out of rehab during the tour and the recording of the band’s second album, Soup.

Soup was released in 1995, but failed to achieve the same success as the band’s debut. Blind Melon went back on tour, which went against the advice of Shannon’s drug counselor. After just a few weeks on the road, Shannon was found dead on the tour bus of a heart attack caused by a cocaine overdose.

The surviving members of Blind Melon decided to continue without Shannon, but it would take them over ten years to find another vocalist. They released an album of outtakes and demos called Nico in 1996 (named after Shannon’s 13-week-old daughter).

The band officially disbanded in 1999 after failing to find a replacement vocalist.

Where Are They Now?

Back together (with a new vocalist) for the occasional one-off show.

Blind Melon reformed in 2006 with new singer Travis Warren. The new lineup released an album in 2008 called For My Friends, but chances are you’ve never heard of it. I’m sure most Blind Melon fans refuse to listen to releases that don’t include Shannon Hoon. But who can blame them?

The original members of the band dropped Travis shortly before the end of the new tour, then called it quits for a second time.

(Fun fact: During this second hiatus, rhythm guitarist Christopher Thorn briefly played with Awolnation.)

The band reunited yet again in 2010 with Travis as lead vocalist, but didn’t release any more new material. Instead, the grown-up hippies decided to play a handful of shows for fun. According to drummer Glen Graham, Blind Melon currently has no plans to record anything new.

But Why Blind Melon?

I guess because it just came to my attention that “No Rain” is 20 YEARS OLD. I am only two years older than that song. This is ridiculous.

What Does Sam Think?

Now, I’ll admit that I only knew Blind Melon for “No Rain” (and be honest, you probably did, too). But I started listening to the band’s discography recently and holy shit, it’s fantastic.

“No Rain” is much poppier than most of their other songs, but don’t let that deter you. If you’re a fan of jam bands, you’ll like this. Blind Melon isn’t necessarily a jam band, but it’s also not a pop rock band that plays songs exclusively about “tea for two.”

This is an alternative band that successfully incorporated neo-psychedelia, folk and blues into its music without sounding dated. Take the track “Sleepyhouse” from the self-titled album, for example. It features a sitar (which is honestly one of my favorite instruments), but it’s not trying to be Sgt. Pepper-era Beatles. There’s just enough sitar to make it interesting (and really soothing).

I don’t think Soup is as good as the first album, but it’s still great. It has more of a low-key sound. What’s missing is the experimentation of tracks like “Sleepyhouse,” along with a couple more lighthearted tunes. Granted, Shannon Hoon was dealing with a massive drug problem at the time Soup was recorded, so I guess asking for some happier songs is a little out of the question.

Speaking of Shannon, let’s discuss the politics behind replacing a deceased band member. Plenty of ‘90s bands have done this already (Alice In Chains and Sublime are prime examples). But can you really replace someone like Layne Staley or Bradley Nowell or Shannon Hoon?

I think the only way to look at this kind of decision is to think of the deceased member’s replacement as a completely different musician. Why? Because they are. Travis Warren isn’t trying to be Shannon Hoon, just like Rome Ramirez isn’t trying to be Bradley Nowell. You can’t blame the surviving members for wanting to continue making music.

Of course you’re allowed to believe that Blind Melon is not the same band without Shannon. That’s understandable. He was a great frontman and he wrote some amazing songs. But he succumbed to a problem that plagued many musicians in the ‘90s, and that is the greatest tragedy.

But remember Blind Melon for the good times, not the bad. And make it your goal in life to be as happy as the “Bee Girl.”

-- Sam Boyer, reporting from the ‘90s.

blink-182

Sound Familiar?

“Dammit,” “All the Small Things,” “What’s My Age Again?”

Who Are They?

Pop-punk hooligans with a middle school sense of humor (and later a penchant for writing semi-serious songs with Nightmare Before Christmas references).

Tom DeLonge and Mark Hoppus met in 1992 and began jamming and writing songs in Tom’s garage. The two recruited Scott Raynor on drums and began playing under the name Duck Tape. Mark’s girlfriend at the time hated how much time he was spending with the band and gave him an ultimatum: her or the band. So Mark left.

Shortly after Mark’s departure, Tom told him he was preparing to record a demo tape. Mark dumped his girlfriend and the trio recorded Flyswatter (a nice mix of original songs and punk covers) in Scott’s bedroom.

The band (known simply as Blink at this time) played its first shows in empty clubs, but its popularity gradually grew along with the ‘90s California punk scene.

(Fun fact: Tom would call up local high schools in order to score a gig. He told them Blink was a “motivational band with a strong anti-drug message.”)

Blink recorded a proper demo called Buddha in 1993, which got attention from Cargo Records. The band signed to the label and recorded its first album, Cheshire Cat, in 1994. Though the album wasn’t commercially successful, it helped Blink develop a much larger fan base.

