#R.e.m.

[mudwerks]

(via R.E.M. - It's The End Of The World As We Know It (And I Feel Fine) 1987)

relevant

[ourladyofomega]

📸 source: Kill Rock Stars (FB)

[davidhudson]

Happy 65th, Michael Stipe.

Photo by Anton Corbijn.

[frogshunnedshadows]

REM for America's libraries. American Library Association, Disney Adventures Magazine, 1993.

[the-90s-music-colosseum]

The 90s Song Ever - Quarterfinals 1

As usual, listen to both songs before voting, and define "better" any way you wish! (Although by now, you've probably heard all these songs many times over.)

[weezer-crow]

CD Collection!(Pretty.Odd. just came in today)

Thoughts? What other bands do you think I'd enjoy?

[k-i-l-l-e-r-b-e-e-6-9]

R.E.M. - Losing My Religion

[punknightmares]

[motive]

ariana for vogue's 'beauty secrets' (2023)

[cosmonautroger]

Dwight Schrute, The Office

[mudwerks]

(via R.E.M. - The One I Love (1987)

[whenmemorydies]

90s alternative rock, masculinity and The Bear

This post by @bbythurs got me thinking about The Bear's soundtrack, specifically its use of 90s alternative rock. Some thoughts below.

Chris Storer and I are very close in age, and going by the soundtrack choices for The Bear, grew up listening to very similar music. I came to grunge a few years after its heyday but when I did, I quickly became obsessed with these (mostly) white boys singing frankly about things like domestic violence, sexual assault, drug use, and mental health issues, and who seemed to revel in challenging traditional masculinity. Their hair was often long but usually not overly styled (or washed for that matter), they sometimes wore dresses, lipstick and eyeliner on stage (but were decidedly unglam about it), and they scribbled "PRO CHOICE" on their bare arms during prime time television performances (shout out to Eddie Vedder).

Kurt Cobain on the cover of The Face, September 1993.

Michael Stipe, who often played with gender in R.E.M.'s live shows, had also recently come out as queer (his words were, an "equal opportunity lech") during the promotional cycle for REM's Monster (the album featuring Sydcarmy's infamous "Strange Currencies"). Alternative rock in the 90s was full of folks who were challenging convention, including the necessity of traditional masculinity.

The irony is that so many of the people who listened to grunge were white guys who had no problem with traditional masculinity. These were the same guys who head-banged and dove in mosh pits to these songs but went home and beat on their partners, or perpetrated sexual assault while singing the lyrics to these songs. No one can control who consumes your art, even if some artists did try to (see Kurt Cobain's liner notes from Nirvana's Insecticide):

In contrast, it seems like Chris Storer (thankfully) got the correct memo.

Ever since watching the first episode of The Bear, it was clear to me that this show has plenty to say about masculinity: how its performed and weaponised (2x06 Fishes is a master class in depicting this on film), how its subverted (think: Emmanuel and Pete but also Marcus and Chester), how those who don't conform to traditional masculine archetypes - in even the most innocuous way, like being artistic - can be isolated and picked off, including by those who might love them the most (see: Carmy's treatment by many in his family), and how those who do perform traditional masculinity to a T, can still be decimated in its wake (see: alpha-male Mikey).

Hearing tracks like Pearl Jam's "Animal" and "Come Back", REM's "Strange Currencies" and "Oh My Heart", Radiohead's "Let Down", and Nine Inch Nail's "The Day The World Went Away" used in The Bear is incredibly nostalgic for those of us who grew up with these artists. Their inclusion in the soundtrack is also incredibly intentional (like everything to do with this show). This is the music that Mikey was likely listening to growing up and that Carmy would have heard his brother playing. This is also undoubtedly the music that Storer grew up listening to as well.

I love that in a show about a man who is coming into his own after years of toxicity and abuse - much of which was targeted at Carmy because of how he performed (or didn't perform) masculinity - that reference is being paid to this genre. And if it was the case that this was the music Mikey was listening to and, perhaps even playing for Carmy when they were kids, that Carmy would be able to go back and re-listen to these artists now and know, that despite Mikey's demons and his own relationship with masculinity, that his brother always loved Carm, just as he was.

Author's note:

Also if there is a temporary (because it has to be fucking temporary, you hear me lol) Sydcarmy break up/parting of ways, I'm gonna need Storer and Calo to soundtrack it with Pearl Jam's "Black" (the MTV Unplugged performance). I'll need Eddie Vedder growling/screaming "WE BELONG TOGETHER" over a close up of Carmy's distraught face as Syd walks away. I'm going to need to hear,

I know someday you'll have a beautiful life/I know you will be a star/In somebody else's sky/But why, why, why can't it be/Can't it be mine?,

over the end credits please.

[whoopisgun2008]

Sweetener, 2018

happy 5 years !!

[achrilock-aether]

R.E.M. – It's The End Of The World As We Know It (And I Feel Fine)

[the-90s-music-colosseum]

This is gonna be a tough one

Listen to both songs before voting, and define "better" any way you wish!