The ’90s were a time when a lot of stuff was really bad, and a lot of people were really earnest. No one liked anything “ironically” yet, so when you liked a band, you really liked a band. But with hindsight now on our side, we see that a lot of popular groups from the ’90s were completely cringeworthy. From Crazy Town to East 17 — ’90s idols are just so dorky and uncool in retrospect. And what’s worse, a lot of the time they were not particularly talented (burn).
Do you hate it when the artist or group you’ve paid money to see in concert decides to perform new songs nobody knows the words to? Me too! And so does Mark McGrath.
May I have your attention please: Will the real Slim Shady please stand up? Ahhh those infamous lyrics. We all have song faves from years ago, even decades, but few lyrics have stood the test of time. Fortunately, some musical gems have stuck, past the days of butterfly hair clips, tattoo stretch chokers and Velcro sneakers. So which songs made the cut? Eminem‘s “The Real Slim Shady” and Smash Mouth‘s “All Star” of course! Vote now and tell us which catchy song is still adored, even in 2013. Now go on… get your game on, go play.
It’s easy to think about the months following September 11, 2001 as a rude awakening from an imagined bliss (doubly fictitious, in that the peace only ever appeared to exist, and that it wasn’t that blissful to begin with). Nevertheless, the events of that day had a dramatic?and traumatic?effect on Americans, not least through our consumption of popular culture. But before the slew of original compositions responding directly to the event (of which Sound of the City has compiled what, in their estimation, were the nine worst), many listeners were already looking to music for comfort, guidance, or other emotional needs, while rejecting other music that flew in the face of those needs. Here’s what people especially did?and did not?want to hear.
In the second full chart week after 9/11, Houston’s 1991 rendition of “The Star-Spangled Banner” re-entered the Hot 100 at #50, and Greenwood’s “God Bless the USA” debuted at #16 (in 1984, the song had hit the country charts but never crossed over). In a pattern that would be reversed once digital sales became common, the songs had two chart peaks?the first when radio’s support was strongest, and the second when physical singles were re-released. Sales of “God Bless the USA” were strong enough to keep it on the chart, but not to match its debut. “The Star-Spangled Banner,” on the other hand, hit #6 on the strength of sales (and continuing radio support).