This is what gets me—barring the early '90s alt rush and a few scattered years in the decades preceding, commercial radio has always been pretty uniformly terrible. Using the mainstream as a bellwether of quality for an entire era is laughably disingenuous, and they know it.

I love easily disprovable points.
https://rateyourmusic.com/c…

Maybe because they're the Velveeta of ska: bland, trite, and inheritors of the success their more worthy predecessors deserved. The one and only time I saw them, they chastised one of their members onstage for swearing in front of an audience full of kids. Rock & roll!

And Sugar Ray was innocuous at best, tepid waiting room music at worst. McGrath is a walking soul patch, but he's nowhere near the league of Durst.

"Even if OK Computer or Life After Death had arrived during those two weeks, I’m not sure it could overcome the portentous weight of all these oracles of a world about to be dominated by some of the stupidest music ever made."

Totally agree, and to your point of its being a masterpiece (which it is), it amazes me that he banged it out in the back room of his friend's general store, yet further proof of his ability to produce great material whenever and wherever.

I hated the book when I first read it at 13, but I revisited it last year and absolutely adored it. It's easily his darkest and bleakest work, with an escalating sense of sorrow that gets more and more upsetting as it goes. Arguments over whether it's 'scary' tend to miss the point, as it operates on a much deeper…

I swear I've seen this comment here before.

Yet further evidence that King the novelist doesn't equate to King the scenarist. Fun fact: His script for The Dead Zone was rejected by the producers themselves, likely for the same reasons his script for Pet Sematary should have been. The latter is more than cartoonish—it pulverizes King's bleakest and most…

With better actors and a decent script, they might actually have something here.

Yeah, everything before third wave is pretty great. It's a shame that Save Ferris enjoyed the success that the Selecter always deserved.

It's highly addictive!

The Full Monty is a goddamn masterpiece and I was hoping against hope that it would oust Titanic for Best Picture.

Lord, but I am tired about hearing what a visionary John Lennon was. Why doesn't anyone point out that the Quarrymen never blew up big on their own?

They…did…?

I do hope you take the time to watch O.J.: Made in America, which places the trial in the context of race relations throughout the 20th century. Fascinating stuff.

Oh, shit, have they gotten around to that finally? Yessssss.

Buy a wah pedal, reverse the signal, have fun.

Most of Syd's music was pure hot steaming shit, thank you and goodnight

Honestly, though, when you read through the ideas they had planned for the second season, it might be for the best that it ended when it did.