Tag Archives: 1970s

Top 10 Albums of the 1970s

Was the the 1970’s a good decade? Unfortunately, it’s a decade that’s just as bad, if not worse, than the 2000s. After the 1960’s Hippie Revolution, things came to a turn for the worse where the Cold War gotten more violent, draft was occurring in America, and many bad things were happening that effected the free world countries. For the least tragic stuff, there were a horrible trend of disco music that made all of us not want to go back to this decade. These where truly dark times, but fortunately people were able to fight back with music. As the psychedelic 60s gave way to hippie backlash and high ambitions, one thing was clear: There was something damn funny about peace, love and understanding. Shaking off naturalism, daisy chains and acid tabs came easier than expected, and what resulted was a paradox of both striking diversity and remarkable coherence: From high-concept prog-nerds and high-octane guitar solo to high-heeled glam-rockers and high-ass punks, the 70s saw the rise and dominance of the album-as-unified-statement. TheTopLister now takes the opportunity to present this list of its favorite albums of that decade… minus the fact that this is the top 7 70s albums with the top 3 Pink Floyd Albums.

Number 10.  –  Bat out of Hell – Meat Loaf

‘Bat Out of Hell’ is as much the brainchild of composer Jim Steinman as it is a Meat Loaf solo album. Steinman began working on the songs that would comprise the album in 1974, while he was composing a musical update of ‘Peter Pan’ titled ‘Neverland.’ Steinman and Meat Loaf later toured together as part of a National Lampoon live show, and began collaborating on the three songs they felt were the standouts from that project, with an eye toward developing the material into a cohesive album. Though the album was slow to break, ‘Bat Out of Hell’ eventually sold 43 million copies worldwide, including 14 million in the U.S. alone. It stayed on the charts in the U.K. for 474 weeks, and in true rock and roll fashion, its enormous financial success spawned a number of lawsuits and bad blood between Meat Loaf, Steinman, and various record labels. Meat Loaf and Steinman would continue their difficult working relationship thereafter, and Meat Loaf’s next album, 1981′s ‘Dead Ringer,’ would stiff in America, though it sold respectably in the U.K.Meat Loaf would continue on a downward career and personal trajectory that resulted in drug abuse, losing his voice, a series of poorly received albums and eventual bankruptcy before reuniting with Steinman for ‘Bat Out of Hell II: Back Into Hell.’ The album, released in 1993, rocketed Meat Loaf back to the top of the charts and also won him a Grammy. Meat Loaf released ‘Bat Out of Hell III: The Monster is Loose’ in 2006, sparking off another legal dispute between he and Steinman.

Number 9.  –  Who’s Next – The Who

Songs that find their way into constant circulation on classic rock radio have a tough row to hoe: How can a tune you’ve heard hundreds, or even thousands, of times still be majestic, much less even enjoyable? And, worse yet, is there even an inkling of hope they can seem fresh? But the truly great ones find a way; Who’s Next is chock full of them.Who’s Next creates a sandwich of its own, two massive rock classics bookending the affair. “Baba O’Reilly” is best known for its organ-based synth-esque intro, but it also stands as the pinnacle of the Townshend’s empathy for — some might say “obsession with” — youth. Partially inspired by the drooling masses at Woodstock, “teenage wasteland” has entered the lexicon in a way that would make T.S. Eliot proud. On the flip side, “We Don’t Get Fooled Again” is as striking as ever for its unabashed bravado. After almost all of the nearly nine minutes of drum-bashing, power chord-exploding ferocity have expired, Daltry screams and proclaims, “Meet the new boss, same as the old boss.” Driving to work on a Monday morning, could anything still ring more true?

