Singles (1992): Reinterpreting and Recovering the Past PT.II
Riot Grrrl, Latvian Rock, Depression, Broken Families, The American Dream, Love & ''Dumbing Down'' of the Mainstream 90s Society.
The grunge aesthetic of women: androgynous fashion and the Riot Grrrl movement which embodied the degrading and negative fantasies of women with the ‘school-girl’ innocent fashion as a social, and political stance to: ‘’traverse specific fantasies about femininity and sexuality’’ (Thompson, 2004). This was a method of resistance to sexual harassment the scene’s female members received. Serving as a direct illustration and a mirror of the harassment. Farai Chodeya described as ''feminism with a loud happy face dotting the i'', she adds that the Riot Grrrls ''may be the first generation of feminists to identify their anger so early and to use it''(Thompson, 2004).
The 90s provided an important shift in the music industry, with the rise of Riot Grrrls and bands such as L7, as from one-hour restricted music hours dedicated for women exclusively, were changes as: ‘’entire formats were dedicated to them, and mixed gender bands became commonplace. Gay men and lesbians, who had never more than a tiny toehold in any rock subculture-including indie-also entered as the scene expanded ‘’ (Powers, 2000). Illustrating the movement’s impact and power to create acceptance within the music industry.
Dismissing the idea of Rich Lowery that: ‘’grunge is for the most part shorn of ideals and the impulse for political action’’ (Furek, 2008). As seen as ignorant to state if one is introduced to the genre’s values. Whilst grunge, especially, in the early days has not been bluntly political, the scene was involved in political manners such as WTO protests of 1999 or the ‘Battle Of Seattle’ in which Krist Novoselic, Kim Thayil, Gina Mainwall joined together with Jello Biafra, for the band No WTO Combo. Alongside with constant environmental protection action messages, as exemplified by Soundgarden’s ‘’Hands All Over’’ (1989) and Pearl Jam’s work. Leading to the band being awarded the Planet Defender Award 2011, by Rock the Earth. Pearl Jam are known for The Vitalogy Foundation and carbon mitigation.
With the involvement in ‘Rock The Vote’ and ‘Vote For Change’, ‘Choice USA’, ‘Voters For Choice’, with other grunge bands. Not to forget, the significant MTV Unplugged performance of 1992, in which Vedder wrote ‘PRO-CHOICE’ on his arm, as a response to the fact that: ‘’U.S. Supreme Court was about to consider the constitutionality of a Pennsylvania state law that limited access to abortions’’(Abortion rights advocates march on Washington, 2010). This was protested by the largest protest march in Washington, D.C. Not to forget, the controversial Ticketmaster case and post-2000-most bluntly political albums such as Yield (1998), Riot Act (2002), and Gigaton (2020).
Post-grunge era, the political values were carried alongside Chris Cornell and Soundgarden who became the first heavy rock band to perform in presidential inauguration. Alongside with Audioslave, in which Tom Morello co-funded ‘Axis Of Justice’ with Serj Tankian (System of a Down) in 2002. And Chris Cornell established the ‘The Chris and Vicky Cornell Foundation’ in 2012. This all developed and supported grunge to be about: “tolerance of difference”, “support of women”, “mistrust of authority” and “cynicism towards big corporations” (Pechenkina, 2017). Which could be understandable for Singles (1992) to not fully showcase, as these events came after it’s release, but nevertheless, the film fails to exemplify grunge’s political values. For an example, Soundgarden’s music video for’ '’Jesus Christ Pose’’ (1991), exemplifies the political and religious context of the social change during the 90s. On the surface, this can be interpreted as an anti-Christ song with the inverted crosses, but the song: ‘’is about standing tall remaining true to yourself and your values whenever the world around you becomes corrupted’’ (Lelievre, n.d.). This can be identified through the negative colour effect and reversed footage.
