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\nAbout the author:
\nChuck Klosterman \;is the bestselling author of ten nonfiction books (including
\;Football\; \;The Nineties\; \;But What If
We&rsquo\;re Wrong?\; and \;Sex\, Drugs\, and Cocoa Puffs)\, two novels (Downtown Owl \;and \;The Visible Man
)\, and the short story collection \;Raised in Captivity
. His debut book\, \;Fargo Rock City\, won the ASCAP-Deems Ta
ylor Award. He has written for \;The New York Times\, \;<
em>The Washington Post\, \;GQ\, \;Esquire\,
\;Spin\, \;The Guardian\, \;The Believe
r\, and ESPN. Klosterman served as the Ethicist for \;
In Rock* \, Klosterman \;intermixes satiric contrarianism and Spi nal Tap-ish absurdity with darker theories about what makes art popular\, how success delineates perception\, and the inescapable consensus of subje ctive history. It is not\, nor does it claim to be\, the greatest book eve r written about rock and roll. But it&rsquo\;s probably the last one that ever needs to be written. \;
\nThe Velvet Underground &\; Nic
o was released in the spring of 1967. For decades\, the cliche has been th
at it initially only sold 10\,000 copies\, though everyone who bought it s
upposedly started a band. It is the definition of a record whose influence
outstrips its mass popularity. But what if the opposite had transpired? W
hat if instead of selling 10\,000 copies\, it had sold &hellip\; 10 millio
n copies? What if it had sold 100 million copies? What would have happened
if the Velvet Underground had inexplicably become the biggest group in th
e history of popular music\, and everything about the rest of the 20th cen
tury was merely a footnote to that phenomenon? Whatever answer you imagine
is an infinitesimal splinter\, at least when compared to \;
Chuck Klosterman has generated a fic titious universe where almost everything is different\, except for the son gs. The songs remain the same&mdash\;the difference is how they are heard and what they now mean. Lou Reed is a messiah\, reversing the monoculture and dictating the outcome of presidential elections. The Beatles disappear \, though they never break up. The Rolling Stones collapse while Led Zeppe lin goes bankrupt. Punk rock fills stadiums\, undermined only by insoucian t radicals like Boston and Van Halen. Disco is destroyed. Hip-hop becomes country. The 1980s are defined by disposable pop icons (like G.G. Allin) a nd Christian revivalists (like Madonna). Lenny Kravitz lets love rule\, Oa sis collides with a wonderwall\, and the terrorist attacks of 9/11 are som ehow blamed on the Strokes. \;
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Books will be
available for purchase courtesy of Mac's Backs - Books on Coventry.