Number 8.  –  Paranoid – Black Sabbath

Paranoid is the album where heavy metal truly began, the Genesis moment for the genre. Sabbath was still in a transitional mode with their debut, shedding their blues skin to become a band that changed history. Paranoid is where Sabbath came into their own and wrote songs for the ages. At points, the band appears to be headed in different directions but it all gloriously comes together; Iommi plays a classic riff; Ward is at his jazzy best; Butler’s bass oozes into the spaces and cracks and Ozzy’s voice sounds ominous. The musicianship, particularly the rhythm section, is awe-inspiring; listen to the interplay between the big three, especially the musical section closing the final two minutes of “War Pigs.” It’s music that still gives me goose bumps decades after I first heard it. Like the early Led Zeppelin albums, he said he’d played it so many times that he couldn’t hear it again. I encouraged him to revisit it. Paranoid is the album where everything happened for Sabbath, all at once. Four decades later, it’s as fresh and relevant as ever, not just the most important Sabbath record but a musical benchmark of the 20th century.

Number 7.  –  This Years Model – Elvis Costello

Costello’s debut, My Aim Is True, had been brilliant enough, suffering only slightly from the impersonal and occasionally perfunctory work of his for-hire backing band. For his second album, he set out to solve that problem and put together the Attractions, which more than did the trick. From the muscular opening of the brilliant “No Action” it is apparent that we are in the presence of a true musical powerhouse, every bit the equal of their contemporaries the Clash. The result is a blitzkrieg of biting, flawless rock and roll, veritably spilling over with biting putdowns, harassing come-ons, and a kind of clear-eyed paranoia about the truth and consequences of impending stardom. This is Costello as both fearful talent and tactless bully: “If I’m going to go down/ You’re gonna go with me,” he taunts on “Hand In Hand” – and that is arguably one of the record’s love songs. On the cruelly baiting “This Year’s Girl,” he mocks the vapidity of the fashion industry, even while confessing his desire to have a pin-up model all to himself: “broken/ with her mouth wide open.” One of the rock tradition’s most bitter heel turns, This Year’s Model is an incredible display of focused talent and the unique capacity for a genius to make unpalatable vulgarities go down like so much poisoned sugar. Number 6.  –  Give ’em Enough Rope – The Clash  A year after The Clash bursted onto the scene with their acclaimed self-titled debut and gave punk the much needed political drive it needed, they followed it up with a record that tends to go under the radar since it is sandwiched between their furious debut and their masterpiece, London Calling. Released in 1978, Give ‘Em Enough Rope was The Clash sustaining their new found following with much more social and political songs about pissed off British youth. Songs like “Safe European Home, “English Civil War,” “Drug Stabbing Time, “Tommy Gun,” were audio documents as to what was going on in London and beyond at that time. With its original title as Rent-A-Riot, The Clash were on the verge of stirring up something big. Yet, while the album reached number 2 on the British charts and number 128 on the US charts and was actually the first album of the band to be released in the U.S. After the release and buzz about The Clash, CBS Records then went and finally released the band’s self-titled debut with an alternate cover and tracklisting, taking out the song “I’m So Bored with the U.S.A.” Yet, all these years later and with all of the global conflicts going on now, Give ‘Em Enough Rope is just as much as a document of today’s music as it was in 1978.

Number 5.  –  The Wall – Pink Floyd 

The last Pink Floyd album to feature all four integral members, The Wall has for many fans and critics been a point of as much contention as the album that would follow it, The Final Cut. A magnum opus by any standards, the album is seen as much the work of an egomaniacal, self-obsessed Waters as it is the “true” final statement of one of rock and roll’s greatest bands. Both claims are somewhat justified in light of the album’s visionary focus coming almost solely from the intensely personal experiences and emotional perspective of Waters, and also with regards to the album’s inclusion of the classic lineup, as Wright would be fired by Waters two years after its release. Over the course of the album’s hour and twenty-odd minutes, Waters uses his already well-polished metaphorical skill set to eviscerate everything from the recording industry to the educational system to the patriarchal (and yes, even matriarchal) corruption and villainy of the British government. From start to finish, The Wall is an overture to the perils of rock stardom and the inevitable betrayals of self it brings to those artists who achieve it. What might have otherwise lent itself handily to epic-scale self-loathing for virtually any other band served a different purpose for Pink Floyd with The Wall as the songs and overall storyline speak to the most viscerally human commonalities of fear, regret, and grief. Channeled through what are some of the band’s most powerfully enduring songs, The Wall allowed Pink Floyd the rarity to write an album about the introspective struggle of their celebrity without sacrificing its merits to self-important posturing of the highest order.