The biblical references of inverted crosses, montages of images of robots, decay all juxtapose and possibly challenge the biblical Christian ideologies. This was also evident throughout the most famous grunge music video ‘’Jeremy’’(1992). With the text of ‘‘unclear spirit entered’’ (Jeremy, 1991), refers to the Mark 5:13, Genesis 3:6 indicates the creation of sin, when Eve ate the forbidden fruit from the Tree of Knowledge, (Walker, 2010). With the Jeremy character and the classroom posing with the Nazi Salute, the children have been implemented to be brainwashed and symbolised as one mass with no individuality. Combining the innocence of childhood with the violence of politics and suicide as Jeremy aims the gun at himself, representing the sin through biblical context. This is a reference to Jeremy Wade Delle and the rise of mass school shooting which were: ‘‘elevated for several years in the early 1990s’’ (Shultz JM, Cohen AM, Muschert GW, Flores de Apodaca R, 2013). As the video end with the same montage as it began, only reversed-the spectator understands there will be no change, even if the sacrifice lies in death, death of children and innocence.
This all turns away from religion, or showcase it in a condemning viewpoint, which is reflective of the 1990s society of U.S where American identity and religion shifted. Professor of sociology and religion of university of Notre Dame, Christian Smith explained that the rise of non-religious wave can be explained by three events of: ’’the association of the Republican Party with the Christian right, the end of the Cold War, and 9/11’’ (Thompson, 2019). With the collapse of Soviet Union in 1991 and association of Christianity with Republican policies: ‘’drove more young liberals and moderates away from both the party and the Church’’(Thompson, 2019). After experiencing the power, it had over the decade with inferred financial despair. This later on with the event of 9/11 brought the association of devastation for all religions.
Robert Putnam and David Campbell noted that: ‘’right's politicization of faith in the 1990s turned younger, socially liberal Christians away from churches’’ (The rise of atheism in America, 2015). With Old Testament condemning abortion and homosexuality, as republicans emphasizes the mix between religion and politics as: ‘’the rest of the country has been moving in the opposite direction" (The rise of atheism in America, 2015). This is significant in terms of the genre, as many explained the phenomenon of grunge as a belief through satanism and anti-church stance. This has mostly been associated with metal music, however, in particularly grunge, which was further discussed in the media through the drug use and suicides, deaths which attached the theory of the ‘27 club’ with Kurt Cobain. In particularly this is identified through Latvian film Jelgava 94 (2019), which has been seen as grunge (outside of the U.S market) and explored the impact grunge had on the society and youth, particularly, in the post-soviet Latvia. After the character gets in trouble with the school disciplinary, he is questioned:
‘’What do you call this sect? The one where you worship Satan?’’
(Jelgava 94, 2019).
To which his mother replies:
‘’It all started with Kurt…’’
(Jelgava 94, 2019).
And embarks that the name signifies an acronym for a satanic institution, purely based on the character- Jānis getting into the Nirvana craze. Showcasing, the dissonance between the older generation and the youth generation, with the effect of westernisation in the post-Soviet regions. As after the USSR collapse, the western music started to arrive, at least legally. As beforehand, artists such as Black Sabbath and Tina Turner were banned, as seen to be satanic and sexualised, ‘endangering’ Soviet beliefs. Music was discovered underground, through black markets, speculants (selling foreign music records, jeans and other clothing which were not available under Soviet regime in Latvia); music was even pressed on x-ray scans…which if all discovered, could lead to imprisonment. We recommend reading the book Piekūns skrien debesīs by Jānis Žilde, which being as a biography for the band Jauns Mēness (who is significant for the Latvian music history and played in CBGB), is a reflection of the Latvian rock, grunge, punk, indie music under the control of Soviet regime. Talking about how Soviets would get undercover police, agents into rock shows, to find any 'crimes'. We will discuss this further in next week’s post with interview from lead singer of Dzelzs Vilks -Juris Kaukulis.
Jauns Mēness (New Moon) compared to grunge, to me [Kristīne, as Sintija disagrees ha! ] is like the Latvian Pearl Jam… one of my favourite bands, which released an album in English
Show In A Mirror (1993) :
Another song, one of the greatest songs from them is ‘‘Bailes’’ (1991), [Transl. Fear]… from which I love the lyrics, ever since I heard them….
