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Beyond the Curtain – The Real Beauty of Glass Shower Enclosures

Eric Alper
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By Mitch Rice

Glass shower enclosures have become a staple of modern bathroom design, praised for their sleek look, easy maintenance, and ability to make any bathroom feel more spacious. Whether you’re planning a full bathroom remodel or simply looking to replace your existing shower setup, understanding the essentials of glass enclosures is key to making informed choices.

We will explore everything you need to know about glass shower enclosures, from types and configurations to materials and maintenance tips. This comprehensive overview is tailored for homeowners, renovators, and curious readers seeking solid, unbiased information.

What Is a Glass Shower Enclosure?

A glass shower enclosure is a transparent or translucent structure made of tempered safety glass that surrounds a shower area, acting as a barrier to contain water. Unlike traditional shower curtains, enclosures offer a more durable, elegant, and functional solution for both small and large bathrooms.

Benefits of Installing a Glass Shower Enclosure

1. Visual Expansion of Space

Glass makes small bathrooms appear larger by reducing visual barriers. This illusion of openness is especially helpful in apartments or compact homes.

2. Modern Aesthetic Appeal

Clean lines and minimalist design make glass enclosures a favorite in contemporary bathrooms. Frameless models, in particular, enhance luxury appeal.

3. Durability and Longevity

Tempered glass, the standard in most installations, is heat- and impact-resistant. It won’t degrade or mildew like fabric curtains.

4. Ease of Cleaning

Glass is easier to wipe down compared to porous materials. Water-repellent coatings further reduce soap scum and mineral buildup.

Popular Types of Glass Shower Enclosures

Understanding the different styles will help you select the ideal enclosure for your space and lifestyle needs.

1. Frameless Shower Doors

Frameless designs use minimal hardware and rely on thicker glass (usually 3/8” to 1/2”) for stability. They offer an uninterrupted view and are considered premium in both style and cost.

Best for: Modern bathrooms, walk-in showers, luxury upgrades

2. Semi-Frameless Enclosures

These designs have metal frames along some edges, such as the bottom or sides, while still showcasing glass as the main feature.

Best for: Mid-range renovations, durability with some design flair

3. Framed Shower Enclosures

Framed models include metal framing around all glass panels. They are more budget-friendly and structurally stable.

Best for: Budget-conscious homeowners, traditional bathrooms

4. Sliding Glass Shower Doors

Perfect for tight spaces, sliding doors glide on tracks and eliminate the need for door clearance.

Best for: Small bathrooms, tub-to-shower conversions

5. Hinged or Pivot Doors

These doors swing open like a standard room door, offering a wider entry.

Best for: Large bathrooms, corner enclosures

Glass Options: Clarity, Safety, and Style

1. Tempered Glass

This is the industry standard due to its safety features. When broken, it crumbles into small, blunt pieces rather than sharp shards.

2. Low-Iron Glass

Also known as ultra-clear glass, this option eliminates the greenish tint common in standard glass for a truer color representation.

3. Frosted or Opaque Glass

Ideal for added privacy, especially in shared bathrooms.

4. Patterned or Textured Glass

Adds design interest and helps conceal water spots or streaks.

Custom vs. Pre-Made Shower Enclosures

Custom Shower Enclosures

These are tailor-made to your bathroom’s measurements and offer complete flexibility in design, glass type, hardware, and configuration.

Pros:

  • Perfect fit
  • Greater aesthetic freedom
  • Better value for unusual bathroom layouts

Cons:

  • Higher cost
  • Longer installation timeline

Ready-Made Units

These are pre-fabricated and available in standard sizes.

Pros:

  • Budget-friendly
  • Quick installation
  • Readily available

Cons:

  • Limited design options
  • May not fit irregular spaces perfectly

Key Considerations Before Choosing a Glass Shower Enclosure

1. Bathroom Layout

Corner showers, alcove spaces, or standalone tubs each influence what type of enclosure works best.

2. Shower Base Compatibility

Make sure your enclosure fits your existing base, or vice versa, for watertight integrity.

3. Ventilation and Steam Control

A sealed enclosure may trap heat and humidity, while an open-top frameless model allows airflow.

4. Cleaning and Maintenance Preferences

Frameless and coated glass options are easier to maintain than framed, which can accumulate grime in metal joints.

