The Tripwire: Rethinking Green Day’s Musical American Idiot
After it happened I spent a whole hour of Bio drawing out the Green Day logo, painstakingly true to the cover of Dookie, on the re-purposed brown paper bag that covered my 18-pound textbook. By lunch I was self-conscious and added a heart-shaped Smashing Pumpkins logo, along with Pearl Jam, Nirvana (Unplugged had just been put in circulation as a cassette bootleg, allegedly from Europe, by Mike Harris), Weezer and I’m pretty sure Screaming Trees. Holy shit was I proud of that book. In my heart I was sure that nobody had ever copied logos so exactly, ever before, making me the world’s (or at least the school’s) most authentic grassroots marketer of MTV-brand not-give-a-fuck-ness.
(Oh man, I’m no artist, but I used to draw the logos to most of these bands on my binders. It made me feel so cool.)
Anyway, because of all that run-on above, not only can I not bash the Green Day musical (no matter how hard it begs), but I also can’t for the life of me think of what it is you talk about when you talk about “rock.”
Maybe that is the whole honeypot of being a teenager. Maybe rock ‘n roll is. All that beautiful, blinding, self-serving ignorance where, for a hot zitty crotch-juicing minute, the world is completely yours.
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