Their music is played every single day on Latvian radio stations, with successful solo career from the lead singer Ainārs Mielavs. With one of the most influential songs being ‘‘Piekūns Skrien Debesīs’’ (1991), which was played on MTV & MCM. In 1991 it won Grand Prix in SOPOT'91 and BREGENZ'91 festival, remarking it one of the most popular ad important songs for Latvian society (especially, considering the lyrics). With the music video being considered one of the most beautiful videos ever made in Latvia. The band has also engraved their name in history with the ice hockey anthem ‘‘Kad Mēness Jūrā Krīt’’ (1992), played in every hockey game till this day. If the Latvian hockey fans sing to it every single game… every championship… that’s the true evidence for it’s importance!
Returning back to Jelgava 94 (2019) & Singles (1992)…
By considering Jānis as anti-religious, satanic based on his music taste of Nirvana, reflects the grunge scene. The sarcastic remarks of religion within songs, the acceptance of sexuality and female rights. Also, reflected in Singles (1992), with the attire of black tights and skirts seen in the crowd scenes of the audience, and the attire of Janet. This also, implies that grunge’s aesthetics carry political values across their products, it is not a simple aesthetical choice. As with the birth of grunge, the Riot Grrrl arose. With memorable acts such as Bikini Kill, Bratmobile, 7 Year Bitch, Sleater-Kinney, drew associations with grunge bands such as Babes in Toyland and L7, and bands such as Hole and The Gits due to the aesthetical references. This as a movement in the 90s: ‘’proved more abrasive and less commercially viable’’(Thompson, 2004). Explaining it’s decrease of popularity with time, but also supports the idea of Grunge ending with designers like Marc Jacobs who: ‘’the look, a casual style, and brough it to the high fashion catwalks’’ (Oxoby, 2003). Regardless, it was a key element which not only referred to the time-period but is an important element in distinguishing grunge in film. As seen in Singles (1992) and Jelgava 94 (2019). But further created a community for women in rock and a voice against sexism, and violence against women.
Similarly, to the grunge movement, which was propositioned as tight, closed off community, the film carries the community atmosphere throughout. Simply, through the set character cast of neighbours and the coffee shop. This is said to be an inspiration for the now legendary NBC series Friends (1994) and Reality Bites (1994). With the set main locations and relationship-based narratives which revolve with each other in the community. Humorous or distasteful as it can be, it creates a tight community film and intimate relationships between the characters and the spectator. As the spectator establishes a relationship with the characters through the journey they undertake in exploring the lives and private revelations of the characters. Allowing to understand the psychological profile and emotional state, feelings of the characters. This is further enhanced by the cinematography of the closed and private city areas, such as Re-Bar, OK Hotel and The Singles building in Capitol Hill. From which the characters revolve and return to constantly, which creates a familiarity with the surrounding for the spectator and sets atmospheres for each scene base on the locations. Allowing the audience’s minds to fill in the blanks of the visuals and imagine the character’s journey, which provides further personal relationship with the movie, from the spectator. Almost as the spectator is always in control of the surrounding, familiar of the environment, knowing the locations as much as the characters themselves. In a sense, providing immersive viewing.
The cinematography creates a small community feel, only at the end of the movie, the audience are presented with a bird’s eye view overview of the city, which for the first time, actually, breaks the small community surrounding. Allowing the audience to realise the building is much smaller part of city than expected. Which almost, makes the scenario feel more personal and intimate, as it makes, the characters feel even more ordinary and even insignificant in a worldwide scale, if we compare to a stereotypical Hollywood superhero scenario revolving around national or global scenarios. Which to an extent, illustrates the grunge scene, to be the hidden community that was later on discovered. But also, illustrates the view of many critics of the scene as insignificant itself.
As the bird’s eye view shot, zooms out and reveals the larger city of Seattle, with multiple houses, Cliff questions to Janet:
‘’Does everybody go through this? ‘’(Singles, 1992).
As she replies:
‘’Nah, I think it’s just us’’ (Singles, 1992).
This creates a sense of isolation and loneliness, and draws a sense of relatability to the feeling of human feeling they are the only ones in a particular situation. And if others do not experience this. This allows to normalise the feelings and situations exemplified, which wouldn’t be comfortable to address. But also, emphasises the romanticism that the film implies grunge to have, with rich emotion-based narratives, which take the audience on an emotional journey across the film. Even though the film itself doesn’t start off with a proposed problem or doesn’t have significantly distinctive arcs of resolutions or troubles.