5. Budget

Costs can vary widely based on glass thickness, custom features, and installation complexity. Basic framed models start under $400, while custom frameless setups may exceed $1,500–$2,500.

Installation Tips: DIY or Professional?

Installing a glass shower enclosure requires precise measurements, heavy lifting, and attention to water-tight sealing.

DIY Installation:

  • Best for pre-fabricated, framed models
  • Requires tools like levels, caulk guns, and safety gear
  • Always follow manufacturer instructions

Professional Installation:

  • Ideal for frameless or custom units
  • Ensures proper alignment and sealing
  • Often includes warranty or guarantee

Tips: Even if you’re a skilled DIYer, hiring a professional for heavy glass panels is recommended for safety.

Maintenance and Care Guide

To extend the life and beauty of your shower enclosure:

  • Squeegee after every shower: This prevents hard water spots.
  • Use vinegar or mild glass cleaner weekly: Avoid abrasive pads or ammonia-based cleaners.
  • Apply water-repellent coating every few months: Products like Rain-X can reduce buildup.
  • Inspect seals and hinges annually: Tighten screws and replace worn gaskets.

Current Trends in Glass Shower Enclosures

Keeping an eye on evolving design trends can inspire your own bathroom renovation.

  • Minimal Hardware: Matte black or brushed brass minimalistic handles and hinges are gaining popularity.
  • Curved Glass Panels: These add softness to the sharp lines of modern bathrooms, especially in walk-in or corner units.
  • Grid-Style Designs (Industrial Look): Metal grids embedded in glass provide a bold, loft-style aesthetic.
  • Smart Glass Showers: Some high-end bathrooms now include smart glass that tints or becomes opaque at the push of a button — offering privacy on demand.

Conclusion

Glass shower enclosures combine functionality, style, and value — making them an increasingly popular choice for homeowners across the U.S. By understanding the various types, materials, and design options, you can choose a solution that fits both your bathroom layout and lifestyle.

Whether you’re planning a remodel or just curious about bathroom upgrades, being informed about glass shower enclosures helps ensure a successful and satisfying renovation journey.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

‘How Women Made Music’ From NPR Music Celebrates Female Trailblazers

Eric Alper
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‘How Women Made Music’ From NPR Music Celebrates Female Trailblazers

Drawn from NPR Music’s acclaimed, groundbreaking series Turning the Tables, the definitive book on the vital role of Women in Music—from Beyoncé to Odetta, Taylor Swift to Joan Baez, Joan Jett to Dolly Parton—featuring archival interviews, essays, photographs, and illustrations.

Turning the Tables, launched in 2017, has revolutionized recognition of female artists, whether it be in best album lists or in the Rock and Roll Hall of Fame

How Women Made Music: A Revolutionary History from NPR Music brings an impressive reshaping of the history of women in music, drawing on over fifty years of NPR’s coverage alongside newly commissioned work. This essential read for music fans, songwriters, feminist historians, and anyone curious about the creative process features notable figures reflecting on their art. Joan Baez discusses nonviolence as a musical principle in 1971, while Dolly Parton shares the story behind her favorite song. Patti Smith describes art as her “jealous mistress” in 1974, and Nina Simone reveals how she honed the edge in her voice as a tool against racism in 2001. Taylor Swift opens up about the uncertainty she faced early in her career, and Odetta reflects on how her shift from classical to folk music allowed her to channel her fury over Jim Crow.

 This incomparable hardcover volume is a vital record of history destined to become a classic and a great gift for any music fan or creative thinker.

Kasey Chambers Shares Life Lessons in ‘Just Don’t Be a D**khead’ Book

Eric Alper
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Kasey Chambers Shares Life Lessons in ‘Just Don’t Be a D**khead’ Book

Kasey Chambers Just Don’t Be a D**khead and Other Profound Things I’ve Learnt is a whirlwind of great stories and rock-solid life lessons, Just Don’t Be a Dickhead is Kasey Chambers at her most heartfelt and honest. From her childhood in the Australian outback to the heights of her chart-topping international success as a singer/songwriter, Kasey has trusted her gut, stuck to her values and learned some hard truths, always while trying to live by the best advice she’s ever received: just don’t be a dickhead.

