Game: which band/artist is more enjoyable without irony

[washing machine]

Sugar Ray


Smash Mouth

I knew you would be the one to bring Smash Mouth into this thread, but I didn't expect it until page 2 or 3.

[Higgs]

Sugar Ray. I remember learning a few of their riffs on guitar back in the day. Smash Mouth are kinda annoying and their "hits" too overplayed.

[washing machine]

I'm going with Sugar Ray in this matchup. The deep cuts on Floored are listenable.

[lennytheweedwhacker]

[Balki]

Black Box for sure

[Balki]

And no doubt, some D-Train
This track KILLS

[spike]

I'm so into this AV Club theory:

Three years ago I posited a theory that’s almost certainly bullshit (but still interesting enough to re-consider) about how director Robert Zemeckis used Lewis’ “The Power Of Love” in the biggest box-office grosser of 1985, Back To The Future. Conceding that I was likely giving Zemeckis and his co-screenwriter Bob Gale too much credit, I argued that “all the timely accoutrements signifying ‘the present’ in Back To The Future”—including denim jackets, Calvin Klein underwear, Tab soda, and Eddie Van Halen references, as well as “The Power Of Love”—“would inevitably look like 1985 within just a couple of years; in fact, they were banking on it. Zemeckis and Gale were trying to create an archetypical representation of 1985 just like they did for 1955, with its soda fountains, social repression, and subjugated black people.”

In essence, I was asserting that Back To The Future was “a period piece made in 1985 that depicts 1985 as an era as distant-seeming as its version of 1955.” Music is one of the easiest ways to cinematically evoke an era, and just as Zemeckis signified 1955 by prominently featuring mainstays of the period like “Mr. Sandman” by The Chordettes and “Earth Angel” by The Penguins, he used “The Power Of Love” to give Back To The Future an extra dose of mid-’80s specificity. If Back To The Future took place during any other year, a teenager listening to Huey Lewis on headphones while sneakily hitching a ride on the back of a pickup truck with his skateboard would have been utterly ridiculous. Granted, it’s sort of ridiculous in Back To The Future—a California skater like Marty McFly probably would’ve jammed on some Minutemen or Black Flag—but it wasn’t entirely implausible. Huey Lewis really was a genuine pop star, and many viewers of Back To The Future in ’85 would’ve accepted him as a signifier of contemporary coolness without question. (Which makes “The Power Of Love” a perfect choice to musically represent the otherness of ’85 in retrospect, if that indeed was on Zemeckis’ mind.)

This makes sense to me. Marty listening to Huey has never quite added up.

[spike]

I'm so into this AV Club theory:

Three years ago I posited a theory that’s almost certainly bullshit (but still interesting enough to re-consider) about how director Robert Zemeckis used Lewis’ “The Power Of Love” in the biggest box-office grosser of 1985, Back To The Future. Conceding that I was likely giving Zemeckis and his co-screenwriter Bob Gale too much credit, I argued that “all the timely accoutrements signifying ‘the present’ in Back To The Future”—including denim jackets, Calvin Klein underwear, Tab soda, and Eddie Van Halen references, as well as “The Power Of Love”—“would inevitably look like 1985 within just a couple of years; in fact, they were banking on it. Zemeckis and Gale were trying to create an archetypical representation of 1985 just like they did for 1955, with its soda fountains, social repression, and subjugated black people.”

In essence, I was asserting that Back To The Future was “a period piece made in 1985 that depicts 1985 as an era as distant-seeming as its version of 1955.” Music is one of the easiest ways to cinematically evoke an era, and just as Zemeckis signified 1955 by prominently featuring mainstays of the period like “Mr. Sandman” by The Chordettes and “Earth Angel” by The Penguins, he used “The Power Of Love” to give Back To The Future an extra dose of mid-’80s specificity. If Back To The Future took place during any other year, a teenager listening to Huey Lewis on headphones while sneakily hitching a ride on the back of a pickup truck with his skateboard would have been utterly ridiculous. Granted, it’s sort of ridiculous in Back To The Future—a California skater like Marty McFly probably would’ve jammed on some Minutemen or Black Flag—but it wasn’t entirely implausible. Huey Lewis really was a genuine pop star, and many viewers of Back To The Future in ’85 would’ve accepted him as a signifier of contemporary coolness without question. (Which makes “The Power Of Love” a perfect choice to musically represent the otherness of ’85 in retrospect, if that indeed was on Zemeckis’ mind.)

This makes sense to me. Marty listening to Huey has never quite added up.

[wease]

So is Huey Lewis.

Huey Lewis fucking kicks ass.

And according to Connie Hamzy, he also has the biggest cock in rock.

[washing machine]

I'm so into this AV Club theory:

Three years ago I posited a theory that’s almost certainly bullshit (but still interesting enough to re-consider) about how director Robert Zemeckis used Lewis’ “The Power Of Love” in the biggest box-office grosser of 1985, Back To The Future. Conceding that I was likely giving Zemeckis and his co-screenwriter Bob Gale too much credit, I argued that “all the timely accoutrements signifying ‘the present’ in Back To The Future”—including denim jackets, Calvin Klein underwear, Tab soda, and Eddie Van Halen references, as well as “The Power Of Love”—“would inevitably look like 1985 within just a couple of years; in fact, they were banking on it. Zemeckis and Gale were trying to create an archetypical representation of 1985 just like they did for 1955, with its soda fountains, social repression, and subjugated black people.”