Particularly, why one might consider this movie to be an attempt to create a mainstream product and has been described as: ‘’sickening exploitation'' of the grunge scene''(McDonald, 2010). With the easy, slacker humour, which even contradicts the sarcastic darkness of the genre and individuals, if one explores the personalities or images the genre portrays and are. “Watching Singles is extremely disappointing for anyone who expects a glimpse of the Northwest music scene’’ (Westrup, L. 2018). As one might argue, the film only reflects true grunge values through the short appearances of the musicians and soundtrack made by Paul Westerberg (The Replacements…the truest rockstars ever to exist), as significantly, when distributed in 1992, the celebrity appeals would be generating income for the film. Nor it is a true representation of the political history or stand on many issues such as the mentioned global climate change, which are almost non explained withing the narrative and can apply globally.
This can be identified throughout Linda and the sign: ‘’think globally, act locally’’ (Singles, 2019). And to consider, the darkness, punk independence the genre carried, the film doesn’t represent the values fully. Taking the positive, aspects and polishing the scene into a marketable, mass appeal format. This also has a tendency to portray the grunge scene as naive, unintelligent and quite unmotivated, especially, oblivious of worldwide problems and insignificant as a generation even. As an example, by the Citizen Dick band members being hypnotised by the documentary about bees on TV. With the following narration:
’’few days later she leaves the hive’’(Singles, 1992). This can foreshadow the break-up of Cliff and Janet. As in the same scene, she has a realisation moment to leave Cliff. This is romanticising grunge in a correct political manner, with the carefree society-with only love problems present. Opening their voice against sexism, were anti-rockstars, who were just regular kids, who: ‘’swore up and down that they didn't want to be famous''(INXS: Story to Story The Official Autobiography, 2010).
The 90s grunge was associated with the romanticisation also of recreational drugs in the media. The 90s generation was not only seen as junkies, with the comeback of heroin boom which ‘’suited a generation with low self-esteem that aspired to nothingness’’(Harrington, 2002). And is a denial of all emotions, which in a sense is an escape of responsibility or reality, which is identified throughout the characters of Cliff and Steve. As Joe S. Harrington has described that grunge: ‘’didn’t just end and begin with heroin or meaningless music with mumbling lead singers and miserable lyrics betraying a general lack of self-worth’’ (Harrington, 2002). This provides a positive representation of the scene from the movie, as it represents it more than just the ignorant outlook of grunge to be as a junkie culture. And as a tool for media to generate headlines through celebrity gossip.
However, Harrington’s observations can be reflected through 90s popular records such as Silverchair- ‘‘Freak’’ (1997), Radiohead-’’Creep’’ (1993), Stone Temple Pilots-’’Creep’’ (1992), Korn-’’Freak on a leash’’ (1998) and Nirvana-’’Dumb’’ (1993). These are few of the tracks which are self-deprecating and carry a large dose of insecurity, lack of optimism or even self-worth. Reflecting what the 90s society is relating to. However, the statement lacks it’s recognition of grunge becoming a voice for minorities, destructing the rockstar macho image and becoming quite introspective. As example, Soundgarden-‘‘The Day I Tried To Live’’ (1994) is: ‘’about trying to step out of being patterned and closed off and reclusive’’ (Foege, 1995). This is an element of universal truth and audiences fighting for inclusivity and acceptance within society. But also provides the contrast of 80s rockstars such as Def Leppard and Mötley Crüe with their song ‘‘Girls, Girls, Girls’’ (1987). Painting the standard stereotypical image of a male rockstar and the rock ‘n’ roll lifestyle.
Grunge was leaning towards classical masculine appearance, long hair, plaid shirt, work unform style and emotional on the outside (feminine); compared to 80s rockstars who were feminine on the outside with the make-up, tight, bright clothing and emotionally- 'macho’, as in interested in sex, drugs and rock ‘n’ roll only. This compared to the previous decade, defies the purpose of becoming a global musician-of being ‘cool’ and a complete ‘rockstar’.