Mark Blake’s ‘Dreams’ Chronicles the Tumult and Triumph of Fleetwood Mac

Eric Alper
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Mark Blake’s ‘Dreams’ Chronicles the Tumult and Triumph of Fleetwood Mac

An illuminating deep-dive into everything Fleetwood Mac—the songs, the rivalries, the successes, and the failures—Dreams evokes the band’s entire musical catalog as well as the complex human drama at the heart of the Fleetwood Mac story.

Fleetwood Mac has had a ground-breaking career spanning over fifty years and includes some of the best-selling albums and greatest hits of the twentieth and twenty-first centuries. But the band’s unique story is one of enormous triumph and also deep tragedy. There has never been a band in the history of music riven with as much romantic drama, sexual tension, and incredible highs and lows as Fleetwood Mac.

Dreams is a must-read for casual Fleetwood Mac fans and die-hard devotees alike. Presenting mini-biographies, observations, and essays, Mark Blake explores all eras of the Fleetwood Mac story to explore what it is that has made them one of the most successful bands in history.

Blake draws on his own exclusive interviews with Mick Fleetwood, Stevie Nicks, Lindsey Buckingham, and the late Peter Green and Christine McVie, and addresses the complex human drama at the heart of the Fleetwood Mac story, including the complicated relationships between the band’s main members, but he also dives deep into the towering discography that the band has built over the past half-century.

Among Mark Blake’s previous books are Magnifico!: The A to Z of Queen; the bestselling Comfortably Numb: The Inside Story of Pink Floyd; and Bring It On Home: Peter Grant, Led Zeppelin and Beyond, which was listed as a “Music Book of the Year” by the London Times, the Sunday Times, the Daily Mail, and the Daily Telegraph. Mark lives in England.

5 Surprising Facts About The Moody Blues’ ‘Days of Future Passed’

Eric Alper
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5 Surprising Facts About The Moody Blues’ ‘Days of Future Passed’

Released in November 1967, Days of Future Passed by The Moody Blues wasn’t just another album—it marked a bold reinvention. With a new lineup, a new sound, and a Mellotron in tow, the band turned a record label’s classical crossover request into one of the earliest and most influential progressive rock concept albums. Fusing symphonic orchestration with lush psychedelic pop and poetic storytelling, they mapped out a full day in the life of an ordinary person—and in doing so, reshaped the possibilities of rock music forever. Here are five lesser-known facts about how this timeless album came to life.

1. They Tricked the Label… to Make a Masterpiece
Decca Records wanted a stereo demonstration record with The Moody Blues covering Dvořák’s New World Symphony alongside early rock classics like “Blue Suede Shoes.” Instead, the band recorded their live set of original songs—Days of Future Passed—without telling the label. When the executives finally heard the final mix, they were surprised, but one champion believed in the record. That was all it took to release it.

2. The Mellotron Made the Magic Happen
Mike Pinder introduced the Mellotron to the group, having once worked for the company that built it. It wasn’t just a keyboard—it was a machine that played tape loops of orchestral instruments. Pinder customized it, removed the rhythm loops, and built a dual-solo setup. With this modification, the Mellotron became the foundation of the band’s new sound and transformed “Nights in White Satin” into something celestial.

3. “Tuesday Afternoon” Was Born in a Field with a Dog Named Tuesday
Justin Hayward wrote “Tuesday Afternoon” in a field near Lypiatt Park while visiting his parents. He had his guitar, a moment of solitude, and a dog named Tuesday nearby. The song flowed out during a quiet psychedelic moment of inspiration. Though the dog isn’t in the song, that pastoral setting made its way into every note of the track.

4. The Orchestral Parts Were Recorded in One Afternoon
Peter Knight and the London Festival Orchestra recorded all their parts in a single three-hour session. The band wasn’t present, but the arrangements were meticulously built around the songs the group had already recorded. The orchestral interludes act like bridges in a dream—connecting each moment of the day into one seamless journey.

5. “Nights in White Satin” Wasn’t Meant to Be a Hit—Until It Was
The band first recorded “Nights in White Satin” for the BBC. They heard it on the radio while driving and pulled the van over to listen. Something about the sound gave them hope. Years later, when it was reissued in 1972, it soared to #2 on the Billboard Hot 100 and #1 on Cash Box. From a flatmate’s bedsheets to FM radio immortality, the song never stopped growing.