In essence, I was asserting that Back To The Future was “a period piece made in 1985 that depicts 1985 as an era as distant-seeming as its version of 1955.” Music is one of the easiest ways to cinematically evoke an era, and just as Zemeckis signified 1955 by prominently featuring mainstays of the period like “Mr. Sandman” by The Chordettes and “Earth Angel” by The Penguins, he used “The Power Of Love” to give Back To The Future an extra dose of mid-’80s specificity. If Back To The Future took place during any other year, a teenager listening to Huey Lewis on headphones while sneakily hitching a ride on the back of a pickup truck with his skateboard would have been utterly ridiculous. Granted, it’s sort of ridiculous in Back To The Future—a California skater like Marty McFly probably would’ve jammed on some Minutemen or Black Flag—but it wasn’t entirely implausible. Huey Lewis really was a genuine pop star, and many viewers of Back To The Future in ’85 would’ve accepted him as a signifier of contemporary coolness without question. (Which makes “The Power Of Love” a perfect choice to musically represent the otherness of ’85 in retrospect, if that indeed was on Zemeckis’ mind.)

This makes sense to me. Marty listening to Huey has never quite added up.

I never really thought about it in context of what Marty did or didn't listen to. I'm just in love with the idea of BTTF as a period piece upon release.

[washing machine]

I'm so into this AV Club theory:

Three years ago I posited a theory that’s almost certainly bullshit (but still interesting enough to re-consider) about how director Robert Zemeckis used Lewis’ “The Power Of Love” in the biggest box-office grosser of 1985, Back To The Future. Conceding that I was likely giving Zemeckis and his co-screenwriter Bob Gale too much credit, I argued that “all the timely accoutrements signifying ‘the present’ in Back To The Future”—including denim jackets, Calvin Klein underwear, Tab soda, and Eddie Van Halen references, as well as “The Power Of Love”—“would inevitably look like 1985 within just a couple of years; in fact, they were banking on it. Zemeckis and Gale were trying to create an archetypical representation of 1985 just like they did for 1955, with its soda fountains, social repression, and subjugated black people.”

In essence, I was asserting that Back To The Future was “a period piece made in 1985 that depicts 1985 as an era as distant-seeming as its version of 1955.” Music is one of the easiest ways to cinematically evoke an era, and just as Zemeckis signified 1955 by prominently featuring mainstays of the period like “Mr. Sandman” by The Chordettes and “Earth Angel” by The Penguins, he used “The Power Of Love” to give Back To The Future an extra dose of mid-’80s specificity. If Back To The Future took place during any other year, a teenager listening to Huey Lewis on headphones while sneakily hitching a ride on the back of a pickup truck with his skateboard would have been utterly ridiculous. Granted, it’s sort of ridiculous in Back To The Future—a California skater like Marty McFly probably would’ve jammed on some Minutemen or Black Flag—but it wasn’t entirely implausible. Huey Lewis really was a genuine pop star, and many viewers of Back To The Future in ’85 would’ve accepted him as a signifier of contemporary coolness without question. (Which makes “The Power Of Love” a perfect choice to musically represent the otherness of ’85 in retrospect, if that indeed was on Zemeckis’ mind.)

This makes sense to me. Marty listening to Huey has never quite added up.

I never really thought about it in context of what Marty did or didn't listen to. I'm just in love with the idea of BTTF as a period piece upon release.

[spike]

double key slamming

[Jorge]

Bummer

Huey Lewis and The News cancel all 2018 performances

Two and a half months ago, just before a show in Dallas, I lost most of my hearing. Although I can still hear a little, one on one, and on the phone, I can’t hear music well enough to sing. The lower frequencies distort violently making it impossible to find pitch. I’ve been to the House Ear Institute, the Stanford Ear Institute, and the Mayo Clinic, hoping to find an answer. The doctors believe I have Meniere’s disease and have agreed that I can’t perform until I improve. Therefore the only prudent thing to do is to cancel all future shows. Needless to say, I feel horrible about this, and wish to sincerely apologize to all the fans who’ve already bought tickets and were planning to come see us. I’m going to concentrate on getting better, and hope that one day soon I’ll be able to perform again.

Sincerely Huey

[PHATJ]

That sucks. It would be awful for anyone, let alone a musician. Hope it improves.

[BurtReynolds]

Picking Sugar Ray is wrongest answer ever.

[VinylGuy]

I would say Smash Mouth, but Everyday is actually a very good song.

[wease]

Bummer

Huey Lewis and The News cancel all 2018 performances

Two and a half months ago, just before a show in Dallas, I lost most of my hearing. Although I can still hear a little, one on one, and on the phone, I can’t hear music well enough to sing. The lower frequencies distort violently making it impossible to find pitch. I’ve been to the House Ear Institute, the Stanford Ear Institute, and the Mayo Clinic, hoping to find an answer. The doctors believe I have Meniere’s disease and have agreed that I can’t perform until I improve. Therefore the only prudent thing to do is to cancel all future shows. Needless to say, I feel horrible about this, and wish to sincerely apologize to all the fans who’ve already bought tickets and were planning to come see us. I’m going to concentrate on getting better, and hope that one day soon I’ll be able to perform again.

Sincerely Huey

Aw fuck. That sucks. I’d love to see them live.