Quotes About Nineties

Since the early Nineties it's been very fashionable to say, 'It's all about the music.'

What I particularly liked about Nineties hip hop was it had a certain reverence for the groove that I hadn't been hearing in a while.

I think the ladette culture was a label thing, and it was the nineties and it was Britpop and it was quite wild.

All my favorite artists and fashion icons and models are from the Nineties. Everybody was just so fearless.

Bands in the Nineties seem to forget the entertainment aspect of rock music.

My first job in NYC was playing a gig in the early nineties at CBGBs.

I went through a whole blues period in the Nineties, and that had some influence on 'Load' and 'ReLoad.'

In the eighties, we had the ladies who lunch, the power lunch - everything was power. At the beginning of the nineties, things changed.

When my career in hotels was taking off in the Nineties, I went to work as a head baker in Cyprus, where I was making Danish pastries every day. I can remember that the head chef was always on my back to put more seasonal fruits in with the creme patissiere. I'd even make them with rhubarb.

Nineties hip-hop in particular really shaped what became the common pop cultural language that we all speak.

One of my favorite horror films of the Nineties was 'Event Horizon.'

I love nineties stuff like Alice in Chains and Nine Inch Nails. It'd be my dream to have a Radiohead-themed episode of 'Glee.' I also love jazz greats like Coltrane, Miles Davis, and Herbie Hancock.

I remember going to see those Adrian Lyne films when I was going to see movies in the nineties, and I was jealous he wasn't working at New Line.

Going back to the films I made in the nineties, they might not have been the most thought-provoking movies, but there was always this conscious thing of knowing that it was fourteen-year-old surfers who were really into it, and so I've wanted to be responsible with that.

The flights were hijacked, the planes crashed into buildings, 2,977 people died, and the nineties collapsed with the skyscrapers.

The concept of "selling out"—and the degree to which that notion altered the meaning and perception of almost everything—is the single most nineties aspect of the nineties.

The nineties were not an age for the aspirant. The worst thing you could be was a sellout, and not because selling out involved money. Selling out meant you needed to be popular, and any explicit desire for approval was enough to prove you were terrible.

In the nineties, doing nothing on purpose was a valid option, and a specific brand of cool became more important than almost anything else. The key to that coolness was disinterest in conventional success. The nineties were not an age for the aspirant.

That, more than any person or event, informed the experience of nineties life: an adversarial relationship with the unseemliness of trying too hard.

Clinton instinctually reflected the ambivalence of the era in an optimistic way. Relative to the rest of the twentieth century, the nineties were a good time to be president, and he was a good president for good times.

This conclusion invented a political perspective that's become omnipresent in any two-person race but still felt original in 2000: Again and again, Bush was described as the candidate voters 'would rather have a beer with.' It was a very nineties way to think about a problem.

It did not feel outrageous, for example, that Pauly Shore spent much of the nineties as a bankable movie star, regardless of how baffling that notion strikes anyone who missed it entirely.

While accepting the award for Best Director, Cameron quoted the most embarrassing line of dialogue from his own script: "I'm the king of the world!" Had this come from almost any other nineties figure, that would have seemed like self-deprecating irony. Coming from Cameron, it was not.

The nineties were (and shall always remain) the absolute zenith for bands whose goal was selling records.