The Moody Blues rewrote their future by trusting their vision, experimenting with new tools, and embracing their own stories. More than 50 years later, the album still feels expansive, intimate, and full of wonder—just like the day it set out to explore.


5 Surprising Facts About R.E.M.’s ‘Monster’

Eric Alper
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5 Surprising Facts About R.E.M.’s ‘Monster’

Released in September 1994, R.E.M.’s Monster marked a dramatic sonic pivot—cranking up the amps, muting the acoustics, and trading in mandolins for tremolo-soaked guitar riffs. After two landmark records of introspection, the band charged into glammy, grungy territory with swagger, sadness, and surrealism. Here are five electrifying facts you might not know about Monster—a record where characters roam, ghosts linger, and the distortion speaks louder than the lyrics.

1. “Let Me In” Was Played on Kurt Cobain’s Guitar
One of the most powerful songs on Monster, “Let Me In” was written for Michael Stipe’s friend Kurt Cobain, shortly after his death in 1994. The song’s swirling emotion came straight from the source: bassist Mike Mills recorded it using Cobain’s own Fender Jag-Stang guitar, gifted to him by Courtney Love. Since Cobain was left-handed and Mills is right-handed, the guitar was played upside down. The band captured the track with thick organ textures and raw performance energy—grief expressed without polish or pretension.

2. “What’s the Frequency, Kenneth?” Was Inspired by a Real-Life Media Mystery
The album’s lead single takes its title from an infamous 1986 incident in which CBS news anchor Dan Rather was attacked by a man repeating the phrase, “What’s the frequency, Kenneth?” Michael Stipe turned that strange cultural moment into a Gen X fever dream, singing in the voice of a confused media figure trying to decode youth culture. The song’s sudden tempo drop at the end wasn’t part of the plan—bassist Mike Mills was unknowingly battling appendicitis while recording it, and the band followed his slowing pace. They kept the take.

3. River Phoenix and Migraine Boy Helped Shape the Album’s Mood and Look
Monster is dedicated to River Phoenix, a close friend of Michael Stipe’s, and his death deeply influenced the album’s emotional tone. Stipe couldn’t write for months after the loss, until lyrics for songs like “Crush With Eyeliner” and “Circus Envy” began to surface. The album’s visual world also carried unexpected depth: the orange cover features a blurry bear head, while the liner notes include appearances by indie comic character Migraine Boy. The surreal meets the sentimental, just as it does in the music.

4. Most of the Album Was Recorded Live in the Studio
R.E.M. approached Monster with one goal in mind: make an album that could fill arenas. Many of the tracks were recorded live, as though the band were already on tour. Producer Scott Litt set up stage monitors and PAs to give the sessions a concert vibe. This raw approach added urgency and grit to the mix—and challenged the band to lean into simplicity and immediacy. The result was both louder and looser than anything they’d recorded in years.

5. “Strange Currencies” Nearly Missed the Cut for Sounding Too Familiar
Originally shelved for having a similar rhythm to “Everybody Hurts,” “Strange Currencies” was rescued by a vocal melody the band couldn’t ignore. Its 6/8 timing and swelling emotional arc helped it become one of Monster’s most beloved ballads, climbing to the top 10 in the UK. Michael Stipe described the song as an earnest plea—someone using the power of words to convince another that they’re meant to be. Its quiet persistence stands in contrast to the record’s louder moments, making it even more essential.

Monster roared onto the scene with jagged guitar lines, glam rock gloss, and a tangle of masks and meaning. It remains a snapshot of a band in transition—dealing with grief, fame, noise, and reinvention all at once. Behind the fuzz and feedback, there’s vulnerability, experimentation, and deep creative courage.

5 Surprising Facts About The Rolling Stones’ ‘Tattoo You’

Eric Alper
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5 Surprising Facts About The Rolling Stones’ ‘Tattoo You’

Released on August 24, 1981, Tattoo You roared into the world on a riff, a swagger, and a stack of tapes the band had nearly forgotten about. Built from sessions dating back as far as 1972, it became a chart-topping classic powered by spontaneity, craftsmanship, and a little rock and roll serendipity. Here are five things you might not know about the Stones’ final U.S. #1 studio album—and why its magic still rolls strong.

