'jam bands' were too diffuse and difficult to edit for radio, so the AA format developed DMB and blues traveler and so on.

the riot girl stuff was too unpolished, but AA could take some of those notions and fold them into sheryl crow and melissa etheridge and so forth.

'roots rock' was too niche. bring in hootie. and on and on.

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49730641)

https://www.youtube.com/watch?v=HRbWasL1kac

this did okay for them, but they knew they could go further. and that's what they did by 1995, with their first AA mega-hit ('Name').

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49730705)

i love 'What I Am', though. it's of a higher quality than 'Dishwalla' and the AC stuff that came in the 90s.

one of the few guitar-based top-40 songs of the era that was not a 'hard rock'/Alt rock crossover, just straight pop rock. it gives you a sense of what 80s/90s top 40 would have sounded like if it had never been 'Urbanized.' if the cultural currents that produced 70s 'soft rock' had persisted.

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49730693)

I don’t care for PJ but Eddie Vedder was the most influential / ripped-off rock vocalist since like Robert Plant.

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49731920)

What a fraud industry lol

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49734467)

in movie terms, this era probably

Beginning - Singles / Slackers

Zenith- Reality Bites / Kicking and Screaming

End - High Fidelity or Garden State?

maybe I'm just describing Gen X generally

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49732117)

The real start of adult alternative contemporary was 'Luka' by Suzanne Vega.

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49732286)

her other material was more AC, though, a la Natalie Merchant etc.

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49733543)

aesthetically, it reminds me of early-90's films which were set almost inexplicably in seattle (since it had become trendy by then) but made no reference to grunge or music which had given the city its trendy reputation. sleepless in seattle and disclosure in particular.

disclosure was marketed as a 'techno-thriller' to help ride the cyberpunk trend, but the tech elements were muted, and it was actually a romantic drama. not exactly a bait-and-switch, but you can see the marketing goals.

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49732779)

Wasn't expecting this last part, tyvmft

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49732811)

The aural equivalent of our cybermonastic life without rachmiel since he went out for cigs tp

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49732863)

of course compared to the Current Year it seems ridiculous but who could have known that then

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49732881)

The VH1 market no longer exists because adults can instantly stream any music from the youth at any time - so you don't need bands like Matchbox 20 / Train / Third Eye Blind who appeal to 25-50 year olds.

(http://www.autoadmit.com/thread.php?thread_id=5843757&forum_id=2:#49733172)