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He means it to stand for his whole worldview. I'm really not a complete curmudgeon, and I feel nefarious for the review I'm about to give, mostly because everyone I know likes this book, but I simply can't promote all of these essays as refreshingly creative and brilliantly written pop culture analyses. You don't get to tour. He believes in media-savvy, but not "resistance". So is Klosterman a philosopher?
This act did not kill 20 million Russian peasants, but it might be more 'diabolical' in a literal sense. Take an old-fashioned ethical dilemma: Klosterman narrates his visit to the Pop Music Studies Conference by the Experience Music Project, and how it was largely an experience without rock and roll. Klosterman is definitely a cultural critic. Essay collections are notorious for being books that do not sell, yet Klosterman has attained cult status, his books joining the select and successful canon of reading for people who do not read, they are the sort of books that get sold in record shops - alongside works by Hunter S Thompson, Chuck Palahniuk, various rock critics, and historians of psychoactive drugs or gardeners offering instructions on how to grow them. Also how music taste is used to gauge coolness, and those who ignorantly say they like all kinds "except country" only say so to appear cool. Meanwhile, I constantly do things that I know are wrong; they're not on the same scale as incinerating Jews or blowing up skyscrapers, but my motivations might be worse. The utilitarian challenge of pain to one, for the greater good of the many? Klosterman recounts "fake love" we are conditioned to pursue, and the false, unbalanced nature of When Harry Met Sally. Between each essay, or track, is an "interlude"—a short, entertaining blurb linking the essays. Critic Mark Greif in The Guardian called it "one of the better essay collections of recent years," noting "Klosterman has attained cult status, his books joining the select and successful canon of reading for people who do not read. But in Sex, Drugs, and Cocoa Puffs he seems as if he still has to prove how hip, smart, and deserving of ladies and attention he really is. Certainly, this creates some pretty glaring problems: You have to beg your own friends to come to the show. He has the hallmarks of the critic's negative view on what he chooses to call "mass media" a more sinister phrase historically than "popular culture". The work of turning philosophical topics into pop-cultural comic provocation is an art. The idea of doing good things simply because you're good seems like a zero-sum game; I'm not even sure those actions would still qualify as 'good,' since they'd merely be a function of normal behavior. I'm really not a complete curmudgeon, and I feel nefarious for the review I'm about to give, mostly because everyone I know likes this book, but I simply can't promote all of these essays as refreshingly creative and brilliantly written Recommended for: In the video game world he notes the amazing tendency to recreate one's own banal existence in bits and pixels: You don't get no money. Being virtuous is hard, not easy. If I died and found out I was going to hell and Stalin was in heaven, I would note the irony, but I couldn't complain. Yet it has a way of adding a sameness to all behaviour, "because everybody is being twisted by the same sources simultaneously", and it's not clear one can find a way out of the homogenisation. A discussion of the question "What is reality? A description of three people Klosterman has interviewed who have known or met serial killers, and an exploration of "What does it mean to know a serial killer? If you grew up in the 80s and early 90s, then you will get these, and they will likely be the encapsulation of everything you and your drunkard Chuck Taylor wearing, irony branded, PBR drinking buddies discussed on the long walk home from the party.
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