Number 4.  –  Never Mind the Bollocks – Sex Pistols

The Sex Pistols created an uproar with this album, simply for using the word “Bollocks” (a common British slang term for testicles). Getting banned from a number of shops for just their title speaks to how powerful this cut-up album cover is. Iconic for its design (or lack of it), Never Mind the Bollocks has been emulated countless times. A gorgeously packaged catchall, Never Mind the Bollocks documents the most infamous gang of teenage nihilists to ever pick up a guitar. Built around three culture-shock top 10 singles and the Sex Pistols’ glorious top 40 debut “Anarchy in the U.K.”, the November 1977 release of Never Mind the Bollocks was actually derided as a greatest hits cash-in by many critics (“Anarchy” was a year old, “God Save the Queen” more than six months). By the time the album came out in late ’77, it was the only way to hear the Sex Pistols, who were banned from performing in England. When the clock struck 1978 the Silver Jubilee was over and so were the Pistols, who self-destructed after a brief American tour in January. The Sex Pistols were one band who lived up to the hype and didn’t linger!

Number 3.  –  The Dark Side of the Moon – Pink Floyd

While their previous releases had focused on common themes and narratives to the degree of one or two lengthy songs per album, Waters made clear his creative desire to see the band’s new material take on a unified theme with each track working as a compositional complement both musically and lyrically to the whole of the album. As opposed to what had been a largely abstract lyrical disposition for their material up to that point, Waters’ lyrics are more pointed and exacting on the album — an important shift especially given the explicitly topical nature of the band’s later releases and what would eventually prove to be a point of division among the members. From that perspective, The Dark Side Of The Moon remains Pink Floyd’s most important release though not the band’s best. Again highlighting their most compelling and commanding attributes as a collective of vastly talented musicians, The Dark Side Of The Moon succeeds primarily because of the music’s equity and balance. Even with Waters’ exclusive writing credits on the album, Pink Floyd’s eighth album is the definitive result of the band’s near-mythical rarity in being able to perfectly manifest their creative solidarity through every song. In an album featuring the likes of Gilmour’s iconic solo from “Money” or Wright’s beautiful and heart wrenching keyboard work on “Us And Them” as well as the numerous other key moments offered by each track, the fact that no song plays like the characteristic thumbprint of any one member is one of the album’s more subtle but no less powerful traits. The Dark Side Of The Moon was and still remains Pink Floyd’s unparalleled masterpiece in terms of what the band was capable of creating at the zenith of their creative synchronization, though its members would soon discover that their most powerful music was derived from a ruthlessly vulnerable place of imperfection.

Number 2.  –  The Clash – The Clash

Decide if you like London Calling or the debut Clash album, but I say that no other punk band was able to express powerful ideas as eloquently as the Clash and their debut self-entitled album. No other punk outfit was able to assimilate and utilize as relevant and fascinating a collection of influences.The late ’70s weren’t kind to England. The economy was in the pits and the outlook was bleak. Enter three lads from London, who managed to channel the collective anxiety of the country’s disenchanted youth, courtesy of Joe Strummer’s madder-than-hell, politically charged lyrics and Mick Jones’ machine gun guitar riffs. The Clash was a major turning point for punk. For the first time, the establishment had to recognize the genre as a voice for social change. On their eponymous debut they take Junior Murvin’s superlative reggae hit “Police and Theives” and transform it into a punk classic. Their most popular tune, “Complete Control” was produced by Jamaican studio genius Lee “Scratch” Perry, and is one of the most brilliant recordings ever made. In their remarkable statement of purpose, “Clash City Rockers”, they tack on an ending paying tribute to stars of both reggae and glam, while incorporating “Bells of Rhmney”, a folk song about labor unrest in Welsh coal mines in the 1920’s! A punk band with lyrics to rival Bob Dylan and Phil Ochs – it seems incredible. When this album came out in 1977, CBS execs in the U.S. decided not to release it here because they thought it would be over the heads of American audiences. They may have been right, but they finally released an American version after the LP became the biggest selling import in history. If you’re in a record store look carefully and you’ll see that there are two similar looking versions of the CD with somewhat different lineups of songs, the American and British versions. Take your pick, either version is SP’s #1 punk album of all time!

