“You… you… you… need to know!” Alanis Morissette and songs from her debut album Jagged Little Pill became the backbone of alternative radio in the 90s.
Leaving his past as a child actor and aspiring teen pop star in his native Canada, Maurice heads to a recording studio in Los Angeles with producer Glen Ballard and builds Jagged around his brutally honest lyrics and sharp vocals.
Morrisset was signed to Maverick, Madonna’s boutique record label, and “You Oughta Know”, “Ironic”, “Hand in My Pocket”, and “Head Over Feet” quickly became the national anthem and host of MTV’s Alternative Nation.
But as Morrisette’s star rose and Jagged Little Pill continued to move units:
Voices in the media and culture are focused on one question: “Why is this young woman so angry?” Maurice didn’t deny in an interview with Jagged director Alison Kleiman that he was angry. And he takes pride in the way fans, especially women, receive his voice and message.
But she also says that half of her songs on the record are about empowering yourself. And what about that weird feeling of happiness with songs like “Head Over Feet”? “The empowerment of a young woman in the 1990s was very appealing to a lot of people,” says Morissette. “But that’s also not good news for the patriarch.”
Morissett refuses to be pampered, controlled or described. As “stuck in a machine with big hair and dance moves” and festival performances. When asked if he had ever considered hiring a women’s group. Morissett paused, then said, “In the 1990s, I faced challenges with women who wanted to be in my place. It’s easier to get along with friends.”
Jagged stops at this point that Morrisset’s gender is a threat to some and an advantage to others. As his roles as a solo artist and songwriter are pushed and pulled in between. Morisette also reflects on her past and toxic masculinity. That surrounded her as a teenager in the music industry. The therapy helped her identify the victimization she experienced. And classify what happened to her as legal rather than voluntary rape.
With nine Grammy nominations and awards for Album of the Year:
With over 33 million albums sold worldwide and a musical adaptation nominated for a Broadway Tony Award. Jagged Little Pill continues to shape Alanis Morissette’s career. But in addition to the topics of anger, empowerment. And abuse that Jagged explores.
Also pays homage to the album’s often shocking electricity. With access to a vast archive of footage from shows and music videos. After all, as cultural critic Hanif Abdurakib puts it, Morissette is a good artist at screaming. “It’s like Raaaaaiiiinnn…”
One of the most significant differences in musical discovery. From today to today comes with an anecdote from Lisa Warden, music director of KROQ in Los Angeles. In the ’90s, he says, radio was what broke the band. And when Maverick Records agent Guy Oscier first released “You Oughta Know”.
He walks down the aisle and put it on his DJ chicken, and the phone line was on. Twenty-five years later, it’s worth looking at the music and artists. Who shaped an era, not only for nostalgic reasons. But also as a means to contextualize our current situation.
Think of this caller as a TikTok user reaching millions with an unknown singer. Set in motion a sound system and a gigantic performance in front of thousands of people singing their song in unison.
This is precisely what happened to Alanis in 1995, and Jagged served it well. Quickly moving from spectacular raw footage of her and her band’s original musical performances to a sold-out club. Which shows following her KROQ anointing to various arena scenes.
Still, the instinct to belittle any woman:
“She didn’t want to be stuck in the little box we made for her in public,” says Shirley Manson of Garbage on Jagged, and the document is a little more contextual in highlighting Taylor Swift and Beyoncé’s recordings of Morrisset’s music. played. Alanis was a barrier-breaker, a ruler – or, as they say, today, an influencer.
Jagged is a compelling, immersive artist and album that defines a particular era and proves that the “anthology series” of Bill Simmons’ Music Box buzzes well.