A Quote by Matthew Specktor

The '90s were a time when not just the movie business, but every aspect of American life, became a lot more corporate. There's a line in Jonathan Franzen's essay "Perchance to Dream" about how "the rich lateral dramas of local manners have been replaced by a single vertical drama, that of commercial generality." I wanted to examine that great homogenizing force that came in during the '90s, since Hollywood seemed a place where it was particularly active.
The '90s came, and then the 2000s, and we saw radical corporate interest extremism, we've seen the disparity between rich and poor just get bigger, with globalisation and the corporate agenda on the rise ever since.
Every generation has a different ways of telling a story. We had a great run in the early '90s, into the mid-'90s, and we became a little more executive-driven as we got into the 2000s.
The '90s were a party, I mean definitely maybe not for the grunge movement, but people were partying harder in the '90s than they were in the '80s. The '90s was Ecstasy, the '80s was yuppies. There was that whole Ecstasy culture. People were having a pretty good time in the '90s.
I think people were genuinely addicted to hip hop in the 90s, addicted to the idea of empowerment. I think it came from [the fact that] the rappers in the 90s, their parents coming from the 70s, had such a rich variety of records to sample.
I always wanted to be a main eventer in pro wrestling. I lived my dream, but the excess of the '80s and the huge money of the '90s became a great temptation for many of us.
By the time it came to the 90s, the late 90s, being a businessman was the beacon to uphold. We've been having the concept of the best rapper equals the best businessman.
Jonathan and I love flipping homes. We've been renovating and flipping houses since the '90s.
Since I was very young I've been fascinated with nature and I actually wanted to be a marine biologist when I was very young. That was a great passion of mine. So I suppose in the off season when I'm not making movies, I became more and more active as an environmentalist trying to be more vocal about issues that I felt were important.
We were born ahead of our time. Don't forget that the riot-grrl scene had a lot to do with making The Slits a legend, and that didn't happen until the early '90s. We couldn't get together before then, because the legend hadn't been built yet. In the 2000s, we've become bigger than life in that way. It's become really important for The Slits to be here now, but idealistically, we should have done it in the '90s.
People forget how dominant Public Enemy became in the mid '80s. No one talks about how transformative they were. And then that led to the '90s and the sort of East Coast v. West Coast stuff, which is kinda when I came of age.
Like leggings, comedies created by women came into vogue in the late 1980s, exploded in the early '90s, went mainstream in the mid-'90s, and were shoved into the back of the closet around 1997.
Music didn't really hit me again until the '90s, when the dancehall scene got going. The '90s were perfect for me. I would have really liked to have had The Slits out in the '90s again, to do tours and albums, because I think the '90s was a brilliant decade for music.
But we were really locked in to that kind of format, and as the '90s wore on, it became for me more solidified, in that sense that there weren't as many of those magical shows that were just magic all the way through as there had been in earlier years.
People think, 'Oh, you're doing 'The Wiz' because 'Empire' is such a big hit.' The truth is, staging this musical has been a dream of ours since the '90s, but the rights were tied up. It's just coincidental that, this year, when we were choosing a new musical, the rights were cleared.
You know, my era of DJing was the 90s. I think that was one of the best eras of music, period. From dancehall to hip hop to rock to pop to R&B to everything. I just like that era of music, so I just listen to a lot of 90s overall but definitely 90s hip hop.
When I started to make music at the end of the '90s, I saw myself highly influenced by hip-hop and techno, but I wanted to apply these ideas to something from the local sound; something that had identity, that would say who we were and where we came from.
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