By Jacob Katel
By Laurie Charles
By Nate "Igor" Smith
By Abel Folgar
By Kat Bein
By Jacob Katel
Hype! -- which debuted at Sundance in January and opens here on Christmas Day at the Alliance -- isn't about the birth and death of grunge; that's just a subplot to keep the kids hooked while they wait for the Nirvana concert footage and Eddie Vedder interviews. It's about the self-destruction of rock and roll itself, how its practitioners are consumed and homogenized until you can't tell the good guys from the bad guys any more.
The film is often guilty of the very things it pretends to condemn: It may sneer at MTV, it may poke fun at grunge fashion spreads in daily newspapers or at Rolling Stone cover headlines that touted Seattle as "The Next Liverpool," but in the end Hype! exists to celebrate and further promote a very small pocket of musicians and indie labels who convinced the world their town mattered more than yours. (After all, most of the bands on the Hype! soundtrack -- Fastbacks, 7 Year Bitch, Young Fresh Fellows, Some Velvet Sidewalk -- are still "underground" heroes.) It's telling that as you watch Hype! you can't differentiate between the zealots and the pretenders: Is Dead Moon supposed to be any good, or are they used here as an example of a band trying to ride the flannel wave through Epic Records' front door? Are Gas Huffer and Flop any better than, say, the band you walked out on three songs into its set last night at Churchill's? Maybe it's just a matter of the lesser of myriad evils: Any world in which Kurt Cobain and Chris Cornell and Eddie Vedder exist as "equals," any world in which the Fastbacks eke out a meager living in cult anonymity while Alice in Chains gets the big bucks, was fucked up long before Macy's started selling flannel shirts at $80 a pop.
Hype! concentrates on one small moment in the alternarock time line and blows it up to grand proportions; you'd think Seattle changed everything all at once, that Nirvana and Screaming Trees and Alice in Chains and Pearl Jam and Tad (oh, right) single-handedly reshaped the top-of-the-pops landscape in the late Eighties and early Nineties. It asks you to pity the superstars -- remember that anyone who says it sucks to be famous and rich is lying, and anyone who says it doesn't suck is not famous or rich -- and those who never even made it out of Seattle, such as Girl Trouble and the U-Men. It pokes fun at the concept of grunge (the Thrown-Ups' Leighton Beezer's hands-on explanation of the evolution of punk into grunge is hilariously right on) and then exalts the music as though it were something Soundgarden's Kim Thayil invented.
And Hype! portrays the musicians simultaneously as heroes (a good alternate title might have been Revenge of the Nerds: "We were the guys in high school people used to beat up; we couldn't even talk to the pretty girl," says Screaming Trees' Van Conner) and as victims of major labels looking for a million-selling gimmick. "Basically he said, 'Hey, you sing about dogs, you sing about bein' sick -- you got a shtick, it'll take ya to the top,'" says Mudhoney's Mark Arm, talking about an A&R exec. "And he basically gave us like five chords, but he said, 'Don't use more than three within one song.'" Mudhoney might well have been the best of the Seattle bands behind Nirvana -- but it was also the last signed to a major label and remains the least celebrated of the lot. But Arm, being of the late and influential Green River, knows the shtick better than anyone -- so well, in fact, that Hype! could have been about Arm alone because no one represents the struggle to reconcile the desire to be good and the desire to be famous better than he. After all, if he hated A&R men so much, he didn't have to talk to them -- but finally he did, landing his ass right on Warner Bros., among the most major majors of them all.
Sub Pop founders Jonathan Poneman and Bruce Pavitt are the ground zero of Hype! They make it clear from the beginning that Sub Pop existed to promote Sub Pop, not necessarily the bands on the label. Poneman and Pavitt brought in influential British writers to promote their city and their "scene," touted their singles of the month as a cool marketing gimmick, sold Soundgarden and Nirvana and Mudhoney as brand names. The duo, one a failed musician and the other a failed writer, sold an audience a complete package, and they were as guilty as anyone of turning a city into a "scene" into a sound. But they're unapologetic about their deeds, proud to flaunt their success even as Soundgarden's Thayil lamely insists he didn't know he'd have to do interviews when he signed to a major label.