Top 10 Favorite Smurfs: The 2020 Edition

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It’s that time of year again. We present our annual list of our favorite Smurfs of the year. The reason for the delay is that it was such a challenging year. There was great debate here in the office, as our panel spent long hours compiling attributes and characteristics to shore up our list. We might not ever be able to top our 2005 list, but we hope Smurfers appreciate how much work went into compiling our list this year. 

10) Pretentious Smurf- Pretentious Smurf wants the Smurfs to love him, but he doesn’t know how to make it happen. He, like all Smurfs don’t have parents, our primary definition of love. Most Smurflings are delivered by storks, and some were created by Gargamel and others. Papa Smurf is the leader of the Smurfs, but he is not their biological father. There is no Mama Smurf, with whom they might witness loving interactions with Papa Smurf to help them define love. They’re on their own to define the intricacies of love. In the absence of paternal lessons, there are but a few definitions of attaining love, the love you give is the love you receive, and one cannot know love without first loving oneself.

As opposed to other Smurfs, Pretentious ascribes to the latter, as he pretends to love others for the sake of loving himself. We concede the word pretends might be a bit harsh, as it speaks of artifice, and Pretentious doesn’t intend to pretend, but the depth of the character informs us of the fuzzy line between pretending and pretentious. When he attempts to love them, it is from a distant sympathetic love that serves to keep them distant. He feels sorry for them, as he tries to help them. When he helps them, Pretentious makes sure everyone hears about it, which viewers have noted is more about publicity than charity. 

In this Let’s Get Smurfy episode, Pretentious Smurf’s exaggerated love of self started out philosophically pure, as he attempted to spread the love, but it progressed into a protection device to avoid the fact that he doesn’t know how to love others, and that results in other Smurfs not knowing how to love him.

9) Reflective Smurf- When we first meet Reflective Smurf, the character just seemed redundant. Why didn’t the writers just give all these characteristics to Brainy Smurf? As with most of this new generation of Smurfs, we find that Reflective provides a unique level of depth to Smurf Village. Whereas Brainy displayed his intelligence in every episode in which he appeared, Reflective’s intelligence is less overt. Reflective’s intelligence was more analytical and situational. Like many of the side characters in Smurf Village, Reflective Smurf is purposefully underdeveloped. He is a vehicle through which the writers define other Smurfs. When, for example, the good friends Salubrious Smurf and Quiescent Smurf argued, Lachrymose Smurf is not upset by some of the things Salubrious said.

“They’ve loved each other for so long,” Reflective says. “How could Salubrious say such things to someone he loves so much?”

“It was an argument,” Lachrymose says. “I think he was saying whatever he had to say to win that argument. We all do it.”

“Ok, but he said some things that he might not be able to unwind,” Reflective adds. “I’m going to say something, before they drag this out too long.”

“You’ll do more harm than good,” Lachrymose cautions.

“He said some awful things though,” Reflective responds. “I’m going to talk to him and tell him that if he doesn’t undo this, he’s going to regret it.”

“Wait,” Lachrymose says, “Let’s wait this out, and let it resolve itself. They’re not Smurflings fighting on the playground. They’ll figure it out.” 

“Be careful what you wait for,” Reflective says to close the scene. Wait a second, the line is “It’s be careful what you wish for” we thought. After chewing on the line for a bit, we realized that the line had a more complicated rhythm to it. How many of us fight with our loved ones? How many of us say the meanest, most awful thing in the moment? When our loved ones truly care about us, and they are not dramatic types who remind us how lucky we are to have them, we accidentally begin to take for granted that they will be there forever. Their love and loyalty is there so often and so consistent that they’re kind of boring. So, we break whatever chains they have on us, controlling us, until we don’t see the damage we do. We unleash particularly heavy when they’re strong, because we know they can take it. How many of us don’t see the damage we do? How many of us wait too long to unwind it, as Reflective said? We think our loved ones will be around forever, so there’s no need to get dramatic and say hurry up and end the fight before it’s too late. “Be careful what you wait for” takes on a new rhythm when examined in that light.  

If the worst-case scenario happens, and the loved one dies, Reflective might say to Lachrymose, we could confront them at the funeral and tell them that they waited too long, and they still wouldn’t see it. They might say we’re exaggerating, and that they don’t remember the argument being as bad as we thought. We could even drop heartfelt comments the subject of their scorn made on their deathbed, and they wouldn’t see it. We might suspect that their ignorance on this issue is intentional, but Reflective’s experience on the matter suggests that that’s not the case. Some Smurfs simply don’t see it, and they never will. So, waiting for it to happen is pointless.

