Stay Out Of My Music Library, U2

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This week Apple gave the world a preview of some of their flashy, expensive doo-hickeys. They also, much to the surprise of many, placed U2′s new album in some iTunes subscribers’ library. Whether they wanted it or not. Depending how their account is set up.

Now, I’m not against a band and a company giving away new music for free. But the way Apple and U2 went about giving it away has left a bad taste in my mouth. Because I don’t want anyone besides myself adding music to my library. Granted, I haven’t checked my iTunes account in about 6 years (I prefer not listening to mp3s). But when I open it up, I do not want a U2 album suddenly in my collection

Maybe it’s because I have a strong dislike of U2, most of that aimed at Bono. He’s pretty smug for a person who makes mediocre music. It’s not right. In fact, their popularity has puzzled me most of my life. They are not very good. Never have been. I find the band pretty bland. Henry Rollins hit the nail on the head when he said The Edge has basically milked the same guitar riff for decades now. And when someone whose known for singing/screaming along with three-chord punk rock songs in his underwear with Black Flag thinks your repetitive, then you should branch out a little more.

So, when a band I already do not like weasels their way into my music collection, I have a problem. It’s pretty rude and presumptuous to assume people want your record, let alone have it sneak into their collection unbeknownst.

It should just have been an option to download for free. That, I would not have had a problem with. People should not have to adjust their accounts in the off chance Bono wants to push an album on them. Apple also should not decide for the consumer what music they should have in their library. That is just obnoxious.

Album Revisit: Replacements’ ‘Tim’

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This is an installment of a series of blogs where I revisit some classic albums that I  love, used to love or has made an impact on pop culture whether I am familiar with it or not. You can also make suggestions on a classic album, and I may give a whirl and review it. 

This week marked the first time in about 28 years that the legendary Minneapolis punk band, The Replacements, performed on NBC. The last time they performed, obviously a little inebriated , “Saturday Night Live” executive producer Lorne Michaels banned them from performing again on his show.  Why? Because they did what a lot of they were known for back then, getting drunk and putting shows. People who I’ve spoken to who have seen these shows often claim they were amazing, but a quick Youtube check on these shows tell me otherwise. But, to each their own. 

Well, even though Michaels is part of Jimmy Fallon’s “Tonight Show,” it looks like his ban was lifted Tuesday night when the Mats (the fans’ nickname for the group) performed on the show, a much more sober Mats than the ones from the 80s.

That got me thinking about my favorite Mats album, “Tim.” It was the second in the trilogy of great Mats albums, beginning with “Let It Be” and ending with “Pleased To Meet Me.” This was the era when they were growing out of the garage punk age and before Paul Westerberg just began making solo albums and calling them Replacements albums (I’m looking at you “All Shook Down”).

The Replacements were one of those bands who, if they had come out a decade later, would have been up there with Nirvana and Peal Jam. But The Replacements, in my opinion, laid out the blue print for what would become 90s grunge. You can especially hear their influence in Nirvana’s material.

“Tim” is really they’re most solid album. I know a lot of people stand by “Let It Be,” which is really close in terms of song quality and performances. I mean, “Unsatisfied” is one of my all time favorite songs. But I still think “Tim” has that album beat.

Produced by the late Tommy Ramone, whose production actually was just awful, “Tim” is an album with a really strong songlist that suffers mostly from its production quality. It was also their first major label release. The drums sound like wet cardboard and it sounds flat. Not that the production makes it unlistenable, but it certainly doesn’t help the songs in any way.

What “Tim” accomplishes is combining the punk angst with melodic songs all mixed together. The first two tracks, “Hold My Life” and “I’ll Buy” is a great example of this. Then you get to “Waitress In The Sky” which is basically nice little pop song with nice tongue-in-cheek lyrics.

That is followed by the incredibly depressing but beautiful “Swinging Party” and  the song that sums up my love of the Mats, “Bastards Of Young.” The latter was the song they performed on SNL that got them banned.

The album closes with what can only be considered the perfect depressing dive bar song, “Here Comes A Regular.” It’s not a very optimistic song, but then again, I can’t think of any optimistic songs from the Mats.

This would also be the last album with original guitarist Bob Stinson. His drinking and clashing with singer and songwriter Paul Westerberg would cause him to be let go. He passed away in 1995.

But the Mats are back (minus Slim Dunlap, who replaced Bob Stinson, and Chris Mars). Based on their performance on the “Tonight Show” and from what I’ve seen of their live shows since reuniting in 2012, they seems to be in much better shape than all those years ago.

