Here was this guy, this dude, with the gall to write about the dumbest things possible and make them seem important. The very same topics that consumed my life up until that point: Does youth soccer promote kids to be outcasts and weirdos?
Every so often like right nowpeople interested in culture become semifixated on a soft debate over the merits or dangers of nostalgia as it applies to art, and particularly to pop music. The highest-profile current example is the book Retromania: Those passing mentions prompted writers from both books to politely reject the idea that these works were somehow reliant on the experience of nostalgia nostalgia has a mostly negative literary connotation.
But this is not the only example: The net result is a bunch of people defending and bemoaning the impact of nostalgia in unpredictable ways; I suppose a few of these arguments intrigue me, but just barely.
But still — before a problem can be discarded, one needs to identify what that problem is. In my view, this dispute has three principal elements.
None of them are new. The central reason most smart people and certainly most critics tend to disparage nostalgia is obvious: If you unconditionally love something from your own past, it might just mean you love that period of your own life.
And in all three cases, both sides of the debate are built around that magical bridge between art and the experience of being alive. But what if this is just how we explain it? What if nostalgia has less to do with our own lives than we superficially assume?
Stare at a photograph of someone you dated long, long ago. This is real nostalgia: The picture is just a delivery device for the memory. This is why thinking about old music or old films, 2 or old books is so much more complicated and unclear: We like the song itself.
Klosterman has written nine previous books, helped found and establish Grantland, served as the New York Times Magazine Ethicist, worked on film and television productions, and contributed profiles and essays to outlets such as GQ, Esquire, Billboard, The A.V. Club, and The Guardian. Chuck Klosterman is at his most "Chuck Klost Much of it appeared in Grantland (what is dead may never die), some of it I had read already. Like with his previous previously published essays collection Chuck Klosterman IV: A Decade of Curious People and /5. Charles John Klosterman is an American author and essayist whose work focuses on American popular culture. He has been a columnist for Esquire and blog-mmorpg.com and wrote "The Ethicist" column for The New York Times Magazine. Klosterman is the author of ten books, including two novels and the essay collection Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto. He was awarded the ASCAP .
We may not even remember that particular period with any clarity or import. These things might be connected, but they might also be unrelated.
But so many other old songs only replicate that sensation. The song connects you with nothing tangible, yet still seems warm and positive and extra-meaningful. And what this usually means is that you listened to that particular song a lot, during a stage in your life when you listened to a smaller number of songs with a much higher frequency.
It might have nothing to do with whatever was happening alongside that listening experience; it might just be that you accidentally invested the amount of time necessary to appreciate the song to its fullest possible extent. For at least one year of my life, I had only six cassettes.
But as soon as I replayed it, it sounded great. Moreover, it was a weirdly complete listening experience — not only did I like the song as a whole, but I also noticed and remembered all the individual parts the overwrought organ intro, how Jake E.
This process I just described? The idea of accidentally creating a false sense of nostalgia though inadvertent-yet-dogged repetition?Chuck Klosterman, who today wrote an essay for Grantland about the eight or so hours during which a few people on the internet were speculating that a letter to his New York Times advice column.
Klosterman has written nine previous books, helped found and establish Grantland, served as the New York Times Magazine Ethicist, worked on film and television productions, and contributed profiles and essays to outlets such as GQ, Esquire, Billboard, The A.V.
Club, and The Guardian. Chuck Klosterman is at his most "Chuck Klost Much of it appeared in Grantland (what is dead may never die), some of it I had read already. Like with his previous previously published essays collection Chuck Klosterman IV: A Decade of Curious People and /5.
After the success of Sex, Drugs, and Cocoa Puffs, it took two more books before Klosterman would write his first novel, Downtown blog-mmorpg.com journalism collection, IV, provided a hint at what was to. Chuck Klosterman is the bestselling author of many books of nonfiction (including Sex, Drugs, and Cocoa Puffs, I Wear the Black Hat, Fargo Rock City and Chuck Klosterman X) and two novels (Downtown Owl and The Visible Man).
Marilyn Manson performing in (left to right): Paul Wiley, Tyler Bates, Manson, Daniel Fox and Twiggy Ramirez (Gil Sharone obscured at the drums).