8) Writer Smurf- Writer Smurf wrote a popular piece sometime before we met him. The story was so great that some of the Smurfs began calling him Brilliant Smurf. In this episode, we learn that Writer Smurf has been unable to recapture the magic of that piece. He spends much of this episode telling the Smurfs that he is no longer properly inspired to create another piece. Part of this is true, and part of it was inspired to fortify his legacy. After delivering this line a number of times, the other Smurfs begin to question the idea of it. To defeat these questions, Writer Smurf creates pieces no one can understand. “Nothing happened in the story,” was the primary complaint he heard.

To which Writer Smurf said, “The demand that something happen in a story is trite.” As his first story proved, Writer Smurf is as talented as any Smurf who ever laid quill to paper, but he obviously feels compelled to try to equal and/or top that first story. He can’t come up with anything, so he writes beautiful scenes and incredible characters, but they’re involved in a story no one wants to read. He also litters his stories with limericks and songs in an old world language no Smurf has used for decades. He uses foreign words and big words to impress upon them his broad vocabulary. He does this so often in one particular piece that we know it’s more about using those words than it is about entertaining the Smurfs. Writer Smurf showed the ability to write a great story once, but other Smurfs wrote other great stories in the interim. He fears that he cannot top them, or himself, in his next stories, so he basically focuses on creating pieces that confound them with the hope that they might confuse that for brilliance. Writer Smurf appears to enjoy the motif he created for himself. “Anyone can write a story,” he says to his critics, “but I write masterpieces that will have critics and experts debating my intention for decades.” 

7) Jejune Smurf- I was not a fan of the early incarnation of Jejune Smurf, as there was something missing in his absurdist dada attempts at humor. As Heuristic Smurf later stated, “Jejune was not in a place where he could be a quality Smurf. He was without an identity, not quite a Smurf.” Jejune Smurf was but a shadow and little more than a disembodied voice until the light entered the room. He denied his physical identity and attempted to shut himself out of his own consciousness. Heuristic Smurf commanded the seas about Jujune, thus expanding Jejune’s dramatis personae and establishing his raison d’etre in the Smurf motif.   

6) Bellicose Smurf- Bellicose Smurf’s initial monologue to open this three-part series offended some of us so much that we wanted to crawl into a hole and cry. Many of us were unable to watch these episodes without a bottle of Merlot, a friend on the phone to talk us through it, and a warm, dry blanket. His discursive monologue seemed so incongruent to the Smurf aesthetic. When the acclaimed director Rama Eflue exerted some influence over the character, he introduced a holistic sense of cohesion in the whimsically conceived diegetic oeuvre. Eflue not only introduced us to the interiority of Bellicose, but he provided a basic honesty with his techniques and framed it in the Smurf schema with Homeric parallels. Introducing him with Claudio Baglioni’s beautiful, orchestral arrangement E Tu Come Stai didn’t hurt either.

5) Contumacious Smurf- From his introduction to his bitter, unusually violent end, Contumacious Smurf provided us a form of drama in two different episodes last season that have no parallel in any prior or subsequent Smurfean fare. It was a mixture of fantasy, delicate political and personal satire, knockabout farce, obscenity (probably of ritual origin) and in the case of his far too infrequent interactions with Lachrymose Smurf at least, delightful lyric poetry.

4) Didactic Smurf- Didactic Smurf provided further definition of the eternal struggle between good and evil in his early encounters with Gargamel. The culmination might have occurred in the interaction in the Is it My Birthday Yet? episode. What does Didactic Smurf expect from Gargamel? What does Gargamel expect to extract from Smurf Village? What is Gargamel’s place in the broad edifice? Gargamel represents a past Didactic despises. To combat that, Didactic expresses a strong need for knowledge about Smurf Village in general and specific to Gargamel’s subterfuge. “I have much to learn,” Didactic’s interior narration says, as he writes to the Smurfling Invidious, “Learn and inwardly ingest.” These two ideas represent a near contradictory description of Didactic’s attitude. Was Didactic Smurf recalling a past episode in Smurf Village in which he perceived, in a moment of metempsychosis, to see the ghost of Efficacious Smurf peering out through the vestments of the present? We don’t yet know, but we know he despises his creator, Gargamel, as a symbol of a guardian of the past.   

