Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto


Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto Lower Priced Than E-Books

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Product Description

Countless writers and artists have spoken for a generation, but no one has done it quite like Chuck Klosterman. With an exhaustive knowledge of popular culture and an almost effortless ability to spin brilliant prose out of unlikely subject matter, Klosterman attacks the entire spectrum of postmodern America: reality TV, Internet porn, Pamela Anderson, literary Jesus freaks, and the real difference between apples and oranges (of which there is none). And don't even get him started on his love life and the whole Harry-Met-Sally situation. Whether deconstructing Saved by the Bell episodes or the artistic legacy of Billy Joel, the symbolic importance of The Empire Strikes Back or the Celtics/Lakers rivalry, Chuck will make you think, he'll make you laugh, and he'll drive you insane-usually all at once. Sex, Drugs, and Cocoa Puffs is ostensibly about art, entertainment, infotainment, sports, politics, and kittens, but-really-it's about us. All of us. As Klosterman realizes late at night, in the moment before he falls asleep, 'In and of itself, nothing really matters. What matters is that nothing is ever 'in and of itself.'' Read to believe.

Editorial Reviews

Cultural arguments for people fascinated by the implications of their sugar-cereal dependencies.Spin magazine senior writer Klosterman (Fargo Rock City, 2001) prefers to ";;figure out what it means to be alive,";; he explains, in the context of ";;Pamela Anderson and The Real World and Frosted Flakes.";; Generally speaking, his m.o. is to explore what a ";;trivial";; or purportedly overlooked mass-cultural element tells us about the presumably insight-hobbled greater American populace (e.g., that racial or cultural differences as exploited in popular media can be clarified via the eternal Lakers-Celtics debate). It's a strategy reminiscent of Joe Queenan's superior Red Lobster, White Trash, and the Blue Lagoon (1998), although Klosterman's shrill advocacy of junk culture lies closer to Quentin Tarantino's. The author is certainly democratic in his obsessions, yet they all tend toward lowest common denominators: many of his long argumentative riffs, such as those regarding John Cusack's appeal, the Pamela Anderson-Tommy Lee video, the enduring celebrity cult around serial killers like J.W. Gacy, and the righteousness of Reality Bites and the Gen-X stereotype, seem dated and unprovocative. The occasional piece rises above this minor-key white noise: a sharp, affecting portrait of life on the road with a Guns 'n' Roses cover band (written for the New York Times Magazine); a provocative exploration of how the befuddling world of online porn actually serves as metaphor for the Internet's promise generally; and a genuinely cynical chapter on media realities that reads like Muckraker Lite. Klosterman's literary strength seemingly lies in an ability to salvage discussion of the genuinely trivial via an often charming, ramshackle voice; yet elsewhere, he takes tedious, unconvincing swipes at the usual array of ";;elite";; cultural tropes, including Seattle's Experience Music Project, punk rock, indie rock, rock journalists, Bjö;;rk, ";;postmodern";; writers like poet Robert Pinsky, Lucinda Williams, alt-country, and so forth. He seems unaware that Jim Goad, Donna Gaines, and Ian Christe have already beaten the ersatz-populism thing to death.Humorous, slick, aggressively forgettable.Agent: Daniel Greenberg/Levine Greenberg Copyright Kirkus 2003 Kirkus/BPI Communications.All rights reserved

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  • Stars CAN Be Yellow, Chuck

    4 out of 5

    Written by , Posted on at 11:55:42 AM

    This is one man's hilarious riff on the things that matter and that connect in his life. And if it's not Freud or Jung, hey, it's his life not yours. He also uses swear words liberally throughout his work so for those of you easily offended, you might want to try other material. From cereal to nitpicking about apples and oranges to why he’s got a grudge against John Cusack, Mr. Klosterman delves into the minutiae of things in a funny, irreverent style. Griping? Yes. Bitter? Perhaps. Laugh-out-loud funny? Very.