Considering the blunt messages of the listed songs, it is clear that: ‘’people tend to prefer music that evokes a strong emotional response'' (Garrido, 2017). Whether it be negative or positive which provides also the listener to an ‘’outlet for their negative emotions’’(Garrido, 2017). An emotional response, which can be identified through Seattle’s influence from to metal and metal sub genres including: ‘’depression and suicidal vulnerability’’(Garrido, 2017), alongside with: ‘’aggressiveness, moodiness and pessimism’’(Garrido, 2017). In reference to grunge- the references of suicide (direct or metaphorical), death and what one would consider non-traditional life up-bringing. This is a direct and subconscious mirror of the of the musician’s lives-the generation and society.
With many musicians coming from broken families, depression and troubles emerging since childhood. This allow the listener, the generation affected identify themselves and become nostalgic. Not recognising this as ‘sad’ music, as they have been de-sensitised by their life experiences. This provides a level of comfort and relatability, but also emotional healing. As the nostalgy elements help an: ‘’individual to reinterpret and recover the past''(Garrido, 2017). As a result, the negativity is translated into a positive experience, which in return is responsible: ''to increase self-esteem and foster stronger social connections''(Garrido, 2017). This further highlights Grunge’s ability to face the issues, be in personal of global as seen by political activism. This can be argued to be not showcased in Singles (1992), through the mentioned escape of responsibility.
Marca Eaton suggests that: ‘’people listen to sad music for the thrill of the emotional 'roller-coaster'’(Garrido, 2017), but only if they are in full control. This suggest the listeners comfort from not facing the fears, sadness directly but through a safety net. Whilst still having the experience. Colin Radford described music as a: ''inviting way to experience the sombre and tragic aspects of lie‘‘(Garrido, 2017), which resonated with the grunge music and people, as it was not a façade for underlying social issues, in order to hide the troubles, instead of facing them. As exemplified, by Pearl Jam’s ‘’Yellow Ledbetter’’ (1992), which has been mistaken as a love song. Instead of a reference to the Gulf War (1990-1991) and described as an: ‘’antipatriot song’’ (Weissman, 2010), by Vedder. Further, emphasizing the problem of misunderstanding of the genre-which Singles (1992) illustrates through the romanticised idealism.
In the 90s, : ‘’there was also a dumbing down of the mainstream culture’’ (Harrington, 2002). As the 90s industrial media advertisers didn’t think the: ‘’youth were intelligent enough nor had the attention span for anything that wasn’t strictly d-u-m-b’’(Harrington, 2002).This gave birth to commercials such as ‘’Drink Pepsi-Get Stuff’’, (Harrington, 2002). With easy block slogans, the fact was that: ‘’literacy rate was declining in schools across America’’ (Harrington, 2002). And the youth was not disciplined but passed as: ‘’prechewed mush through a garbage disposal’’ (Harrington, 2002). This to an extent can be identified in the film through the characters, especially, Cliff who comes across at times unintelligent and arrogant, and uninterested in any affairs besides his music and is primitive in his relationships. But overall, the theme of love being hard in the 90s dominates, if not, is the only real purpose of the narrative. With to some extent, no significant metaphors or underlining in the narrative or visuals, which make the spectator build narratives outside the direct script. The repetitive garage opener anecdotes and what some might say tacky and stereotypical sex scene, which become repetitive in the shots of the bedroom in all scenes; the constant issues presented of the relationships, ups and downs, which at the end when characters all find their partners-reunite, can be seen to be cramped in the last 5-7 minutes of the film. This can make some spectators question the message of the whole film-instead it just it being presented as a ‘love is hard in the 90s’ narrative message.
The film sells the Seattle scene for less than it was, at times with no significantly complex purpose or narrative, besides interrelated love narratives. This can be argued to be important from the perspective of community in Seattle. As the characters are inferred to be tied in with the Seattle grunge scene, bringing significance to these characters in the development of the scene. And directly represents grunge evolving from the ‘every-day person’. However, continuing, the relationships serve no distinctive purpose or change in a worldwide scheme. This can be seen quite simple and straight forward. And come across as ‘’not a great cutting-edge movie, and parts of it may be too whimsical and disorganized’’ (Elbert, 1995). With the ‘what is meant, will happen’, or careless attitude as if it’s beyond the characters actions. This creates a sense of lack of responsibility over one’s life, in order to petty yourself, or put no further effort, if any. This supports the explanation of S. Harrington and the stereotype of the genre as unintelligent and oblivious. From which Charles Peterson in Hype! (1996), described Seattle aesthetic as not unintelligent through the humour and memorable phrase about Mudhoney: ‘’Mudhoney isn’t stupid, but they’re kind of dumb’’(Hype!, 1996). This doesn’t aim to call the scene as unintelligent, but can be attached to the movie itself.