3) Taciturn Smurf- Taciturn Smurf completely changed what we considered the Smurf ethos when he opened the scene with the declarative, “I am another Smurf now and yet the same,” before turning out the lights to tacitly encourage the chaos and violence that followed. “A Smurf too. A Smurf of a Smurf. I am the Smurf of two Smurfs!” he shouted in a booming voice. “A crazy Smurf, old and jealous. Now kneel down before me.” Those who watched this with me considered Taciturn Smurf’s performance terrifying and exhilarating at the same time. One of my colleagues actually said he literally found Taciturn Smurf’s rancor so egregious that he was relieved when Taciturn Smurf reached his denouement during the great Smurf War. Taciturn’s performance made my friend uncomfortable. I agreed in a most glorious appreciation of his performance.  

2) Rhadamanthine Smurf: Rhadamanthine might not be on this list were it not for the existential questions involved in his interactions. Rhadamanthine Smurf is the most accomplished and decorated Smurf in Smurf Village. The other Smurfs, those outside his family, revere him. The old adage ‘he doesn’t know his own strength’ applies to Rhadamanthine Smurf in reverse. Rhadamanthine knows he is the strongest Smurf, physically. In episode after episode, Rhadamanthine shows his strength, compares it, and lectures other Smurfs on it for the good of the Smurf community. Physical strength is his raison d’etre, his comparative analysis, and the tool he uses to keep the random at bay. Is Rhadamanthine Smurf’s sole focus on outer strength, a window into his lack of inner strength? It’s possible that Rhadamanthine has only known weakness, and he considers it a strength. He constantly compares the strength of other Smurfs to something he once knew, but is he comparing or is he lecturing on a subject of keen interest to him, and is such interest always born of a subject on which we have no knowledge? He speaks of muscular strength, of course, but muscular strength is easily identifiable and concrete, but is it as easily attainable as inner strength? In the Less Unparalleled episode, we witness the idea that Rhadamanthine has no stature in his home. His Smurflings, including the Invidious Smurfling, are obnoxious and unruly. Rhadamanthine Smurf has an enviable reputation among the Smurfs who know him superficially, but in the confines of his mushroom, he is the weakest Smurf.

1) Solipsist Smurf– For the third year running, Solipsist Smurf is our favorite Smurf. We identify with his facile ruminations, and his jocose use of mnemonic devices to advise and entertain his fellow Smurfs, but most of all we love Solipsist Smurf for the way he manages to leverage all that with a unique level of depth and range. In the The Hat Becomes a Leaf episode, Lugubrious Smurf approached Solipsist for advice on how to tell Muliebrous Smurf that he loved her. Sopolsist’s answer reveals the rewards of self-reflection as it lends itself to occasional solipsism. “Touch her,” he said, “for touch is the one essential sensation we all share. Until we touch, we only dream. Touch creates a tangible connection to the person and to the dream. Touch is you, it is I, and it is Smurf Village. Avoiding touch permits us to never lose and never gain.”  

Destructive Personalities & Prodigies

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Bulls & Wives– Tom did not appear to be a destroyed man who has no hold on the outside world, but a man with intimate knowledge of someone who was. When he informed me that his dad lived a relatively long life that surprised me, because I thought Tom’s personal knowledge of self-destruction had to be so intimate that it came from a dad. I figured that his dad had no idea how the system worked, and that frustration led him to destroy anyone and everyone within reach, before he eventually destroyed himself. I was wrong, his dad lived a relatively long life. I didn’t reassess, however, because I knew how to read my tea leaves. I just had to wait to found out how I was right. When Tom later informed me that his mother died a long slow death, I almost yelled, “I knew it.”

“Cirrhosis of the liver,” he said. I didn’t say anything, but I felt vindicated. I figured that Tom’s frustrated dad destroyed the only woman he ever loved, because she was within reach, and she was his alternative resource.   

My first guess was that Tom’s dad physically abused the woman, but that often results in a divorce, a separation of some sort, or even a suicide of one of the two parties. I knew that wasn’t the case with Tom’s parents. I knew he witnessed a slow, methodical destruction of someone he loved, and he felt powerless in the face of it.

A man who physically abuses his wife is also a bad guy, and my guess was that Tom’s dad did everything he could to avoid that label. My guess was that Tom’s dad rejected her in the small, insignificant ways those in his profession and in his personal life rejected him, until it manifested in ways he couldn’t manage or control properly. A little nip here and there made Tom’s mom feel a little better for a couple minutes. When the dad’s insignificant rejections began to snowball, her little nips followed suit, until it was too late.   