1. “Start Me Up” Began Life as a Reggae Jam
Originally recorded as “Never Stop” in 1975, “Start Me Up” ran through more than 40 reggae takes before engineer Chris Kimsey uncovered a scrappy rock version buried in the vaults. Keith Richards’ opening riff, now a rock and roll signature, had been waiting patiently for six years. Mick Jagger’s lyrics were completed just in time for the 1981 tour, and the final track was touched up with bathroom reverb, handclaps, and just the right amount of swagger. The Stones didn’t plan this anthem—it found them when the moment was right.

2. “Waiting on a Friend” Was Nearly a Decade in the Making
The gentle warmth of “Waiting on a Friend” was sparked in 1972 during the Goats Head Soup sessions in Jamaica. The music sat quietly for nearly ten years until Jagger added lyrics about friendship and aging, showing a more reflective side of the frontman. Legendary saxophonist Sonny Rollins recorded his solo while Jagger danced out the rhythm in the studio, using movement as a cue. With Nicky Hopkins on piano and Peter Tosh sitting on the stoop in the video, the track became a soulful snapshot of connection—one that reached #13 on the Billboard charts.

3. The Album Was Built From Forgotten Fragments
Producer Chris Kimsey pieced Tattoo You together from leftover recordings, half-finished jams, and previously shelved gems. “Slave,” “Tops,” and “Worried About You” were all tracked years earlier with Billy Preston, Mick Taylor, and Wayne Perkins, each adding their own magic. New vocals and overdubs brought the tracks to life. The Stones shaped it all into two distinct sides: one made for strutting, and the other for swaying. No filler. No throwaways. Just songs waiting for their spotlight.

4. The Album Cover Was a Grammy-Winning Masterpiece
Peter Corriston’s striking black-and-red cover design, illustrated by Christian Piper, stood out even in the golden age of album art. With Jagger’s face transformed into a tribal tattoo sculpture, it earned the band their first Grammy Award—for Best Album Package. The photo sessions, the typography, and the overall concept helped define the aesthetic of the early MTV era. Even now, Tattoo You remains instantly recognizable, just like its sound.

5. “Tattoo You” Almost Had a Different Name—And Caused a Clash
The album was originally going to be called Tattoo. At some point—exactly when remains unclear—the title became Tattoo You. Jagger says he still doesn’t know how that happened. Richards suspected the change had been made without his input, and it sparked tension. Still, whatever the title, the music united them. With three Top 20 hits, nine weeks at #1 in the U.S., and over 4× platinum in sales, Tattoo You turned reclaimed studio scraps into timeless stadium rock.

Tattoo You is a perfect reminder that great songs are never truly lost. Whether captured in a single take or uncovered years later, the Stones’ instinct for rhythm, soul, and electricity turned a pile of tape reels into a rock and roll triumph.

5 Surprising Facts About King Crimson’s ‘Red’

Eric Alper
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5 Surprising Facts About King Crimson’s ‘Red’

King Crimson’s Red, released in October 1974, wasn’t just the band’s seventh album—it was their final roar before imploding. Three musicians. Five guest players. A whole lot of tape hiss, fuzz, and fury. Critics didn’t quite get it at the time. But fans? They heard the future. The album became a blueprint for everything from math rock to metal, all while refusing to compromise an inch. Here are five wild facts about Red that go deeper than the distortion.

1. “Red” Was Born From a Missing Song Called “Blue”
Robert Fripp originally planned to make a companion piece to an unreleased song titled “Blue.” Instead, “Red” took on a life of its own. Constructed with razor-sharp riffs and rhythmic bricks courtesy of Wetton and Bruford, it’s one of the most menacing instrumentals in progressive rock. The band didn’t even know if it worked—Bruford shrugged and said, “I don’t get it.” Wetton’s response? “We’ll use it.” Its unresolved tension was so potent, Fripp later revisited elements for THRAK’s “VROOOM VROOOM” over 20 years later.

2. “Starless” Was Rejected… Then Resurrected as a Masterpiece
John Wetton originally pitched “Starless” for the Starless and Bible Black album, but it got a lukewarm reception. The early version was just the vocal section. Fripp added a haunting intro, Bruford contributed a hypnotic groove, and the song mutated into a 12-minute journey from melancholy to eruption. Its mathy 13/8 middle section is a masterclass in musical suspense. The finale? Saxophone, overdriven guitars, and emotional overload. Wetton later sneaked unused lyrics into a U.K. song. Some songs die. Starless evolved.