Harrington implies that the accurate representation of the 90s culture was seen through the show ‘’Beavis and Butthead’’ (1993), which represented the 90s victory of computer-generated art, which was the: ’’new stay-at-home method of creativity well suited a new generation with low esteem’’(Harrington, 2002). With the significance of Steve from Singles mentioning: ‘’in modern society there is no need to leave the house’’(Singles, 1992). This reflects the massive boom of internet-based companies and rise of internet during the 90s. This as much as bring excitement for the society. This can be noticed through the character of Steve and his ‘Super-Train’ project and constant video-material presentation from the character of Linda. This leads to failure in private and personal matters.
‘’It was clear that a whole generation of copy shop employees named Jason with funny little half-beards wasn’t exactly going to set the world on fire’’(Harrington, 2002). This contradicts the Seattle scene-which message was that small town band nobodies become worldwide rockstars hanging out with the president, as seen by Eddie Vedder and Bill Clinton. But within the film, the characters are inferred to have no worldwide goals, that would suit the American dream. As much as positive it is, with the American humour which itself is more optimistic, because of the American Dream-the characters as started ordinary lives, ended them the same way. With specifically, Cliff’'s band not working out. From this perspective, this resolution doesn’t create a satisfactory-grand finale. This infers also that the American dream is nonexistent.
However, this point can be argued throughout the character of Steve, as his idealised project serves a large-scale significance. As the project failed, it infers the generation to be trying to succeed but ultimately failing. Kind of a remark, or similar to: ‘’that all the Mudhoney albums in the world couldn’t carry’’(Anderson, 2007). This infers that the American dream is not important, or not attainable. Or possibly, that the American Dream is love. Serving as a commentary of the generation within the movie, nonetheless, Kyle Anderson initiates that Crowe didn’t aim to comment on the generation rather: ‘’he really just wanted to make a movie about the difficulty of relationships that had his favourite bands in it’’(Anderson, 2007). If considering the release date, slacker humour and even relationship-based problem scenarios can be evaluated to be just as simple as Anderson explains. However, evaluating it through the modern-day perspective, the film is a reflection of the 1990s society and can become nostalgic. And it would be too simple to leave it as that description.
As the technological failure within the film through Steve’s project or the humorous: ‘’answering machine that eats a crucial message’’ (Westrup,2018), can be a signifier of the rise of Neo-Luddites in the early 90s, who developed from: ‘’self-identified reactionaries. Many looked specifically back to Luddism’’ (Friedman, 2005). Referencing back to the 19th century. This can be presented by the mayor of the city, denying the project specifically. In particularly, the 90s Luddites were: concerned with resisting exploitative uses of technology’’ (Friedman, 2005). This possibly, signifies the absurdity of expressing feeling through an answering machine, rather than face-to-face. Implying the lack of confidence and fear the character has. But also, showcasing how technology controls lives, as one break in technology has destroyed the happiness of two people, as if the happiness is relied on technology. Even through Steve’s friend who received the 20 numbers on his watch after the club, the audience at least aren’t informed of the success of technology being a helpful tool for personal life. Even through Debbie, who meets the ‘bicycle guy’, who is inferred to choose Pam-who doesn’t try to get out of her skin to be liked. Compared to Debbie who is not true to herself and tries to act as a professional cyclist. Showcasing the troubles lack of confidence to be who she is and reflecting grunge as a movement. As it became popular reached its significance due to the fact of people being themselves. Not acting like Hollywood starts and being ‘ordinary’.
Returning to the discussed idea of technology, it can signify the possible fears of the society and how technology develops to replace life experiences. Which for the multiple time, allows the character to escape the responsibility or fear or rejection as they do not face the issues directly. In which society tries to find the emotional fix and healing through technology.