“Tim” remains my favorite of their albums. Just a really great collection of songs and performances. I enjoy it as much as when I first heard it.

I Watched ‘The Unauthorized Saved by the Bell Story’

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It’s never been a secret that I have a strange obsession with “Saved By The Bell.” I once wrote a 50-inch long blog about my thoughts on the show. Remember, this show came out when I was 9 or 10 years old. I was the program’s demographic. Why I occasionally watch it still is because it’s a part of my childhood that brings back some positive memories. And it’s cheesy as well.

Well, this week unveiled the horrible, made for TV movie about the program and I loved it. Because it was so bad.

But going in, I knew it was not going to be good. I thought it was supposedly loosely based on Dustin “Screech” Diamond’s so-called tell-all memoir from his days on the show (he serves as a executive producer).  Why I watched was to see how much of the scandalous material the movie would use, which his book made sound like almost a modern day Sodom and Gomorrah, but with a TV show about high school. His book was not a hit among his former co-stars either. To be fair, Diamond has stated it was mostly ghost written and he didn’t read it before it came out. In other words, he put out a product that made his cast mates look horrible with his name on it, without even reading it. I later found out the contents of the book were tossed and this movie was based on fresh interviews. With, I’m guessing, Dustin Diamond.

Anyway, the made-for-TV movie did not use that material. It contains nothing you couldn’t have gotten from a “E! True Hollywood Story.” For all the hype up for this awful show that I thought was great, the scandalous stuff was pretty benign. The actors playing Zack and Lisa dated. They were all horrible actors going in. Critics hated it. They drank. Ect.

What was interesting was how the story is being told through Diamond’s eyes. They even bring back Zack freezing time with his “Time Out,” only to have Screech tell him this is his story. And they pretty much made Diamond look like a selfish brat throughout that everyone seemed to just put up with. 

For instance, they are rehearsing the infamous Zack-Jessie drug confession scene. And as the cast looks on amazed at how dramatic this scene is, Diamond makes some sort of joke. The cast gives him some evil glares to which he responds “It’s caffeine pills, not heroin!” To which further exposed just how unaware he was of those around him. He didn’t get it was the performance (which truthfully was just as bad as the original) that amazed these people. Because they are decent human beings and not Screech.

He even punches out a fan who makes fun of his fictional character. He tries to fight Mario Lopez (who played A.C. Slater) after Lopez does more push-ups than Diamond in one scene. He befriends an extra, who gets him into booze and drugs and then blackmails him into getting a bigger role on the show. He gets drunk at a meet-and-greet for fans. And at no point do you feel any sympathy for him. Watching it, whenever he fell on his face, it felt like he deserved it.  Again, Diamond was an executive producer on this. Why would he go out of his way to look even worse?

The movie did have a decent soundtrack, though inexplicably it was mostly hip-hop from the early 90s. The show was not known for hip-hop, so this really kind of threw me off.  I guess it was better than generic instrumental music or playing Zack Attack’s “Friends Forever” throughout the whole thing.

It is a bad movie, but very entertaining. Because, when you think about it, how could anyone make a good “Saved By The Bell” made-for-TV movie?

But it did have a moment when a young Dustin Diamond over hears NBC president Brandon Tartikoff thinking about giving a show called “Seinfeld” a shot. So, there’s that.

Bob Dylan Really Wants You To Hear Everything He’s Recorded

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He’s at it again. Hibbing, Minn. native and bum singer Robert “Bob” Dylan is once again releasing a huge volume of recorded material in the off chance someone might care to hear it. It’s the eleventh volume of his notorious “Bootleg Series,” a collection of songs that sound kind of different from what you may have heard before on other releases from this generally unknown singer/songwriter.

This release continues Bob Dylan’s need for someone to hear his music.

This time, Dylan desperately wants someone to  remember and maybe listen to the double album of material he recorded with a little known band from Canada whose unoriginal tendencies caused them to call themselves “The Band.” It was called “The Basement Tapes.” Now Dylan is releasing more of that stuff.

He’s releasing a 6-disc set that includes 138 tracks worth of that material. And it’s called “The Basement Tapes Complete: The Bootleg Series Vol. 11.” So hold onto your hats, folks! You can finally experience roughly seven to nine hours of unreleased material of Dylan and The Band mucking around in a studio. Because Dylan wants people to hear it all. It’s been his attempt at throwing everything against the wall to see if it sticks since the first installment of the series was released in 1991. Roughly into his third desperate decade to get noticed for his music.