3. “Providence” Was a Live Jam With a Fired Bandmate
David Cross didn’t know he’d been fired until the day before recording began. But he still appears—on a track recorded live in Providence, Rhode Island. “Providence” is a cut of raw improvisation: eerie violin, free-jazz drums, and ambient chaos. The studio version was heavily edited, but later releases revealed the full jam. It’s not just a moody interlude—it’s a sonic ghost, the final trace of a member who was gone before the ink dried on the studio logbook.

4. “Fallen Angel” Is Built From a Lost Ballad and a Gang Story
Parts of “Fallen Angel” trace back to a live improvisation from 1972 and a Wetton ballad called “Woman.” But lyrically, it’s one of the most emotional tracks Crimson ever cut—a heartbreaking tale of a younger brother stabbed on the streets of New York. Fripp’s acoustic arpeggios mix with Mark Charig’s cornet and Robin Miller’s oboe, lending it both intimacy and sorrow. For decades, the band never played it live—until a triumphant performance in 2017. A song ahead of its time finally got its due.

5. The Album Cover Was a Composite—Because the Band Couldn’t Be in the Same Room
The stark black-and-white cover? It looks like a moody band portrait, but the truth is weirder. Fripp hated the photo session. Wetton, Bruford, and Fripp were each photographed separately because of rising tensions—and then stitched together into one image. The back cover was supposed to feature blown-out mixing board meters, symbolizing the music’s intensity. But the label wanted something more “marketable.” The result is strangely perfect: three disconnected figures staring into the void, unknowingly capturing a band on the brink of collapse.

Red wasn’t meant to be a swan song, but it became one. Fripp dissolved King Crimson weeks before the album hit shelves, and it took seven years to return. Heavy, haunting, and decades ahead of its time, Red remains a jagged monument to what happens when three visionaries push themselves—and each other—to the edge.

5 Surprising Facts About The Doors’ ‘Strange Days’

Eric Alper
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5 Surprising Facts About The Doors’ ‘Strange Days’

When The Doors released Strange Days in September 1967—just eight months after their debut lit the world on fire—they were chasing sound, poetry, and a little bit of sonic chaos. From Moogs to marimbas, alleyway acrobats to tape loops run backwards, Strange Days was wild, weird, and way ahead of its time. You’ve heard the hits. Now here are five behind-the-curtain facts that prove just how strange—and brilliant—these days really were.

1. That Synth? It’s One of the First in Rock History
Before synths became the pulsing heart of new wave, Jim Morrison and Paul Beaver were rigging up a Moog to filter Morrison’s voice—by playing notes on a keyboard while Morrison sang. Engineer Bruce Botnick called it “an envelope” for Jim’s vocals, and added a tape loop delay for good, trippy measure. The effect? A warbling, echo-drenched vocal performance that sounded like it was beamed in from another dimension. Not bad for 1967. Somewhere, Brian Eno tipped his hat.

2. The Album Cover Was a Manhattan Street Circus—Literally
The iconic Strange Days cover was shot in Sniffen Court, a tucked-away alley in New York. Photographer Joel Brodsky wrangled a wild ensemble of circus performers… and when that wasn’t enough, he got creative. His assistant dressed as a juggler, and a cabbie was paid $5 to pretend he played trumpet. Twin dwarfs were used to create symmetry across the front and back covers. The Doors themselves only appear as a poster in the background. It’s a surreal image—and a subtle nudge that the real spectacle was always the music.

3. “Unhappy Girl” Was Played Entirely Backwards—On Purpose
Ray Manzarek wasn’t just a keyboard wizard—he was a reverse-reading, bottom-up musical puzzle master. For “Unhappy Girl,” he literally read his sheet music backwards and recorded his part that way. Then the band overdubbed in real-time on top of the reverse performance. The result is an unsettling, off-kilter swirl that perfectly matches the song’s haunting theme. It’s not just experimentation for its own sake—it’s expression through inversion.