Nevertheless, K. Anderson explains that the generation: ’’ended up setting themselves up for a failure on their own terms’’ (Anderson, 2007). This was mirrored within the film throughout the scene of Steve longing on the postcards whilst acting hurt. This psychologically is a protection mechanism to shield oneself from potential failure and damage. This simultaneously doesn’t allow one to strongly carry confidence or belief of ultimate success. Contrasting the patriotic, optimistic attitude from the American people being told anyone can become the next President, supported by the American Dream. This suggest a shift in the mentality or reflects the reality behind the desired American crafted image.
At the same time, it brings the lack of responsibility to the characters and generation as they: ‘’never been held accountable’’(Anderson, 2007), for their failure. This draws correlations to the character of Cliff and the escape from strong responsibility with Janet, or not wanting to face the criticism for his possible failures. And further emphasises the American Dream and driven optimism through Pearl Jam guys encouraging: ‘’a compliment for us, is a compliment for you’’ (Singles, 1992). To which Cliff denies the reality of him being the only hindrance within the group and mentioned the band to be: ‘’unstoppable’’ (Singles, 1992). Shifting the responsibility to rest of the band members, not only him. Which is also identified through the character of Debbie, who’s first line in the music video is: ‘‘Hi, I crave responsibility and respectability’’,(Singles, 1992). The absurdity of it only enhanced by the greenscreen of a metropolitan city and her flying like a superhero.
The whole idea of it, which Anderson initiates is similar to what is : ‘’exactly like what’s its like to be in Pearl Jam’’(Anderson, 2007), .Or what Kurt Cobain’s reaction was when negative remarks about Nevermind (1991) were heard, he would exclaim: ''Of course-I told you that!''(Anderson, 2007). This again, enforces the aspect of social commentary of the generation and it’s wider personality and attitude towards life.
‘’By the end of the 1980s the trend for marketing films though music had become institutionalised in both mainstream and the underground. This was to continue throughout the 1990s with the increasing fragmentation of the market and the development of niche audiences’’(Reay, 2004). This was seen through ‘’Singles’’ (1992) and films such as ‘‘All Over me’’ (1997), which integrated the Riot Grrrl movement featuring Babes in Toyland and Slater Kinney, as: ‘’smaller budget independent productions and mainstream productions have organised soundtrack albums to target a particular niche market. This is especially true of films attempting to exploit a popular musical trend’’(Reay, 2004). As evident through ‘’Singles’’ (1992), which was distributed by warner in 1992, after Grunge’s explosion, to cash in. Even though, Crow stated there would be no soundtrack, the soundtrack can be argued to be the success story of the film as it sold: ‘’over 700,000 copies before the film even came out’’ (Westrup, 2018). And the movie itself made: ‘’disappointing $18.5 million at the box office’’ (Westrup, 2018). But as the popularity increased and reached highest, so did the revenue and the desire for the soundtrack. This is a further implementation of commercialization of grunge in the mainstream masses, completely going against the punk, indie attitude.
The soundtrack itself is compiled of alternative musicians which became popular in the 90s, especially for the major record companies to label their acts as alternative. To combat young audiences desire for independent label music. Meaning that even the fact that The Replacements or Soundgarden were signed on a major record label, the idea of authenticity and trust is associated with the acts. Therefore, correlating such characteristic to the film. Persuading the audience to believe that if such musicians are in the film, the authenticity is less challenged, therefore, boosting its appeal. The backlash on the Singles (1992), through the critical acclaim and commercial aspects, showcased that audiences: ‘’did not want to see themselves or the bands they loved represented on the big screen’’ (Anderson, 2007). This again, enhanced the idea of grunge not wanting to be commercialised, as even through the documentary Hype! (1999), Kim Warnick from The Fastbacks said: ’’everyone though the film was the dumbest idea in the world'' (Chaplin, 1996). But once: ‘’ they realized it wasn't shot by some big Hollywood producer, and all their friends were in it, they came around'' (Chaplin, 1996). Only to illustrate the scene’s de-attachment and denial of identifying with the mainstream, regardless of the financial impact it could hold.
Grunge’s success can be identified that: ’’there wasn't that much cultural baggage whereas if you look at almost any other city in the country there was an extensive story or narrative the northwest Jimi Hendrix went to high school here and The Sonics, and The Ventures had a few good singles that's about it’’(Bruce Pavitt). This allowed to create another marketing tool which did not bring stereotypes or experience from the spectator.