Classic or Dud: Chuck Klosterman

except in 1980, mass culture wasn't post-punk - it was Pink Floyd, Billy Joel, Bob Seger, Queen, Kenny Rogers, etc

my point was about the inherited narrative, not the reality.

that's very klosty of you

man notices that color films look different from black n white films

xpost ah sorry misunderstood

My son was just telling me the differences between the old Minecraft and the new Minecraft so obviously things are changing

Like it's absolutely undeniable that the last 10 years in music (Future's 2012 to Lil Baby's 2022) is equally as stark and different as the change between, say, Chuck Berry's 1957 to Sly Stone's 1967.

I'm as ignorant as anyone here, so I decided to try this out. I listened to "Turn On the Lights" and "Voice of the Heroes", and while the emotional mood is different, the similarities (repeated keyboard arpeggios, stuttering hi-hats, squelchy bass) were striking, and there didn't feel like any particular progress from one decade to the next.
Then again, what would someone who considered themselves musically literate, born in 1917, have said comparing "Johnny B. Goode" and "Dance to the Music"?

I mean, part of the inability to hear particular differences is down to inexperience. I'm pretty sure anything my grandfather heard, when he never listened to anything past the big band era, all sounded the same

I just watched “Pretty in Pink” and “The Lord of the Rings: The Two Towers” and can’t figure out which one was made earlier.

The hobbits in "Pretty in Pink" were real, the Hobbits in "Two Towers" were CGI.

Yeah but can you tell the difference between Breakfast Club and Meet the Feebles?

The former is puppets, the latter is CGI.

obviously I take great issue w/them calling him the sharpest music writer of his generation when I've been on ilm for long enough to know much better

his shtick definitely affected writing styles overall, no doubt

xpost - mh what about Future vs Lil Baby vs Jazzy Sensation by Bambaataa (81) vs How I Could Just Kill a Man by Cypress Hill (91), that's way more different

or, the best selling rap album of 2012 was Drake, the best selling rap album of last year was...Drake

i wonder where the growing easier access to music since the late 90s factors into all of this. i don't really have any solid thoughts on it either way, but surely that's been a big contributing factor to the uber-nostalgia overload that we're currently living through. i know for those of us who grew up relying on magazines, music videos, and word of mouth, pre-napster/internet feels very much like "the beforetimes" — and, for better or for worse, will inevitably be romanticized. not trying to sound like a "well back in my day" story, but i'd liken it to my grandparents preferring to listen to the radio instead of watching television.

(not that i preferred "the beforetime", i.e. not being able to hear new music as easily as now, but the feeling is the same. it was just "a different time" and some folks probably were young and carefree then, so look back on it fondly? idk.)

just trying to make sense of this obsession with such definitively stated time periods. i don't understand.

never read much ck, but he seems a doofy blowhard (takes one to know one, i suppose).

yeah I think streaming has a lot to do with it

right the whole career of "professional pop culture/movie/music dork" like Kevin Smith, James Murphy, or Quentin Tarantino didn't seem to really exist before the 90's, and now that basically everything's available 24/7 in your pocket its kind of like half of what all media is now

There used to be 10 music journalists and now there are 10 million.

frogbs is right but I don’t think it has to do with “everything is in your pocket” but instead “criticism is monetized by having constant streams of content about lots of subjects, and Young Sheldon is not going to recap itself”

There used to be 10 music journalists and now there are 10 million.Only ten are making any money from it tho.

FYI, they had a feature with Klosterman and on 90s nostalgia on CBS Saturday Morning last week.

Only ten are making any money from it tho.

Has anyone written about alt-weeklies being forced to discontinue sex work ads and the effect on being able to make money as a music critic/journalist?

Rightly or wrongly, I decided early on that Klosterman's interests weren't mine, and then there seemed to be a certain amount of celebrity attached to him, so I didn't read any of his books. The Nineties is the first one I've read.

Thought it was good--raced through it. At lot of that, I'm sure, has to do with my own positive feelings about the decade. Definitely the last time I was completely plugged into new music, from the start of the decade to the finish. Films and politics too. So I was interested in most everything he covered. (The only chapter I was completely uninterested in was the one on clear sodas--Zima, etc.--and the Biosphere...but there was other stuff in that chapter that did interest me.) Liked the two political chapters ('92 election + Clinton in general), and his memory of all that more or less aligns with my own. (Although he didn't mention some of the early forgotten stories I associate with Clinton: Zoe Baird, Jocelyn Elders, Cristophe.) He's good on movies and sports--liked that he highlighted Michael Jordan's season playing baseball. I wasn't really looking for deep analysis...there's analysis, but it didn't feel like work. If I wrote a book on the '90s myself, it'd probably be a lot like this one. I'd just say "I" a lot more.

Somebody like Jonathan Lethem once said something like you can enjoy reading Klosterman even if you have zero overlap of taste, with the added bonus of not spending one cent on new music, although I haven't tested this theory in a while.

I'd say music accounts for a quarter of the book, maybe less. I don't think I found anything egregiously at odds with my own memories of the decade...he says there was "an overwhelming consensus" that "Achy Breaky Heart" was terrible; I think that's overstated (really overstated in view of the fact that he doesn't mention critics, although that's the implied consensus). Some critics liked it, and at least one loved it.