I am in no way nostalgic for the cultural landscape of 1994, but I understand that some of you may be. This should take you there. Correct me if I’m wrong, but I think that Weezer is one of those groups that never outlived their legacy as a 90’s band. I know they still make records and such, but nobody thinks they’ve been consistently relevant for all these years. Or, I don’t know, maybe the aging hipsters of my childhood still do think that. I mean, I only listen to this band for the hits. I can say, though, that there’s definitely a generational divide between me, who was 11 years old in 1994, and older kids who actually grew up wearing flannel and have serious debates about which album reduntantly titled Weezer is the most important one.
Throwback to 1994, when David Byrne proved that you could totally grow out your hair as a middle aged man and still be impeccably cool (but only if you are David Byrne.) That was a good year and a good look for David Byrne and incidentally David Byrne is probably my favorite solo David Byrne album. (I’m excited for his new album but haven’t listened to it yet because iTunes is bullshit and the Pirate Bay is down again.) This song is actually not very sad, but it celebrates sadness. It is saying you should love and celebrate you sadness because it’s a natural part of life, which is a comforting thought, clinical depression aside.
“Don’t believe the florist when he tells you that the roses are free”
I want to print these lyrics and hang them in every grey cubicle in every office, for the edification of everyone who needs a little uplift to get through the day. What could be more motivational? All it needs is a picture of a kitten in a tree. Ok, maybe the twisted humor of Ween is not for everybody. For some people it might just be the worst shit they’ve ever heard. For others, it’s music that speaks directly to their own weird souls. There’s not a lot of in-between; you’re either an acolyte of Boognish or you can’t press the stop button fast enough. For acolytes, however, Ween really are an inspiration. They’re two homely dudes who started out as teenagers making tapes in their basements and bedrooms, and somehow their mutual weirdness and in-jokes reached out and touched – in pre-internet times! – an awful lot of people who recognized them as kindred eccentrics, and they’ve maintained that connection over decades. Obviously being wildly gifted and able to play any kind of music helped them along, but you know, a lot of people are wildly gifted in the technical sense but still don’t have anything to say, and it’s a much higher calling to be eccentric in a way that touches people’s hearts.
The internet hive mind has rarely produced anything as brilliant as turning Nick Cave’s Red Right Hand into a Dr. Seuss book. Mashups are usually bad, stupid, the wishful fruit of deranged fans trying to fit disparate interests into one box. But it turns out that Nick Cave was born to write children’s books, though he may not yet know it himself. His narratives may be of a kind with the Brothers Grimm, ominous and filled with bloody reminders of just how dark and full of terrors the human soul can be. His lively wordplay and frequent references to bunnies would readily appeal to young Little Golden Book readers, provided they’re the sort of children who rarely leave the attic. Cave lifted the inspiration for this particular meditation on the nature of God from Dante’s Inferno. In that reference the red right hand is the vengeful hand of an angry God, but could just as easily be the calling card of a villain who would be right at home in anything from a Victorian morality novel, to a pulp detective story, to any number of slasher movies, to a neo-noir comic book. Or, quite naturally, a Dr. Seuss book. Dr. Seuss, for his part, started his career as a political cartoonist, and an undercurrent of allegory and political commentary was always right underneath those ice-cream colored squiggles of his. If you’ve seen his WWII era work, you’ll recognize exactly where Yertle the Turtle came from. Those Sneetches marching around with and without yellow stars on their bellies weren’t a coincidence either. Seuss never went so far as to illustrate Dante, but maybe he should have, and he certainly could have, and it’s our loss that he didn’t. Here and now, though, I’m wondering if there’s a crowdfund for the artist who goes by Dr. Faustus to go ahead and create The Little Golden Treasury of Nick Cave and The Bad Seeds. Because if that was a thing, and if I had a child, I would buy that thing for my child.
My rebuttal to anyone who says that The Rolling Stones stopped writing good songs, or whatever it is nonbelievers say about The Rolling Stones. I pay closer attention to the Stones’ saga than most. Throughout their adventures and despite their ups and downs, they haven’t lost the ability to pull together into something great. They’re the world’s greatest rock’n’roll band, remember? The fact that it sometimes seems like they’re doing it in their sleep, or worse, just for the money, doesn’t change that. And this is brilliant, and a great love song, and well on par with their other great love songs. If only it existed outside of the context of ‘gosh, you guys sure are old!’ it would be held up as such. I think it captures something very specific and very familiar; the sheer weariness that comes with heartbreak, that sick afterglow that’s like a long hangover that just won’t fade away. It’s a beautiful reminder of any number of dark nights.
In this climate of all things electronic, I haven’t yet seen acid house make a big comeback. What do I know about these fine distinctions, though? Not much, really. Maybe it’s happening right under my nose. Either way, we should all get behind a Lords of Acid revival. Not bloody likely, it seems; they were far too weird to bust out of the underground in the 90’s and they’re too weird to get swept out of it by the EDM tides today. Weird, raunchy and absolutely shitblitzed insane, they occupied a pretty unswept corner of pop culture. Their garish, high-trash, pornified aesthetic was quite outre at the time, though it feels au courant for the world of internet culture. It’s a scary wormhole to go exploring, especially if your familiarity with early 90’s acid house rave culture doesn’t go much further than a vague awareness that it’s a thing that used to exist. Still, the spirit of true weirdness should be rewarded, and if this crew doesn’t deserve to be revered as acid elders, I don’t know who does.
Weezer: another band I don’t listen to very much. They are an overrated 90’s band who’ve coasted along for two decades on the strength of one great album and a handful of catchy singles. But, as the law requires, I dig their debut “Blue” album. I suppose they were ahead of their time in some aspects, mainly in creating a quasi-ironic hipster nerd image that was radical at the time but has since become ubiquitous and is now cycling back into lame again. (The trajectory of Weezer fans getting old.) In 1994 there wasn’t a huge niche in pop culture for clever young dudes who self consciously look like Buddy Holly. Or for catchy guitar pop with self deprecating lyrics and self conscious references to Buddy Holly. Now that’s such a large niche it’s not even a niche at all anymore, it’s the main market. Which is all just a fancy way of saying that they were hipsters before anybody else was. And yeah, Weezer did it well, coasting the wave of catchy retro guitar pop, yet being just slightly insufferable enough to maintain emo outsider cred. So, although the overall bulk of their output has been mediocre, I have to say it for these guys; when they’re at their best, they haven’t aged a day.