Hype!

When you think about what happened up in the Pacific Northwest during the late '80s and early '90s, you kind of realize that this "scene" was always destined to fail. There's no way a secluded, out-of-the-way region like Washington state could have produced a long-lasting cash cow. It did in a backhanded kind of way since people are still leeching off the scene to create a much more dumbed-down version (Seether, anyone?). That's not to say everything that came from Seattle was intelligent. No one would accuse Seaweed or Gas Huffer for being the most brilliant bands ever. But there was an authenticity that came from those bands and many others that were created in Seattle that scene-hoppers like Candlebox couldn't replicate.

And the movie Hype perfectly illustrates this point. It shows the juxtaposition created by commercial success and authenticity. Occasionally the two can coexist, but more often then not they're mutually exclusive. So to see bands like the Screaming Trees on the cusp of fame, only to shy away from it (even if unintentionally), you kind of get the idea what a lot of the Seattle bands were about. Most never expected to amount to anything more than the guy who serves you your coffee at Starbucks. The goal for a lot of people was just to make music they personally enjoyed, and then play a few shows. If they got lucky, they expected maybe to tour up-and-down the West Coast. And then that's it But MTV came calling and then that was it. Authenticity is replaced by photogenic front men.

Don't get me wrong. Nirvana, Pearl Jam, Soundgarden, and Alice in Chains were all greats band, but they got a lot of their attention because they were lucky enough to be fronted by sensitive, good-looking guys that girls would go crazy for. They had great music, but their looks coupled with the down-and-dirty attire that they wore made them into the guys-next-door. The movie Singles helped to solidify that image, and then grunge became a household word. Meanwhile Tad were stuck out in the cold, stormy weather of Seattle, playing music that was equally compelling.

If anything, don't watch Hype for the big bands that came out of the scene. Watch it for the obscure bands you've never heard of. Bands like the Fastbacks, the Gits, Some Velvet Sidewalk, and Love Battery. Is Eddie Vedder a good listen? Well, yeah. But does he make much sense? Nope.

Another big highlight of this movie are the producers, the writers of fanzines, the current (and former) employees of Sub-Pop, generally everyone that lived in Seattle but wasn't in a band. They all have great stories that really go back to illustrating the authenticity of the music, and eventually also pointing out its corruption.

This along with the more recent Brian Jonestown Massacre/Dandy Warhols-documentary Dig should be required viewing for any self-respecting music fan. They both brilliantly show the highs and lows of success in the music business, and everything those two polarities entail.

If you were above a certain age when the "Seattle sound" or "grunge rock" became the rage, HYPE! is a good place to catch up. I can't think of a single feature film that has concert performances from so many bands. Most songs are shown as excerpts rather than in full-length, but the clips are lengthy, and the musicians are shown in prolonged shots without the irritating frenetic cuts favored by post-MTV film editors. The concert footage has more the flavor of the 60's than the 90's. Although grunge rock was the signature of Generation X, both older and younger rock music fans will likely enjoy it.

Most of the interview material will be best appreciated by fans of the genre. Other viewers will find that, away from the stage and their instruments, grunge rockers are no wittier or more entertaining than the musicians who preceded them.

It's my hope that future musicians who are trying to make real music as opposed to Spice Girls pap and that ilk will look at this documentary and try not to make the same mistakes, and allow the hype to overwhelm what could have been a real musical revolution. The high points (or low points, depending on your point of view) are the Muzak version of "Smells Like Teen Spirit" and when the ex-Sub Pop employee made up "grunge" terms that The New York Times printed as gospel. I wish this had acknowledged earlier Seattle musicians like Hendrix and Heart, and tried to answer whether the Nirvana-Pearl Jam feud was real or just part of the hype, but otherwise, this is an important cautionary tale, and it's also fun and informative. Oh yeah, and the music is great too.

For anyone who was a fan of the early '90s "grunge" music, Hype! is almost required viewing. Loaded with interviews, live footage, and early demos/recordings, it is an accurate chronology of the early scene.

However, what makes Hype! so good is that it is basically two stories in one. A simple narrative about the Seattle scene is used to illustrate how the American pop-culture machine will jump on the bandwagon. An independent musical scene with a range of different influences gains a little exposure and reputation. Soon the corporate media steps in, and it all becomes wrapped up in the nice little package of "grunge" and is marketed nationwide as a music/clothing/life-style choice. The people in the original scene either play the game and take advantage of it, or they are caught up and exploited, or they are simply left behind. In the end, what was once underground becomes assimilated into the mainstream and homogenized. The cycle is left to repeat itself somewhere else as soon as the next "musical revolution" is discovered.

Hype! could have just as easily been about a different city or musical genre, and the story would have been the same. These same themes have been brought up in numerous other films, but they work a little better in Hype! because it's not simply a satire, but shows it first-hand through real people.

Once again, I think Hype! is a well-made documentary. Even if you're not a fan of "grunge", I still recommend it for its treatment of pop-culture as a whole.

This is a great little look at the grunge boom and subsequent exploitation of said boom, but it's also a time capsule for people still believing in music and fighting "selling out" and that whole ideology that nobody really cares about anymore. You'll see lots of bands that no longer exist and a moment in time that came and went with a blink. Overall a great flashback.