“When I’m feeling a little depressed, a little anxious, a little depleted, I lean on that clip. And it works about 100 percent of the time! It’s about the magic of a weird little moment that you can’t plan. I’ve built my whole creative process around that. You can feel lightning in the video — she’s making up harmonies as she goes, on a warbled VHS that should put her out of tune but somehow doesn’t. The recording of ‘Wild Heart’ that she professionally made and meticulously crafted six months later, it pales in comparison to that moment.” — Mark Duplass, T Magazine.


Kid Rock’s Rolling Stone interview overfloweth with crude quotes

“Beyoncé, to me, doesn’t have a fucking ‘Purple Rain,’ but she’s the biggest thing on Earth. How can you be that big without at least one ‘Sweet Home Alabama’ or ‘Old Time Rock & Roll’? People are like, ‘Beyoncé’s hot. Got a nice fucking ass.’ I’m like, ‘Cool, I like skinny white chicks with big tits.’ Doesn’t really fucking do much for me.”

Some of the most truly mind-boggling nuggets of information to come out of Kid Rock’s latest interview with Rolling Stone.

Columbia made Facelift a top priority, hoping to prove the company wasn’t merely a stable for fresh-scrubbed pop acts. Months before the official album release, Columbia sent selected retailers free Alice EPs, We Die Young, which they could sell for pure profit. The expensive campaign didn’t stop there – when the album went nowhere slowly, Lenner decided to attach 40,000 free concert videos to copies of Facelift. They were snatched up within weeks. An MTV-hyped clip for “Man in the Box,” with its macabre image of a monk with his eyelids sewn shut, helped push the single into the Top Twenty.

Perhaps the label’s most valuable contribution was providing the group with a touring bus. During 1990 and 1991, Alice opened for everyone from Iggy Pop and Van Halen to Extreme and Poison, as well as slogging through a bottom-billed slot on the infamous Clash of the Titans package with Anthrax, Slayer and Megadeth. 

"That tour was a real challenge, because we’re not a speed-metal band," says Kinney. "During our set the entire crowd would chant, ‘Slayer, Slayer, Slayer.’ But we figured, hey, if we could play for a Slayer crowd and not get killed, we had it made."

All the hard work eventually paid off – in September 1991, thirteen months after Facelift was released, the album was certified gold for selling a half-million copies, making Alice the most successful new Seattle band – until Nirvana exploded. Ironically, when the full-scale media blitz hit western Washington earlier that year (1992), Alice in Chains was virtually lost in the shuffle. “Once it got really big with Nirvana, Pearl Jam and Soundgarden, there wasn’t much mentioned about us,” says Staley. “All those bands put out records around the same time, and we hadn’t put one out in two years. I don’t think it hurt us, though. I’m glad we didn’t get lumped together with them, because we’re not those other bands.”

What If Grunge Never Happened?

The effects of grunge’s erasure from history are intercontinental. Without Blur and Oasis existing as reactionary forces to its eternal downcast glare, both bands cancel each other out and Suede ascends to the Britpop throne, ushering in an age of gender fluidity that, even if founded on singer Brett Anderson’s perhaps disingenuous claims of bisexuality, leads to the wholesale destruction of binary notions of sexuality in rock. The undereroticized hair in the eyes of twee is replaced with the coy sleekness of Lisa Stansfield coifs. Black-rimmed glasses are tossed to the side, and in our blindness, the make-out sessions are epic.

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No one would dare to say a degrading remark about being black or dare to say a degrading remark on Instagram about someone being gay. But my age – anybody and everybody would say something degrading to me. And I always think to myself, why is that accepted? What’s the difference between that and racism, or any discrimination? They’re judging me by my age.
—  Madonna, Rolling Stone 2015