After all, Sublime were a band of sun-baked ska-punk yokels with exactly one hit to their name. (That hit was 1992’s “Date Rape,” a straight-up ska song that didn’t hit radio until 1994-ish. It’s a story-song about a man who rapes a woman and who then, in a form of cosmic rebuke, goes to prison and gets raped in his cell. It’s presented as a happy ending. This is what passed for male feminism in the ’90s.) Sublime had built up an audience for themselves, but they’d done nothing to suggest that they could become the house band in America’s frat nation, especially in death. They’d brought in Butthole Surfers guitarist Paul Leary to co-produce their album, and that does not exactly indicate massive confidence on the part of the label. Sublime easily could’ve disappeared without a trace. Instead, it instantly became inescapable. Millions of children learned to restrain themselves from singing along with the cuss words when they were in the car with their parents and “What I Got” came on the radio. Nowell became a star posthumously, and the sound of alt-rock radio went through an almost-immediate sea change.