Number 1.  –  Wish You Were Here – Pink Floyd

One reason why I couldn’t say Dark Side of the Moon is Pink Floyd’s best work is because their follow up turned out to be the best follow-up album of all time, and the best album of the entire 1970s. Wish You Were Here‘s iconic artwork immediately betrays the emptiness and delusion of its subject matter from the mechanical handshake as well as that between the businessmen with one engulfed in the literal and metaphorical flames inextricably linked to the band’s being fully aware by then of the looming threat of creative and even more poignantly mental devastation. As intended as the album was in paying due credence to Barrett, Wish You Were Here works just as adamantly in the compositional and lyrical disenchantment of the remaining members of the band themselves. This is primarily evident on tracks such as “Have A Cigar” and “Welcome To The Machine,” both of which render a scene less focused on the retrospect of the album’s elegiac tone and more on what the band observed in themselves at that present time. The rarity of a perfect album does not afford itself simply to occasion, and much like Barrett himself the brilliance will justifiably be forever debated, but the humanity and fragility of grief poured into each song of Wish You Were Here will remain inarguably captivating and unrivaled. In the year since its release and in the relatively recent death of Barrett himself in 2006, the album has become one decidedly concerned with more than just the fragmented mind of its inspiration. For all its intimately achieved grandeur, it represents one of modern music’s most powerfully relevant introspective views of human fragility as well as the cruel indifference of grief. From that perspective, Wish You Were Here stands as Pink Floyd’s unintended masterpiece, as much an anguished and reluctant farewell to their friend in Barrett as it was to themselves as a band they no longer recognized.


Top 10 Worst Things of the 1990s

Just to let everyone know that I really love growing up in the 90’s and still cherish this decade for everything that I can remember. However, there’s no decade that’s perfect because there are of course good days and bad days for every single year. Of course I won’t be nitpicky for technologies, graphics, or cultures (backwards hat for example) that aged terribly because anything old in general can age badly. I’m looking at aspects of the 1990s that caused us grief and disappointments. The 1990s is infamous for being violent, drug-heavy, and rowdy than any other decade. And at the same time there were horrible moments in this era like these ten worst things in the 1990s. But despite anything I say in this list, this decade as a whole is WAY better than the 2000’s which I declare as the worst decade since the great depression. Before I make a list of the ten best things of the 1990s, let’s just look at the worst. As must was we desire to go back to this time, just remember that if we could possibly do so, we have to endure the punishment that came from this decade.

