Alice in Chains - Them Bones

Music Appreciation

Released on September 14, 1992, as the second single from Dirt, "Them Bones" immediately established Alice in Chains as one of the defining bands of the grunge era. Written by guitarist Jerry Cantrell and produced by Dave Jerden with the band, the song opens the Dirt album with one of the most recognizable guitar riffs of the 1990s. 

Cantrell wrote the lyrics as a reflection on mortality, inspired by his lifelong fear of death and the realization that every person eventually becomes "a pile of bones." Rather than dwelling in despair, the song encourages listeners to confront the inevitability of death and make the most of the time they have. 

Layne Staley's soaring opening scream and emotionally charged vocal delivery amplify the song's unsettling yet thought-provoking message, making it one of the band's signature recordings. Upon its release, "Them Bones" reached No. 24 on the Billboard Mainstream Rock chart and No. 30 on the Modern Rock Tracks chart, helping drive the commercial success of Dirt, which later became one of Alice in Chains' best-selling albums.

Musically, "Them Bones" stands apart from many rock songs of its era because of its unconventional structure. Most of the song is performed in an unusual 7/8 time signature before shifting into a more familiar 4/4 during the chorus, creating a sense of tension and unpredictability that mirrors the song's themes. Cantrell has said that odd time signatures came naturally to him and added excitement by catching listeners off guard. 

Combined with its chromatic guitar riff, thick layers of distortion, Mike Starr's driving bass, and Sean Kinney's forceful drumming, the song delivers a compact but explosive two-and-a-half minutes of grunge and alternative metal. 

The music video for "Them Bones," directed by Rocky Schenck, complements the song's themes with striking, surreal imagery. It features Alice in Chains performing inside a large crater-like pit resembling an open grave, while a rapid montage of extreme close-ups, projected images, flashes of animals, birth, decay, and other symbolic visuals unfolds around them. 

Schenck, who also photographed the iconic Dirt album cover, designed the set to evoke a bleak, post-apocalyptic landscape complete with broken pipes, muddy pools, and dramatic red lighting. The video's fast-paced editing and layered projections reinforce the song's meditation on life, death, and the cycle of existence. 

Sources:

https://en.wikipedia.org/wiki/Them_Bones

https://en.wikipedia.org/wiki/Dirt_(Alice_in_Chains_album)

https://loudwire.com/alice-in-chains-behind-the-scenes-footage-them-bones-video-shoot/

https://youtu.be/zTuD8k3JvxQ

SPINNERS: vaniBorn - Brazilian Mega Funk House Mix

via vaniBorn

Album Cover: They Might Be Giants – John Henry

Album Cover

Album: They Might Be Giants – John Henry

Released Date: September 13, 1994

Photographer: Michael Halsband

Art Direction, Design: Mike Mills Diversified

Design: Rachel Switzky

Model: [Unknown]

Sources:

Wikipedia

https://www.discogs.com/release/1937412-They-Might-Be-Giants-John-Henry 

https://tmbw.net/wiki/Talk:John_Henry

SPINNERS: DJ Fannie Mae - Early 2000s Old School R&B/Hip Hop

via Loyd Studios 

Alexandra Stan - Mr. Saxobeat

Music Appreciation

Released on September 12, 2010, "Mr. Saxobeat" became the breakthrough hit for Romanian singer Alexandra Stan and the song that launched her onto the international stage. It served as the second single from her debut studio album, Saxobeats (2011). 

The song was written and produced by Romanian songwriting and production team Marcel Prodan and Andrei Nemirschi of Maan Studio, who crafted an infectious blend of dance-pop, Eurodance, and house music built around a memorable saxophone hook. 

Lyrically, "Mr. Saxobeat" is a playful invitation to an irresistible saxophone-playing dancer, using flirtatious imagery and club-ready energy rather than telling a traditional narrative. Stan's bright, energetic vocals complement the song's carefree atmosphere, making it an anthem for dance floors across Europe and beyond. 

Musically, "Mr. Saxobeat" is driven by a four-on-the-floor dance rhythm, pulsing synthesizers, and its signature saxophone melody, which gives the song its distinctive identity. The composition follows a conventional pop structure with verses, a pre-chorus, and an explosive chorus designed for maximum dance-floor appeal. 

