
Smells Like Teen Spirit
Four chords, a mumble nobody could decipher, and the riff that ended one decade of rock and started another.

Four chords, a mumble nobody could decipher, and the riff that ended one decade of rock and started another.

The baby on the cover was paid two hundred dollars. Four months after release it knocked Michael Jackson off the top of the chart.

Hopkins is on screen for a fraction of the film and won an Oscar anyway: Demme shot the interviews straight down the lens so Lecter looks directly at you.

Ron Carter, who played bass with Miles Davis, appears on one track and made them promise there would be no swearing on it.

Producer Rick Rubin moved the band into a Hollywood mansion they were convinced was haunted. Guitarist John Frusciante quit within a year of its release.

Spiegelman drew his father's survival of Auschwitz as a comic, Jews as mice and Nazis as cats, and drew himself failing to get along with the old man telling it.

They went to Berlin just after the Wall came down, argued badly enough to nearly break up, and got the song One out of it.

Computer effects became believable overnight: Cameron spent more money than anyone ever had, put a liquid metal killer on screen, and every studio in town immediately started writing checks.
Buck wrote the riff while teaching himself mandolin in front of the television, and R.E.M. got their biggest American hit.

Hammett built the riff after Soundgarden's Louder Than Love, and Bob Rock sent Hetfield back to write a child's nightmare.

The producer Bob Rock made them play together in one room instead of tracking separately, which took a year and nearly ended the band.

A Small Clone chorus pedal gives the riff its underwater sound, and Cobain nearly withheld the single.

An Isaac Hayes loop from Tough Guys, three verses by Scarface, and a rap record about fear rather than swagger.

Rubin found the poem in Kiedis's notebook and pushed for it; Frusciante's mother sings in the choir at the end.

Five MCs passing the microphone, and Busta Rhymes at nineteen turning a guest verse into an entire career.

Gossard's demo was called Dollar Short until Vedder set it to learning who his real father was.

The band were called Mookie Blaylock after a basketball player until the label objected, and the album is named for his shirt number.

Cobain aimed it at fans who missed the point, and Kerslake's video staged them on a mock Ed Sullivan Show.

The only Nevermind track cut to a click track, and Grohl's metronome only makes the quiet-loud lurch hit harder.

The peak of the Disney Renaissance, and the moment computers earned a place in hand-drawn animation: the ballroom sequence still looks like nothing anyone had done before.

A borrowed Lou Reed bassline that reportedly took all the royalties, and a call-and-response hook the crowd finishes.

Nina Hagen handed Kiedis a jacket from her closet, and Frusciante ran his solo backwards over Flea's jam-session riff.
Tale as old as time, true as it can be. Barely even friends, then somebody bends unexpectedly.
A loop of the Jackson 5's "ABC," Melvin Bliss drums, and an acronym that carried the group to number six.

Kevin Shields plays with the tremolo arm held bent while he strums, which is what makes the chords sag. It nearly bankrupted the label.

Singleton came straight out of USC film school and filmed the neighborhood he grew up in: South Central rendered as a place where a father raising his son is itself a full-time job.

Bruce Hornsby's piano behind a vocal Raitt cut in one take, then refused to try again.

A film that changed federal law: the outcry over Stone's conspiracy case pushed Congress to pass the JFK Records Act, and the editing that sells it remains the most aggressive in American film.

Callie Khouri's script did something no American road movie had done: put two women in the car and let the country outside it turn hostile, while the friendship becomes the only reliable thing.

By Hetfield's account the open-string intro came one-handed during a phone call, and Kamen's strings did the rest.

Teddy Riley's new jack swing under a nostalgia lyric, with John Singleton staging the video in ancient Egypt.

Bill Bottrell played the riff everyone credits to Slash, then rapped the verse himself after eight months of searching.

Oil is the story of the modern world, Yergin argues, and he follows it from the first Pennsylvania derrick through two world wars that ran on it to Saddam Hussein's tanks in Kuwait.

An upright bass loop, a playground chant for a hook, and a remix that so eclipsed the original nobody plays it.

Grown from a Dublin jam called Sick Puppy, and Edge's Korg funk-wah setting turned Clayton's bassline into U2's funkiest record.