My guess was Tom saw her destruction very close up, during those young, formative years that leave an imprint nothing can erase. My guess was that he spent his life trying to avenge her, but he never figured out how to do it, and he spent the rest of his life cheering on the bulls in a bullfight.

The Phenomenal Phenom- “The worst thing about being the President of the United States at such a young age (Theodore Roosevelt assumed office at 42 and left office at 50), is what do you do with the rest of your life? How does one top being President of the United States?” That is not a direct quote from former president Theodore Roosevelt, but it is the general sentiment. We could argue that Roosevelt spent his whole life chasing windmills. He spent the first forty years of his life chasing his dad’s legacy, or the legacy he imagined for his dad. He spent the latter ten years of his life chasing his own legacy or trying to improve upon it. What does a man who assumed the most powerful position in the world in what he assumed was the middle of his life (he died at 60) do to top that act?

We move to a much less significant, but interesting corollary. In 1994, an actor named Jim Carrey was on top of the world. He had a year so successful that no other actor in his profession would dare even dream, and it happened when he was all but 32-years of age. In 1994, three of the films he starred in (Ace Ventura: Pet Detective, The Mask, and Dumb and Dumber) went to number one in box office sales, in the same year. Some fans of comedic movies mark two of those films some of the best comedic films of the generation. Although we don’t consider The Mask in that elite pantheon, we recognize how original that film was. We also recognize that without the unique talents Carrey displayed in that movie, the film wouldn’t have worked at all. It’s been 26 years since Carrey’s breakout year, and we can assume he will live another 26 years, but what can he do to top 1994? We have to imagine that Carrey looks back on 1994 as a bittersweet memory, because it happened so early in his career, and he probably thinks he didn’t appreciate it as much as he should’ve.

No one will feel sorry for either of these two, but imagine achieving such relative peaks at such a relatively young age. Relatively few recognize such achievements for what they are in the moment. We can only assume that Roosevelt and Carrey assumed that this was a new way of life for them. They probably assured others that they knew it wouldn’t last, but beneath that rational veneer, they probably assumed that they were such unique talents that it might. They probably grew accustomed to living how the other half lives. They were probably welcomed into rooms with proverbial and actual trumpets. Some part of them probably got so used to it that they considered it silly, until it went away, and they missed it. How does one top being the biggest star in the world? How does one top being president of the United States? Teddy only lived for another ten years, and while he packed a lot into those ten years, including another presidential run, it sounds like it might’ve been tough for such an ambitious man to live to a thirty to forty more years thinking he plateaued too early. He probably also knew that he could never top what happened in what he thought would be the middle of his life.     

Pining for a Prodigy– “I think you might have another da Vinci on your hands,” someone says when they see our kid draw something that sort, somewhat resembles a squirrel. Our normal, rational side thanks them for the polite sentiment, and we attempt to dismiss it as nothing more than that, but we can’t control the twinkle in our eye. Kids mature at different rates, we think, who’s to say that our kid isn’t some sort of prodigy? We consider the possibility for about twelve seconds, because we want the world to know what we know, our kid is special. Our flirtation with this notion is brief, because we’ve tried to do something creative, and we know how hard it is. Even though we won’t rule out the notion that our kid could do something special, it’s so far off that it’s not worth considering at this time. There’s far too much for a prospective artist to learn to inform his immature brain before he ever reaches for the creative ignition switch. No matter how many ways we turn his drawing, it’s gibberish, and we can’t will it into something great. He’s just a normal, happy kid. 

I’ve been obsessed with the creative process most of my life. I love reading about what drove the da Vincis, the Joyces, and the Mozarts of history to create their artistic masterpieces. With Mozart as the lone exception, most artists don’t do anything of note in their early years of life. One could also say that all of the other stuff they learn in their early, formative years, informs an artist’s art better than any school devoted specifically to the arts could do.

A teacher here and there might have encouraged them to draw, write, or sing more in their free time, but most artistic output of kids in grades 1-6 can be accomplished on their own time. I encourage artistic creativity in my home, but I don’t want my kid spending an inordinate amount of time in school drawing sharks and Spongebob. He needs to learn the foundational tools to help him in life. Reading, writing, arithmetic, a level of science he can handle, and some history is all my kid needs right now.  

The obsession I’ve had with the start-to-finish creative process is now decades old, and I’ve yet to stumble upon an artist other than Mozart who cited anything that happened in their elementary years as a direct source for their great works. The bios of most artistic geniuses suggest that they succeeded in the arts in spite of what happened to them in school. Most of my favorite artists created their best pieces in a rebellious reaction to those who never believed in them. They had some something to prove to the people who didn’t believe in them. It drove them more than any amount of encouragement could. It’s almost grist for the artistic mill for most artists to embarrass those who considered what they do as silly. If their parents believe in them, and they entered them into a school devoted to the arts that might have deprived them of the righteous anger that drove them to be better than they were in the first place.