Once Blink started gaining popularity, the trio had to change their name to avoid a dispute with an Irish techno band of the same name. So they randomly slapped “182” at the end. (Despite people’s attempts to give this a deeper meaning, “182” is just a random series of numbers. Proof.)

Tom, Mark and Scott embarked on their first national tour in 1995 with Unwritten Law, Sprung Monkey and 7 Seconds. During the tour, fellow California punks Pennywise flew Blink all the way out to Australia to tour with them. Pennywise guitarist Fletcher Dragge was pretty much a full-blown Blink fanboy, so he convinced Warped Tour founder Francisco Godinez to sign the band for the 1997 festival, saying, “They’re gonna be gigantic.”

After touring extensively, Blink went back to the studio to record Dude Ranch, which was released in 1997. Lead single “Dammit” received heavy airplay on Los Angeles radio station KROQ, and eventually made it on to rock radio playlists across the country.

Tensions between the trio mounted during the 1998 tour, and Scott was eventually fired. But Aquabats drummer Travis Barker came to save the day. He joined Blink full-time and followed Tom and Mark to the studio to record the group’s breakthrough album, Enema of the State.

The album, released in 1999, became a huge commercial success. Singles “All the Small Things,” “What’s My Age Again?” and “Adam’s Song” crossed over into Top 40 radio territory, resulting in Enema of the State selling over 15 million copies worldwide.

Where Are They Now?

Going strong after an “indefinite hiatus” and a mediocre comeback album (accompanied by a pretty awesome EP).

After the multi-platinum success of Enema of the State, Blink released Take Off Your Pants and Jacket in 2001. Songs like “The Rock Show” and “First Date” further fueled the band’s mainstream success. (Side note: The video for "First Date" has to be one of my favorite music videos of all time.)

During some much needed time off from the band, Tom started a side project called Box Car Racer and Travis hooked up with Rancid’s Tim Armstrong to form The Transplants. These side projects created a rift in the band, which possibly contributed to the darker follow-up to Take Off Your Pants and Jacket.

Blink’s eponymous fifth studio album was released in 2003 to generally positive critical reviews. Most critics praised the band for the more mature sound, but fans were split on the change.

The album’s second single, “I Miss You,” hit number one on the Billboard Modern Rock chart, and the accompanying video received heavy airplay on MTV and VH1.

But the success of blink-182 couldn’t diffuse the tension within the band. In 2005, Blink announced an “indefinite hiatus” and the trio went their separate ways for a few years.

Mark and Travis continued playing music together in the band +44 while Tom created Angels & Airwaves, a project that he called “the greatest rock and roll revolution for this generation.” (Tom later revealed that he was addicted to painkillers at the time, so his statement was bit ambitious.)

The three didn’t speak to each other until 2008 when Travis was involved in a grisly plane crash. That event brought the band back together, and plans for a reunion were under way.

Blink embarked on a North American reunion tour with Weezer and Fall Out Boy in 2009, and released Neighborhoods two years later.

But Why blink-182?

If you were as unimpressed with Neighborhoods as I was, you’ll be happy to know that Blink is back in the studio recording the follow-up.

What Does Sam Think?

It’s pretty obvious that I enjoy pop-punk. I think I’ve written about it enough for you to realize that. So let’s talk about the novelty of blink-182, shall we?

The band’s early albums (or at least the albums before 2003’s self-titled album) are brimming with toilet humor, three-chord riffs, and “I fucked your mom” jokes. Immature? Yes. Fun as hell to listen to? Absolutely.

I’d like to take this moment to compare Blink to Green Day. You saw it coming, so shut up.

These two bands are similar, yet very different in more ways than one. First of all, Blink has a more polished sound. That doesn’t make them a better band—it makes them more commercially appealing. But that’s definitely not a bad thing. I’m a fan of catchy pop-punk songs about prank calling your girlfriend’s mom.

Another major difference between Blink and Green Day is that Blink just took longer to mature. Now, I love Enema of the State, but when I heard that self-titled album, I was sold. Yes, I dedicated “I Miss You” to my boyfriend at the time, but the other songs are just so great. It’s a dark album, which is something I never thought I’d see from a band with a song about fucking a dog in the ass.

I do think Neighborhoods is a huge disappointment, though. I think even Tom said he wasn’t into it. But the Dogs Eating Dogs EP is pretty rad. If Blink can just summon the magic of that self-titled album again, they’ll have another great record.

But I’m all for musical growth. This is a band that has surprised me before, so I don’t doubt that they can do it again. They’ve gotten through the awkward reunion party, so now it’s time for the real comeback.

-- Sam Boyer, reporting from the ‘90s.