Number 10.  –  Too Many Consoles

I will still stand to my guts and stick with saying that gaming in the 1990s is the best time of gaming, however I will have to admit that there were downfalls of this decade of gaming. Why? Because there were just too many competitors trying to compete against Sega, Nintendo, and Sony like the NEO GEO, Turbografx-16, Atari Jaguar, 3D), and so many more that you need to see for yourself! Here’s the problem, as much as manufacturers and game companies like to say that the Genesis and Super Nintendo is inferior to their product, they still failed to do the most important thing; sell games. It was difficult to see if whether or not if any of their advertisement is true of propaganda to take so much money from you. Today, it’s easy to know what to spend our money on by looking it up on the internet and see other’s recommendation that actually tested it. If you want to take a look at some of the worst consoles of all time, just take a look at any system released in the 1990s with the Sega Saturn and Turbografx-16 being an exception. There were just more hardware than software. Even worse, buying a system is not good enough so we forced ourselves to buy the CD add-ons like the Sega CD, Sega 32-X, and Atari Jaguar CD that was sold separately. Also, can anyone tell me what handheld was better than the Gameboy or Gameboy Color that had a decent library and didn’t suck up so much batteries that caused childhood bankruptcies? If you’re one of those suckers that got them selves into video games that wasn’t made by Sega, Nintendo, Sony, NEC, or SNK, I pity you for waisting so much money and didn’t get a lot in return from the system.

Number 9.  –  East Coast-West Coast Rivalry 

Just remember! Because of this trend is the reason why Pac and Biggie are dead. One reason why I’m not that much of a fan of rap culture is because it’s so violent and filled with sheep that gets involved with it. The feud in the 1990s between artists and fans of the East Coast hip hop and West Coast hip hop scenes in the United States. Focal points of the feud were East Coast-based rapper The Notorious B.I.G. (and his label, Bad Boy Records) and West Coast-based rapper 2Pac (and his label, Death Row Records), both of whom were murdered by unknown assailants. Not only these two were involved in this competition, but many rappers as well like Tim Dog, Bad Boy, Death Row, and more. Also violence between rap fans and gangstas. There are rappers out there that wasn’t involved with this rivalry like the Beastie Boys, Rage Against the Machine, and Nas just to name a few. But Hip-Hop still can’t stop creating heat because it still continues throughout the 2000s.

Number 8.  –  1970’s and 1960’s Retro

Do you know how I know of the 1970s and 1960s at a very young age? It’s not because of my parents who loves playing music from that era, it’s because the whole media is obsessed of resurrecting this era that made the 1990s nearly lost its identity. If the 90s will be remembered for one Big Trend, it will be Retro, especially 70s-Retro – which is eye-ron-ik because modern Retro started in the mid-70s, when American Graffiti and Happy Days became two of the biggest hits of all time. But unlike in the real, horrible 70s – when 50s retro was a tragic, pathetic cry for help to escape the wretched bummer of the 70s – the 70s-Retro fad in the 1990s was cute, kitsch and merely a way for mainstream-hipsters to drop quasi-obscure pop culture references. In fact, 70s-Retro isn’t even a 90s thing – it got its start in urban clubs around 1987, and wouldncha know it, 70s-Retro is still big today! Looking back at it now, there are just an overwhelming number of things that loving going back in time like That 70’s Show (overrated show), Quentin Tarantino movies, Austin Powers, and SO many movies and shows! Sure Generation X wishes that they were back in the past but why can’t anyone live in the times… oh I forgot… it’s because the next worst thing of the 1990s…

Number 7.  –  BoyBands and Teen Pop

Usually a group of 4 or 5 untalented males who take credit for songs that they didn’t write. They are put together by a greedy music industry, and eventually end up putting out every single thing in the world with their logo on it so ‘teenie-boppers’ will go spend their money.A boyband must consist of the following: good looks, charm, and no talent. The most obvious reason why they suck is the way the “music” sounds. Sure some of them may be able to harmonize and hit notes correctly (semi-correctly), but the simple fact is that they do not sound good. Boybands also suck because the members have absolutely no musical talent whatsoever. Sure, one or two of them may be able to sing, but rarely does the ability to sing well ever have anything to do with talent. Most of the time if a person is able to sing, it is something that he or she was born with and not something that must be practiced. They play no instruments, write no music, and are probably not even involved in the production until all of the music has been lain down and the producer is read to record the vocals. The thing that sucks is that this is where music jumped to when Kurt Cobain committed suicide and as a result many of us jumped to heavier and more violent music like Nine Inch Nails, Rage Against the Machine, and many more to rebel against the awfulness of Brittany Spears, Backstreet Boys, Spice Girls, NSYNC, and the rest that gave the 1990s a bad name! It would take many years after the 1990s for us to “leave Brittany Alone” finally!  It’s no wonder why people still wishes that they were in the 1970’s because of this awful trend of music and cultures.

