I had this thought today of how audacious it would’ve been for Microsoft back in the 90s to licence The Rolling Stones’ “Start Me Up” in order to advertise Windows 95. Seriously, right? How on the nose and garish. “The baby boomers will SHIT THEMSELVES.” Wouldn’t that have been fucking dumb?
Turns out that was a memory, not a thought. The 90s was a silly time.
In other news, looks like Seeso’s dead. That’s a real pity. It was fantastic to see yet another streaming platform putting money in the hands of creators to go out and do what they do best: create original and well produced content. I certainly didn’t see all their originals, but loved the shit out of MBMBAM, Harmonquest and Take my Wife. They also had a back catalogue of years worth of quality comedy. Decades of SNL, all the Monty Python stuff, tons of stand up specials. It’s the kind of service I would’ve happily shelled out to support. Too bad that they never branched outside of the US. I’m sure it had to do with all manner of rights and distribution contracts, but I know I’m not the only one who actively wanted to push money into their hands. When you’ve got a heap of consumers keen to throw dollar bills at you, wouldn’t you want to pull out all the stops to make that a reality? Yet again, I’m certain it’s far more complicated than I’m making it out to be. Thankfully a bunch of their shows found a home on the VRV platform. Another platform that’s still not available in Canada…
Speaking of American Idiots (I kid, but I needed the segue), I listened to the 2004 zeitgeist album on my run today. At the age of 17, that album was gargantuan. In the context of 2004, Green Day’s popularity was waning hard. To give further context, in 2002 they’d co-headlined with Blink 182 (as opposed to sitting atop that throne as you’d expect). American Idiot came out of nowhere and suddenly was everywhere. Each subsequent single utterly dominated the airwaves. We threw it on at every party, road trip and holiday weekend away. To us, “Jesus of Suburbia” was a sprawling epic. The album had punch, flair and the most relevant social commentary 17 year olds could imagine possible.
As a 30 year old, it’s a neat listen. Like a grand ol’ rock opera. It’s still catchy and tons of fun, but it also sounds like clever pop punk juggernauts capitalising on a movement. Sweet to run to. In the era of Trump, the anti-authoritarian sentiment feels mellow and wholesome. Equal parts melodramatic and innocent. The title track would probably have hit just as hard had it been released in 2017, but would’ve taken on an entirely new level of meaning. Maybe it’s my inherent nostalgia, but I’d say the album holds up to the fanfare 13 years later. “Wake Me Up When September Ends” may drip a little saccharine, but the tracks have an excellent ebb and flow, coming together as a cohesive record. If you were a fan at the time, try dipping your toes back into that water.
You watch. In five years I’ll book a vacation from an ad that features Green Day’s “Holiday”.