kvmshelf.blogg.se

The popularity of Fargo Rock City came from nowhere. In fact, he freely admits his career path was a product of equal parts luck and timing. But the co-creator of Grantland can’t shake the feeling. The cultural critic and self-described “generalist” has enjoyed great success since the release of Fargo Rock City in 2001: a bushel of best-selling non-fiction books, two novels, columnist gigs at Esquire and the New York Times. But nobody thought that was important if you missed it, you simply missed it. It was the last era that held to the idea of a true, hegemonic mainstream before it all began to fracture, whether you found a home in it or defined yourself against it.Chuck Klosterman fears it could end at any moment. On a 90’s Thursday night, more people watched any random episode of Seinfeld than the finale of Game of Thrones. Pop culture accelerated without the aid of a machine that remembered everything, generating an odd comfort in never being certain about anything. Happily, Chuck Klosterman is more than up to the job.īeyond epiphenomena like "Cop Killer" and Titanic and Zima, there were wholesale shifts in how society was perceived: the rise of the internet, pre-9/11 politics, and the paradoxical belief that nothing was more humiliating than trying too hard.

The 90s brought about a revolution in the human condition we’re still groping to understand.

By the end, exposing someone’s address was an act of emotional violence, and nobody picked up their new cell phone if they didn’t know who it was. In the beginning, almost every name and address was listed in a phone book, and everyone answered their landlines because you didn’t know who it was. In between, one presidential election was allegedly decided by Ross Perot while another was plausibly decided by Ralph Nader. It was long ago, but not as long as it seems: The Berlin Wall fell and the Twin Towers collapsed.