4. “Horse Latitudes” Was a Windstorm of Avant-Garde Madness
Before the term “spoken-word interlude” became a Spotify skippable, Morrison gave us “Horse Latitudes,” a dramatic, howling poem he wrote as a teenager (or so he claimed). The band conjured a storm of sound: tape hiss, reversed loops, and freeform noise made from twisting knobs and playing instruments the wrong way. Botnick even hand-spun the tape to create artificial wind. It’s theatrical, chaotic, and possibly the only Doors track that could double as performance art at MoMA.

5. The Harpsichord in “Love Me Two Times” Wasn’t a Gimmick—It Was Rock Royalty
Ray Manzarek played the final version of “Love Me Two Times” on a harpsichord, which he called “a most elegant instrument not normally associated with rock and roll.” But elegance was exactly the point. Robby Krieger’s blues riff was about lust, longing, and leaving, and Manzarek’s choice gave it a baroque-meets-blues tension that still feels fresh today. Banned in New Haven for being too controversial, the song was also banned in some minds for being too catchy.

Strange Days may have lived in the shadow of its blockbuster predecessor, but in hindsight, it’s the album where The Doors got braver, weirder, and infinitely more experimental. It’s the sound of four musicians poking holes in reality—and letting strange, wonderful sounds leak through.

5 Surprising Facts About Garbage’s ‘Version 2.0’

Eric Alper
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0
5 Surprising Facts About Garbage’s ‘Version 2.0’

When Garbage released Version 2.0 in 1998, they weren’t trying to reinvent themselves—they were trying to upgrade. Bigger beats, bolder emotions, and a sleek digital sheen wrapped around Shirley Manson’s razor-sharp lyrics made it a defining album of the late ’90s. You may know the hits, but here are five strange, sweet, and sonically wild facts you probably didn’t know about Version 2.0.

The Album Almost Had the Saddest Circus Name Ever
Before it became the techy, polished Version 2.0, the working title of Garbage’s second album was… Sad Alcoholic Clowns. Yes, really. Equal parts tragic and hilarious, it sounds like a lost Tom Waits song or a Tinder bio that screams “ask me about my record collection.” The title was eventually scrapped for something more digital and tongue-in-cheek, but the vibe of that original name? Still in there—boozy, brooding, and brilliantly off-kilter.

2. Candy Factories Make Surprisingly Great Drum Rooms
Need the perfect echo for your industrial percussion? Step aside Abbey Road—Garbage recorded some of the drum tracks for Version 2.0 inside a disused candy factory in Madison. The acoustics were sweet, but the neighbours weren’t: the cops shut them down mid-session. Butch Vig and the gang still got what they needed, though—those reverb-heavy fills live on in “Temptation Waits” and “I Think I’m Paranoid.” Who knew licorice and snare drums had so much in common?

3. They Used Enough Tracks to Build a Sonic Skyscraper
Some songs on Version 2.0 had up to 120 audio tracks—and this was in 1998, long before it was cool to have your DAW crash every ten minutes. The band worked with Pro Tools like mad scientists, layering strings, loops, reversed snares, guitar feedback, and filtered vocals. Then they mixed it all down to just 14 analog tracks. It’s like baking a cake with 120 ingredients and only serving 14 slices. But wow, what a cake.

4. “Push It” Got Brian Wilson’s Blessing—And Then Some
Midway through “Push It,” you might catch a dreamy little line that sounds like the Beach Boys’ “Don’t Worry Baby.” That’s because it is—sort of. Shirley Manson ad-libbed it, the band re-recorded it in the right key, and they had the nerve to ask Brian Wilson for permission. Not only did he say yes, he reportedly kept the tape. Somewhere out there, Brian Wilson is vibing to Shirley whispering “don’t worry baby,” and that alone is worth a Grammy.

5. “Temptation Waits” Was the Showstopper That Never Got a Spotlight
It was the album opener, packed with haunted theremin sounds (well, a synth pretending to be one), sub-bass, wah-wah guitar filters, and disco nods to Isaac Hayes. Yet “Temptation Waits” was never released as a proper single—except in Spain, where it got airplay to celebrate the album’s long chart run. Instead, it became a cult classic in the TV world, popping up in Buffy, The Sopranos, and Dawson’s Creek. No big deal, just casually soundtracking angst, vampires, and suburban mafia drama.

Version 2.0 was a full-on digital symphony of distortion, elegance, and raw emotion, built by a band that wanted to be louder, poppier, and weirder all at once. Mission accomplished.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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