The somewhat reclusive singer has for years put out albums, some to critical acclaim. Who can forget such classics as “Down In The Groove” and “Empire Burlesque?” But aside from these classics, Dylan decided that some of his more unknown work (notably, his work from 1963-1966 has relatively been known to only record store employees, recluses and rare vinyl collectors) needed to be heard.

Bob Dylan during the height of his fame. “Empire Burlesque” is one of Dylan’s most popular albums.

So, he began putting out the “Bootleg Series” to re-introduce his lesser known work.

But, as of late, his series has been hitting his more well known and loved work. Last year, he released the voluminous “Another Self Portrait” that expanded with more unreleased material from his most loved and popular album, “Self Portrait.”

Because, after bringing some notice to his rare works in only nine other separate multi-disc collections, he is now forging on to release more of his popular material, because it is Dylan’s vision to have every note, fart and take of everything he’s ever done be released. And that someone out there will listen to it. And that some day, he will finally be known by more than a handful of music fans.

So people, please throw this man a bone. He’s trying so hard to let you know he has recorded more than 30 albums, and could you just give the man a break and listen to one? I’m sure he would appreciate it.

 

 

Album Revisit: The Misfits’ ‘Static Age’

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This is an installment of a series of blogs where I revisit some classic albums that I  love, used to love or has made an impact on pop culture whether I am familiar with it or not. You can also make suggestions on a classic album, and I may give a whirl and review it. 

I love the Misfits.Well, to be exact, Glenn Danzig’s Misfits. Though their material can often be hit and miss. This is one of those rare bands I enjoy that really did not have a definitive album until more than a decade after they broke up. It’s not just because they are punk, “London Calling” for the Clash and “Fresh Fruit For The Rotting Vegetables” for the Dead Kennedys are examples of old school punk bands having a defining album. Even Black Flag, whom are sometimes lumped in with the Misfits, had “Damaged.” But that changed in 1996. 

This was suppose to be their debut album. They had recorded some tracks as a Joy Division sounding band before Danzig decided to go in another direction. But with “Static Age,” they were raw, angry, it was everything that punk rock was at the time. The lyrics hinted at angst, despair and science fiction-horror movie themes — the latter being what the tended to gravitate toward after they recorded this — that, because they were fairly general, have aged fairly well over the years. That can’t be said for a lot of punk bands at that time, because they sang a lot of the politics at the time. They recorded 17 songs. It probably would have been a solid underground classic.

But it was shelved at the time. With Danzig, they would record two full-length albums, “Walk Among Us” and “Earth A.D.” The former was still in vein of melodic punk, horror movies and space aliens eating brains. The latter would be one of the first hardcore punk albums that would go on to influence heavy metal bands to come like Metallica, Guns N Roses and Megadeth.

In the mid-90s, my friends and I started getting into Danzig. His solo albums, at the time, where pretty popular. He was on MTV with videos for “Mother” and “Dirty Black Summer.” You have to remember, up until 1996 the Misfits were not easily found in record stores, even the two releases mentioned above. There were poor quality bootlegs of the tracks. Metallica covered “Last Caress” and “Green Hell.”

But that was it. At least where I lived.

So, when “Static Age” was released (a little after it was included on their box set, which remained ridiculously expensive for years and years) it was pretty awesome. I loved it. Others did not. You have to remember, our exposure to Danzig was him making Black Sabbath-like metal. Now here is his first album, and he’s a scrawny punk rocker, not the weight lifter guy. 

Now, I’m listening to it as a 33 year old, not a 14 year old for this blog. It remains good. But not as good as when I first came across it.

It opens with four strong tracks. “Static Age,” “TV Casualty,” “Some Kinda Hate” and “Last Caress (which I won’t link because the lyrics are pretty awful, but you can find it on YouTube yourself if interested).”  Catchy, gloomy and sounds fairly different than what was to come — but the germ of that is in there.

There are some other songs I like, one being my favorite Misfits song, “Hybrid Moments.” Also, the only Danzig-era video (besides that incredibly grainy and kind of disgusting “Braineaters” that floats around the web.

So, as I listen to this album, my enthusiasm for it has drained. I will say this: Out of the many New York/New Jersey punk bands that came out at the time, this album is at least listenable and at times enjoyable.

While I would probably not rank this in a top 100 favorite album of all time, (the Misfits album that would make the list would be the awesome, but pulled and now forever unreleased except on YouTube “12 Hits From Hell” )  but it still makes for a good listen when I’m in the mood for aggressive punk rock that has melody in it.