How many movies about prodigies depict parents who thought their young prodigy was wasting his time with paintbrushes, a piano, or a pen? How many of parents wanted their kids to do something more substantial with their lives? When the prodigy turned out to be something substantial in the arts, the parents looked like the bad guys, and no parent wants to be a bad guy. The parents also looked like fools in the end for not recognizing their prodigy’s prodigious talent, and no parent wants to look foolish. So, we recognize our child’s doodle as something more than it is, and we do everything we can to encourage them to pursue that talent.

“He could be the next Mozart,” they say when our kid fiddles around on a piano. “Did you know Mozart created his first symphony at five years old?” That would be great, we say with that twelve second twinkle in our eye, but I’m still going to focus my kid’s mind on becoming a math whiz, relative to his age. I would rather see him display an unusual aptitude for spelling and reading than I would re-engineer his life according to some exception to the rule that occurred almost three hundred years ago. 

“I just wanted my kid to have a well-rounded education,” parents say when I ask how they selected their kid’s school. “I liked the way [this school] sandwiched art and music between the reading and writing and arithmetic.” If they added that they just want their children to find some way to express themselves creatively, I would have no argument. I think if I learned how to express myself creatively when I was young, I might’ve been a healthier and happier kid, teenager, and young man. Maybe. When I found a creative outlet, I thought I needed it all along, but I was taught art and music appreciation at a very young age, and I didn’t appreciate it back then.  

“It’s important to encourage creativity,” they say, and I have no argument. If my kid develops a creative outlet, such that he believes in himself a little more than I did, I will applaud him. I’m an artist who devours and regurgitates artistic pieces, but I would never choose an elementary school that devotes itself to expanding my child’s mind artistically. That just seems so far-fetched that it’s not even worth considering.

Unrealized Gains in the Music of the 90’s

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Whenever a gifted artist dies, there’s always a sense that they’re irreplaceable, but there’s something different about music. There’s something special, cathartic, and spiritual about the music that uniquely gifted creative artists offer to bind us all. We can’t explain our connection to these artists, but we enjoy the beauty and craftsmanship of their art so much that when they die, we feel a sense of loss that’s almost painful. Most of us never met the artist, yet in a strange, inexplicable way, we feel we know them. Losing an ingenious comedian might be the only comparable loss, as they offer us the precious commodity of laughter. An ingenious musician might offer everything but laughter, but when they die, some unusual, inexplicable part of us dies with them. The connection is so strong and heartfelt that, in some cases, their death almost feels like the death of a family member.

Who’s your favorite musician? Are all of your favorite musicians from a certain era? Some of us go retro, some of us try to stay hip to music’s latest styles and trends, but most of us remain true to the era of music we listened to in our formative years, usually between the high school years and college years. My friends and I love music from every era, but our sweet spot occurred somewhere between ’86 and ‘99.

We all know the artists from the 60’s inspired the artists of the 70’s to try to do something somewhat similar but different and better, and the 70’s artists inspired the 80’s, and so on. Did the 70’s stable of hard rock artists do it better than the 80’s or the 90’s? It depends on whom you ask. Yet, if we were to hand out grades for the various eras hard rock, we might have to give the 60’s a (‘C’) based on the idea that most of the artists of the era focused on pop, and we might give the 70’s an (‘A’) and the 80’s a (‘B’). Due to the unrealized gains in the 90’s, however, we would have to give that decade an (‘I’) grade, as in incomplete.

Most general debates about the greatest music in rock n’ roll focus on the 60’s and the 70’s. Yet, even with the sense that the 90’s were incomplete, it was such an insanely creative period for underground and established artists that some of us consider it the most underrated era in music. We could provide a list of the incredibly diverse and creative albums produced in this era, but few would argue that it was one of the most free, most wide-ranging eras in music history. When we dig beneath the surface, and we account for the unrealized gains from this period, in a hypothetical contest with other eras, the idea that 90’s was the greatest era in rock could’ve been a fact as opposed to one man’s opinion.