Number 6.  –  Comic Books of the 1990s

During the ’80s, no medium was more innovative and daring than comic books. Shedding the notion that they were exclusively for children, writers like Neil Gaimain, Frank Miller, and Alan Moore revolutionized the industry with titles such as Batman: Year OneThe Dark Knight ReturnsWatchmen, and Sandman. These books transcended the superhero genre and wound up appealing to fans with more sophisticated tastes. That decade of revolution simply couldn’t bleed over into the ’90s, however. Even though Miller, Moore, and Gaimain were still churning out great work during the ’90s, new trends started to overtake the industry. The superlative storytelling of the ’80s were replaced by flashy art and greedy publishers’ get-rich-quick schemes. Thus began the era of tasteless, hyper-sexualized drawings and classic superheroes thrown haphazardly into mindless stories created purely for shock value. Many artists, like Rob Liefield, are responsible for this moment in art and as a result it gave comic books a bad name and caused Marvel to declare bankrupts which caused the Comic Book Market Crash of 1996 that still to this day we’re still recovering from. This week marks the 15th anniversary of one of the worst comic book events of all time, Marvel Comics’ Heroes Reborn, a 1996-1997 crossover story arc that needlessly “killed off” the Avengers, the Fantastic Four, and Dr. Doom and reinvented them in a pocket universe.  Of course not all comic books of the 1990s were at all bad, I was able to make a Top 10 Comics Books of the 1990s that still stand as being the greatest ever! It just took as a long ten year till the media as a whole got rid of this trend and moved on to the right direction for the business.

Number 5.  –  Furbies

Which leads us nicely onto the Furby. Again, whilst the fears of the Millennium bug turning them all into Terminator-esque killing machines didn’t quite come to fruition, there was always something not quite right about these owlish creatures. In the late 90s, over 40 million of these things were sold worldwide, children everywhere lured by their apparent ‘intelligence’ at learning language and ‘ communication’ through infra-red ports – they were even banned at one point from many intelligence agencies’ offices, because there were fears they would share national secrets. All we know is, like true spies, they hold up well under torture. Especially water torture.

Number 4.  –  Kurt Cobain Suicide

I don’t doubt that Nirvana was going to come to an end because of the huge press that they were getting that effected their relationship with each other, but to go far as to committing suicide and destroy an era along with it is some of the worst things ever. Still to this day we debate on how or why this has happened, but to had the grunge movement to define a decade then all of the sudden just ended as we entered the mid-90s. To see that we’re still missing and sadden for this very incident shows how sad this moment really is. You can tell everyone misses Kurt and Nirvana because they still buy the same records from the band and getting never released tracks that still sells today. I would have loved to see the legacy of Nirvana to expand so much more if there was more control with the band. At lease he left us with a bang in the Live At Reading performance that still makes us feel that Kurt’s alive. Either way, it was a wrong decision for Kurt to do and it still effects all of us around the world.