It is their definitive album, though. These are the tracks that built the band up, despite them being difficult to get for a decade. The post-Danzig albums are decent (correction, the Michael Graves ones. Jerry Only cannot carry a tune to save his life). And like many bands of that era, they spent years in legal battles over rights.

I will advise that this isn’t for people who object to offensive language. The lyrics utilize horror themes, add in punk rock music, it’s not for those who don’t like that sort of thing.

If you do enjoy punk rock, I saw give it a listen.

RIP Robin Williams

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The news of Robin Williams death struck a chord in me. When someone dies, it’s sad. But when someone takes their own life, as it looks Mr. Williams did, it is tragic.

When a famous person dies, it always seems to be old age or an overdose. But it is worse when it is a suicide. Suicides are baffling. It makes you wonder how someone could get so down psychologically that the only reprieve they can see for themselves is death. In 2006, my best friend took his own life. It was a very difficult thing for me to grasp, and to this day I still struggle with dealing with it. I never really talk about it, and writing just these few sentences about it is uncomfortable. Depression, unlike other illnesses, can hide fairly easy from the people around the person suffering from it. It leaves a trail of questions that will never be answered. Like “why?”…   

I’m in one of those age groups where just about every point in my life, Robin Williams was a part of in some way. Growing up in the 80s, I would watch re-runs of “Mork & Mindy.” I was at the right age for when “Hook” “Aladdin” and “Mrs. Doubtfire” came out. When I started enjoying surrealistic art and movies, “What Dream May Come” was in the theaters. He rightfully won an Academy Award in 1997 for his role in “Goodwill Hunting.” And when I really started getting into stand-up comedy, his specials were always great. Him,  George Carlin and Richard Pryor were the first stand-up specials I remember watching as a young man.

And who can deny his excellent performance in “Death To Smoochy?” That is one of my favorite films of all time.

I didn’t enjoy every movie he made. But I always admired how much he put into his projects. Especially when he was promoting them. He always seemed like he was going at 110 percent. His energy was truly amazing (and given his history with drugs, some of his specials in the late 70s were, at times, almost too fast to follow).

I really liked it when he played darker roles. He was great in Christopher Nolan’s “Insomnia.” And I stopped using camera film after “One Hour Photo” because even the remote possibility that someone as deranged as his character existing in the real world and developing my film was too much. Because he was so convincing in that role. It was great and spooky at the same time.

His last stand-up special, “Weapons of Self Destruction” is also great. I listened to it today, and he was on fire. His delivery, wit and energy had not dulled over the years.

Yes, he was a true icon to comedy. He made millions of people laugh. And the gift of making others happy, but not himself, is truly sad. He will be missed.

Album Revisit: Tom Petty’s ‘Wildflowers’

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This is the first of a series of blogs where I revisit some classic albums that I  love, used to love or has made an impact on pop culture whether I am familiar with it or not. You can also make suggestions on a classic album, and I may give a whirl and review it.

My first rock concert was in 1994, when after I really got into Tom Petty and the Heartbreakers, was when my father took me to see them on the “Wildflowers” tour (I don’t recall if that was the name, but it was when Petty released his second solo album called that). It was a great time and a fun concert from what I remember (I was 12 or 13 at the time).   

But it would be as an awkward high schooler that I would begin to really get into that album. It became a regular on my disc man (wow, that right there sure aged me a bit). Back then, I biked everywhere and always had my headphones on. A variety of music would be my soundtrack as I biked to school, work, wherever. Music  makes traveling even better.

Last week I listened to Petty and the Heartbreakers’ new album, “Hypnotic Eye.” I enjoyed it, but tonight, as I’m writing my business story and listening to Spotify (love this service) for writing fuel and was going to give it another go, I saw “Wildflowers” pop up. I realized I hadn’t listened to this in many, many years. Mostly because I burned my self out on it long ago. Since it had been a while, I decided to revisit this gem. Which also inspired the concept of this blog series.

And it reminded me why, for years, “Wildflowers” was always in my top 5 favorite albums of all time. It is a great album. Not merely very good, this is a pretty near flawless album in my opinion. It is Petty’s best album with or without the Heartbreakers (they all play on it, so calling it a “solo” effort is misleading).

The album begins with “Wildflowers,” a nice, beautiful song that really hits the right tone for the rest of the album. It was also used in an episode of “Parks and Recreation” when Ann and Chris leave Pawnee. I think that also got my mind thinking about giving the album another go after all these years.