In the United States, the song reached No. 21 on the Billboard Hot 100 and topped the Billboard Dance Club Songs chart, marking Stan's biggest American success. Internationally, it reached No. 1 in more than 20 countries, including Germany, Italy, Denmark, and Romania, and earned multiple platinum certifications, cementing Alexandra Stan's reputation as one of Romania's most successful global pop exports.

Directed by Iulian Moga and filmed in Buftea, Romania, the music video embraces the song's playful, glamorous style with a humorous storyline. It opens with Alexandra Stan arriving at a police station in handcuffs after being arrested for speeding. Rather than focusing on the arrest, the officers become captivated by her presence, and the station quickly transforms into an energetic dance party filled with choreography and colorful characters. 

Throughout the video, Stan performs in stylish outfits while the action alternates between the police station and outdoor scenes featuring dancers and luxury cars. Moga's fast-paced editing, vibrant colors, and lighthearted storytelling mirror the song's upbeat energy, helping make the video a viral success on YouTube and an important factor in introducing Alexandra Stan to a worldwide audience during the height of the dance-pop boom.

Sources: 

https://en.wikipedia.org/wiki/Mr._Saxobeat

https://en.wikipedia.org/wiki/Saxobeats

https://www.billboard.com/artist/alexandra-stan/

https://youtu.be/nwsewSMWIas

Leilani Bishop

Model Appreciation

American model Leilani Bishop was born on September 11, 1976, in Hawaii and spent much of her youth on Kauai, where her connection to surf culture and island life later influenced her image as a relaxed, beach-inspired beauty. 

Leilani was discovered at age 15 by modeling agent Cindy Kauanui of Jet Set Models while in Hawaii, launching a career. Standing about 5'8", with blonde hair and light-colored eyes, Leilani embodied the sun-bleached aesthetic favored by 1990s fashion campaigns.

Leilani's early modeling career accelerated quickly. She appeared on magazine covers including Flare and Allure, and worked with major fashion brands such as Victoria’s Secret, Tommy Hilfiger, and Balenciaga. Yet many people outside fashion circles know her best as the distraught beauty queen on the cover of Live Through This by the band Hole. Photographed by famed photographer Ellen von Unwerth, Leilani appeared wearing a tiara and sash with mascara streaking down her face—an image that became one of alternative rock’s most recognizable album covers and a lasting symbol of 1990s pop culture. 

Her later career extended beyond runway work. Bishop appeared in the 2000 film The Intern, developed a fragrance line under her own name, and founded Women for the World, a nonprofit organization based in California. 

Sources:

Wikipedia

https://www.imdb.com/name/nm0084119/bio/

https://www.vogue.com/article/beauty-staple-leilani-bishops-year-round-beach-hair

https://www.babepedia.com/babe/Leilani_Bishop

Cruise Perk: Afternoon Delights

Soon after our Christmas family cruise, my wife booked two more cruises—this time without the kids—an idea I fully supported. It’s not that I don’t enjoy spending time with my daughter or my wife’s family, but cruises are at their best when they’re stress-free, unhurried, and give two people a chance to reconnect. Sometimes the best itinerary is simply each other.

The first of our cruises departed Galveston on the Fourth of July aboard Royal Caribbean’s beautiful Symphony of the Seas. While it’s smaller than the massive Icon of the Seas, which we sailed with our family, it offered many of the same amenities, plenty of dining options, and outstanding entertainment. In many ways, it was the perfect setting for slowing down and enjoying each other’s company.

One of the things we love most about cruising is that you unpack once and your hotel magically follows you from port to port. My personal favorite perk? Being able to sneak back to our cabin for a little afternoon delight whenever the mood struck. By the end of the eight-day cruise, my wife pointed out that we had set a personal record: having sex ten times in eight days. Not exactly an Olympic event, but we were pretty proud of our accomplishment.

It’s a fun vacation record to look back on—especially considering it’s now been about a month since our last rendezvous. I’m sure we’ll remedy that long before our New Year’s cruise in December, but I have a feeling that the eight-day record may stand for quite a while. Then again, every cruise deserves a goal.