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The way Richie saw it, something had happened to mainstream music during the post-grunge phase of the ’90s and so far this year’s releases had been the most vapid of the lot, save for a few that maybe had some artistic expression if you listened hard enough (and excluding the Chili Peppers record, which ruled). Corporate major labels and MTV had joined forces in a union of evil to destroy all semblance of art from the world and churn the charred remains—not art anymore but products—through a dollar factory of unfettered capitalism, squeezing out the big bucks as quickly as possible before the whole crazy ride comes to a screaming, bloody end. Which it would. All of this would come to a tragic end; the whole western world had gone mad, taking mindless consumerism to dizzying new heights as most of the East scrambled to get in on the action. Meanwhile, people like him and Alabama slip through the cracks and no one in this apathetic hellhole gives a shit, too busy patching over the vacancies of their lives in desperate attempts to forget the dreams they abandoned when they sold out to the machine. Of course he and Alabama were junkies. Of course they were thieves. What choice did they have when you got right—right—down to it? Their fates had been sealed when society had set itself upon this dark path, and there would be many more Richies and Alabamas to come so long as it stayed the course.
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