It is followed by “You Don’t Know How It Feels,” which has always been the weak link on the album for me, despite it being the album’s breakout hit. Not that it’s a bad song, it just doesn’t do much for me. Plus, having lived in St. Cloud a bulk of my life, the reference to certain chemical use was hooted and hollered way too often for me from frat boys on or near SCSU campus. Seriously, that town has an endless stream of college dudes who listen to that song and Bob Marley obnoxiously way too often.

I’m not going to do a track by track, because the album is 20 years old and has many of those anyway.

A personal favorite of mine is  “It’s Good to be King.”  I saw the band on the Fourth of July, 2001, in Milwauke, Wis.  What I enjoyed was that they played an extended version of this song, which I always enjoy when bands break the mold live. It’s also the only concert where I saw a drunk guy scream “Play ‘American Girl,’” chug a beer, vomit and pass out all in less than a minute. Memories.

Of course, this is preceded by a decent one-two punch of the jaunty “Time To Move On” and the more rock-fueled “You Wreck Me.”

And that’s another thing I really enjoy about this album. It has incredible balance in the song sequence. Since this, in my opinion, was Petty’s most adventurous album musically to this point (the sounds and genres on each track are pretty eclectic) that if it wasn’t balanced in the right way, it may have changed the whole experience of the album.

Remember the times when people listened to albums and not just random songs?

This is great. From the rocking “Honey Bee” to to the peaceful and laid back “To Find A Friend” and finishing with the piano driven “Wake Up Time” this is all around just Petty’s greatest work. Everything that he has put out since has it’s moments, but I don’t think he will top this album.

 

David Brent Returns: Ricky Gervais Brings Back ‘The Office”s Clueless Leader

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Most Americans associate “The Office” with the NBC hit that came to an end last year. A lot of us are aware that it was a remake of the hit British version that starred Ricky Gervais and Martin Freeman, the latter starred in the TV series “Fargo” that I’ve already written too much about in the past several months. It went for two seasons and a Christmas special, a formula Gervais and “Office” co-creator Stephen Merchant would use for their follow-up program, “Extras!”

David Brent was Gervais’ thus-far more revered creation from “The Office.” It formed the basic formula that made the U.S.’s Michael Scott (though Steve Carell would dramatically alter the character’s source and make it his own).  Though in Carell’s final season, these two awkward managers briefly meet.

Brent was socially awkward, often awful and self-delusional. In an episode, he tells his receptionist she’s fired in a poorly planned and executed joke. She breaks down into tears as he tells her they have to let her go for stealing post-it notes, then gets really cringe-worthy when he explains it’s a joke. This scene represents what I loved about the British version and Brent’s character. It’s very dark humor. Twisted, awkward and started a trend which, despite the American version’s shaky first season (they smartly decided to go in their own direction rather than copy the original) made sit-coms work with out canned laugh tracks or studio audiences.

But enough has been written about the show itself. This week, Gervais announced he will be reprising the character (though he already has this year with a charity event and some YouTube videos) with a movie. It apparently follows Brent, more than a decade after he was fired from Wernham Hogg, on a musical trek in a last ditch effort to create a music career. It’s titled “Life On The Road.”

I am on the fence with bringing back Brent in a major way. I love the original series, and I love it’s U.S. counterpart. And we got the resolution of the series in the Christmas Special. So, going back to this much cherished well has rubbed some the wrong way. It’s not like Gervais has been stuck since “The Office” ended. His other projects, “Extras!” “The Invention of Lying” and “Derek” have been great. So why go back to his break out character?

I can only speculate. To me, to go back to this world, I would  like to see where the others from the series are now. Where are Tim and Dawn after all these years? Seriously, if Martin Freeman is not going to be in this, I will be pretty angry. Brent is not a character I can watch solely for an hour and a half. His overbearing attitude and mindlessness was complemented by Tim bringing sanity to the table for balance.

But it will be interesting to see what comes of this. It’s kind of a bold move to pull off and not mess it up. We shall see.

Thoughts on Batman V Superman

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When I first heard that there will be a “Batman versus “Superman” movie, the cynical side of me (which some may claim takes up a healthy proportion of my attitude) had a fairly negative reaction. “It’s going to suck,” I thought. Then when they announced that the new Dark Knight was going to be played by Ben Affleck, that seemed to reinforce my cynicism.