Number 3.  – The Montreal Screw Job

If any of you guys think wrestling is fake, you’re an idiot! This is as real as it gets and never have I seen a disgusting actin in wrestling in my entire life! I don’t care what any of you Vince McMahon or Shawn Michaels marks say Bret was wrong, but it was all Vince’s fault for making Bret Hart heel only to have him to be the hero of Canada and prime enemy of the United States of America throughout 1997. You should have seen how violent the wrestling world was between Canada and USA because of all the back talking of cultural differences between both nations. If you’re seen as your country’s biggest hero, of course you can’t loose to your country as a finale of your career. Beside, Bret promised to give back the WWF Championship to Vince and I know Bret would never do that, but just because Vince had Madusa toss the Women’s title in trash live at WCW Nitro, doesn’t mean every wrestler is going to do it. This was an incident that was so tragic that it shows how much bullshit wrestling politics really is. I respect Shawn Michaels as a wrestling and a performer because he is the most talented guy in the industry, but let’s admit it he was the most immature, insecure bitch of all time. Not only he ruined a lot of wrestler’s careers with the fucking Kliq during the New Generation Era, but he also ruined Bret Hart’s as well. Sure, Bret could have seen it coming but it turned out way worse than anyone expected. Even Earl Hebner swore he won’t do the screwjob on his children, well I hope they have a special place in hell for breaking that swear. What’s even more of an insult to me was that after the Montreal Screwjob, Vince publicly said he had no sympathy for Bret whatsoever and Shawn and Triple H mocked Bret with a midget impersonator. This is the reason why I’ll never be a pro wrestler because of stunts like this! Vince McMahon is wrong, Bret didn’t screw Bret, Vince screwed Bret and screwed himself. The only reason why I still watch the WWF after all the bullshit they’ve made, is because I want to see good storytelling, talented wrestlers that are in their roster, and even Vince getting his ass kicked. Besides, Shawn got what he deserved by breaking his back and forcing himself to retirement till he became a born-again Christian. The only reason why this is not number 1 is because both of them made peace with each other 12 years later which really made me cry! It was one of the most magical moments that proves that anything can happen. Because of this I’m no longer mad at what Shawn, Vince, or Hebner did in 1997.

Number 2.  –  OJ Simpson Trail, Michael Jackson’s Allegations, Mike Tyson Incident

Nothing can ever more disappointing than having celebrities that are looked as heroes to turn us down because of legal problems that we never knew that they had it with them. But what’s even worse is how it damaged their reputation so badly that every time we mention their names we still think of that very legal problems. Try saying Michael Jackson and see if anyone isn’t thinking of pedophilia, or say OJ and see his murder. At least those two got away with it (except for OJ’s second trial), but Tyson had to go to prison during his boxing career making boxing itself boring to watch without him. Another thing in common with these three is that they had to deal with trials more than once later in the 2000’s and it’s just crazy to see that people are still after them since the early 1990s. It just hurts to see that these three really talented big names has destroyed all praise and recognition. This was the time when society was hostile and vicious with anything and when it comes to legal problems, it’s scary to be a celebrity. Not only are we just scare of even confronting these three but they left us in disappointment! All those memories of seeing them do what they do best is for ever tainted with their uncontrollable behavior.

Number 1.  – Columbine Shooting

If there’s always a strong debate on gun control, it has to be because of this massacre. On April 20, 1999, in the small, suburban town of Littleton, Colorado, two high-school seniors, Dylan Klebold and Eric Harris, enacted an all-out assault on Columbine High School during the middle of the school day. The boys’ plan was to kill hundreds of their peers. With guns, knives, and a multitude of bombs, the two boys walked the hallways and killed. When the day was done, twelve students, one teacher, and the two murderers were dead; plus 21 more were injured. The haunting question remains: why did they do it? I can really see that they were really troubled kids that couldn’t fit in anywhere, we would of see them as victims, but to see all of them get shot shows that whoever they wanted to kill turned out to be the victims. It’s truly horrifying to see that the youth of America could degenerate themselves to shoot the innocent, but for the fact that they are responsible for the darkest times of the 1990s, and there should be nobody to blame than Eric David Harris and Dylan Bennet Klebold on Adolf Hilter’s birthday of all things. This shows that teenage rebellion is bullshit and whatever they stood for, it was not worth it. The Columbine Massacre changed the way society looked at children and at schools. Violence was no longer just an after-school, inner-city activity. It could happen anywhere.

Well, I’m done talking about the worst aspects of the 1990s, however let’s finish the 1990s list by making our final list of the Top 10 Best Things of the 1990s!

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