Unrealized gains is a tool investors use to determine what their profit might be if they sold a stock they own today. That profit is not realized, in other words, until they sell the stock. I realize I am taking some literary license when I use this term to define how much greater the 90’s could’ve been, but if we are going to compare these eras, in an artistic sense, a tweaked definition of this term unrealized gains illustrates this thesis that the era could’ve been so much greater if so many of its young, talented artists didn’t die, and they realized their full potential.

There are a number of artists we could list in this space whose lives were cut short in the 90’s, but there are three in particular who some believe could’ve changed the landscape of music had they survived. Andrew Wood, Kurt Cobain, and Jeff Buckley were three very different artists, but when we take the creative output they achieved, and we speculate about the potential they had to create more diverse and creative songs, we arrive at substantial unrealized gains for music and the culture during this era.

Based upon the frequency with which these artists completed production on their albums in that era, usually biannually, I figure that the three of them, combined, could’ve probably released ten more albums before the close of the 90’s, and this does not account for any side projects, or solo projects, they might have pursued. How many of those ten albums would’ve been classics, and how many of them would’ve helped redefine that era and beyond? We can only imagine, unfortunately, that these artists would’ve grown bored in their genre and would’ve explored other genres and enriched us all with their creativity in so many fields of music. We can also speculate that those ten albums would’ve spawned a greater algorithm of other artists taking their influence and trying to do something different and better with it before the end of the 90’s.  

The one asterisk we must account for in this equation is that it’s possible that these three artists would’ve never made another decent album again. They may have gone solo, as all but Buckley were members of groups at the time of their demise, and they might have quit the music industry altogether, but that proposition seems improbable. They might have been nothing more than products of a system that helped them create, finesse, and complete these albums. They might not have been as creative and ingenious as we assume. They might have owed their creative output to more to other people than we’ll ever know. Their music might’ve relied on a uniquely gifted producer, a quality mixer, or a specific band member who propelled their creative output. Losing those people could’ve exposed these artists as nothing more team players, as opposed to uniquely gifted creative artists in their own right. Whatever the case is, they might not have been as talented as we assume. We can only comment on what we know, and we don’t think anyone can listen to a collection of the best material from these three artists without thinking about how much more they had to offer. All three of them were in their 20’s when they made some of their best earth-shattering songs, and they all had, at the very least, ten more years of quality songwriting ahead of them.

Andrew Wood might be the most tragic, as he died of a heroin overdose in 1990, at age 24, shortly before his band Mother Love Bone would release their first album Apple. Kurt Cobain died at 27 years of age, in 1994, and Buckley died in 1997 at age 30, but I don’t think anyone would argue that Cobain and Buckley achieved a greater narrative arc than Andrew Wood did.

Some suggest that Cobain’s group Nirvana was so groundbreaking that it killed the brand of arena rock called heavy metal, but others might argue that the death of the charismatic and creative Andrew Wood was another contributing factor to its demise. If he survived his overdose and decided to go clean, Wood might’ve kept heavy metal on life support with his creative and inventive flourishes.

The 90’s also involved the death of Shannon Hood, lead singer of Blind Melon in ’95 at 28 years-old, and the death of Sublime’s lead singer Bradley Nowell, in 1996 death at 28 years-old. We could also include Layne Staley on this list, but he died of an overdose in ’02, at 34 years-old, and the 90’s saw a great deal of his creative output fully realized. When comparing the various eras, however, the idea that the 90’s could’ve been so much richer with the potential creative output these incredibly artistic artists could’ve and should’ve produced is an almost painful thought.

We have a love/hate relationship with the idea of comparisons. Most people would caution us against comparing any artists, particularly when those comparisons involve icons. “Comparisons often have no basis, and they usually anger more than they intrigue,” some say. “My advice is to avoid doing them.” In the spirit of throwing caution to the wind, let’s get nuts. Andrew Wood wrote silly love songs, as Paul McCartney did. Kurt Cobain wrote social songs that appealed to young people on such a profound level that some call him a voice of his generation, as they did with John Lennon and Bob Dylan in the 60’s. Jeff Buckley wrote beautiful, soulful melodies that appealed to our spiritual side in the manner George Harrison did. The point in bringing these comparisons up is not to suggest that these artists could’ve been as talented as those icons, but to suggest that we cannot talk about the 60’s without mentioning Harrison, McCartney, Lennon, and Dylan. Leaving them out would not only be foolish, it would feel incomplete. Those of us who love the 90’s feel it’s almost as unfair to compare the 90’s to other generations without considering the potential of what it could’ve produced and the prospect of its unrealized gains in the vein of those artists who died during the era, with special consideration devoted to the prospect of what Wood, Cobain and Buckley could’ve produced.