But the comic book nerd and Batman fanatic in me was super excited. I mean, ever since the 1989 Tim Burton Batman movie, I have been a fan. And I don’t think I was the only one who wanted to see Batman take on Superman, especially after reading Frank Miller’s “Dark Knight Returns.”

Fitting Supes into Burton’s world may have worked. I’m glad they didn’t bother wasting a cool story with Joel Schumacher’s horrendous take on the character (I mean, who will ever forgive him for “Bat-Nipples”). And putting Superman into Christopher Nolan’s brilliant trilogy (“Batman Begins,” “Dark Knight” and “Dark Knight Rises”) never would  have made sense. But with “Man of Steel” and Zack Snyder (who directed “The Watchmen” which I enjoyed) the time seems right with this. DC has had the re-imagining of the Batman franchise while Nolan was still working on his third film of the trilogy.

With Marvel now creating their universe (minus X-Men due to another studio owning those rights) and the success of “The Avengers,” there was no question Warner Brothers was going to push for something similar with the Justice League.

When I heard that they aired a special clip at the recent Comic Con in San Diego,  I spent a better part of my day off that Saturday trying to find any video of it. I did. And it looked great. It Batman, sporting the armor suit from “Dark Knight Returns” summons Supes with the Bat-signal. I’m glad my wife was at work when I saw this, because I’m pretty sure my enthusiasm would have disturbed her. No woman should see her husband that happy about comic book characters.

And since Nolan’s trilogy ended, DC has been getting whipped by Marvel. Face it, “Green Lantern” was a failure and the attempted reboot of Wonder Woman for television was canceled before it could even air an episode. But “Arrow” has been, thus far, and the upcoming “Flash,” there is some promise.

A lot of complaints have been toward DC’s tendency to make these projects dark and gritty and in the vein of what Nolan did. It worked for “Arrow” basically because Oliver Queen and Bruce Wayne have many similarities. I haven’t seen “Man Of Steel” yet, but I’ve read they did the grit on him too. I happen to like the dark and gritty takes on comic characters, but whatever.

So, as more info and images keep on coming out, I think I can rest a little easier with this project. Because, really? Nobody can do worse than Joel Schumacher. His films were what the creatures at the bottom of the barrel feed upon.

Here is Rifftrax (guys from Mystery Science Theater 3000) making fun of “Batman And Robin.” Enjoy.

‘SLC Punk’ Now Has An Unnecessary Sequel

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In the late 90s, a film about aimless punks in Salt Lake City during the 80s came about at a pretty perfect time. It came along when the mall-punk fad was blowing up, Blink-182 and NOFX were popular and the Warp Tour was on the verge of becoming the crass entity that built its reputation upon the ashes of a dead music scene and its ideals. 

That movie was “SLC Punk.” And the way it called out what had been a fairly phony “punk” scene in the 80s was similar in the late 90s. It examined how limited a lot of the punk scene was, it basically called it out as a fashion more than a lifestyle for a lot of people. It was a decent.  After hearing there was going to be a sequel, I saw that I had the DVD in my collection — unwatched for more than a decade.

Now it has a sequel coming out. It’s called “Punk’s Dead.”

I don’t know anyone who was pining for such a thing, but there must be someone out there because why else would they make it? Maybe because it’s punk rock to make another movie against all the good reasons not too.

I watched the trailer. It had some of the main characters from the first film, though I only remembered Heroin Bob by name because he died in the original and was a pretty big story arch.  It appears he is a ghost — and how much more hardcore can you be than a dead punk from the 80s Salt Lake City Punk Scene? And he apparently has a kid. And it’s this kid that the film follows. Yeah.

What was glaringly missing was Matthew Lillard, who was the blue haired protagonist Stevo from the first film. A quick IMDB check reminded me that Jason Segel was in the movie too. He also doesn’t seem to be in the sequel.

So, we have a main character’s ghost and a handful of minor characters from the first film in the sequel. Because punk rock. 

I might watch it. I won’t pay to watch it. I will not go out of my way to see this sequel that, like many pointless sequels before it, just does not seem necessary.

Especially since the first film pretty much rounded out the plot. Stevo moves on from a dying and pretty much dead end scene. Bob dies ironically from an overdose. The other characters, who really do not stand out much, go on with their lives. Sometimes sequels are warranted because they expand the characters, the story, ect. This is the equivalent of making “Dazed and Confused 2″ or “Mallrats 2.” A sequel is not needed in these types of films.

I’d post the trailer for “Punk’s Dead,” but because of  the fact is looks horrible,  I leave you with this.