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Thesis

Ivan Aceves

Critical Practice

December 1st, 2017

Freedom is realizing you have a choice

  What is it that makes us human? When we contemplate the differences between humans and other mammals, we find a remarkable number of similarities. We are both made of flesh and blood, and experience similar life stages. It has even reached the point where we are able to use a pig’s heart valve to replace our own, in cases of surgery. Industries conduct extensive research on animals, due to the fact that our bodies are so profoundly alike. Our physical continuity with animals is undebatable. Our minds, however, are another matter. As humans, our mental capacities have allowed us to tame fire, and invent the wheel. We survive based on our wits. We have established societies over the years, and changed the face of the earth. When it comes down to it, humans are above all other lifeforms on this planet. All while our closest animal relatives still sit on trees, flinging feces at one another. The essential reason for this difference is that humans can about alternative futures, or consequences, and make choices accordingly. Creatures without this capacity are not bound by social contract or moral responsibility. This concept recalls one of the 21st century’s most controversial, some would even say groundbreaking, novels: A Clockwork Orange. At its core, Anthony Burgess’ dystopian masterpiece, A Clockwork Orange, centers around the theme of choice. More specifically, the choice between good and evil. Penchant for goodness cannot be force-fed, for true goodness is decided through free-will. This moral endowment is what makes us human, for if a man cannot choose, he ceases to be a man.

    Let’s begin by discussing the book’s title, for it describes our protagonist, and the topic at hand, perfectly. Upon imagination, the image is surrealistic, yet very real. If you take something organic, like an orange, growing and bursting with juice and color, then force-marry it to a mechanism, it is now rendered a dead artifact. Similarly, taking a human being, an organism full of life, and turning it into something mechanical, is something straight out of a nightmare. Our protagonist finds himself stripped of his most human quality, making us, the reader, consider the importance of choice.

    The protagonist of the book is a young thug named Alex. At the start of the book, he is human over-endowed with articular language, beauty in it’s many forms, especially classical music, and an abundance of aggressivity. He and his fellow gang members terrorize the city streets at night – leading Alex to rob, maim, rape, vandalize, and eventually kill. He is arrested and punished for his crimes, but imprisonment is not the final torment for our young anti-hero, for it is not noticeably a deterrent to crime. He decides to take his chances at subjecting himself to a new form of aversion therapy, guaranteed to rid criminals of their old ways. Alex, in his innocence, welcomes the opportunity to be “cured.” He has an overwhelming amount of confidence in himself, to ever let some government program and their behavior experts change him. Essentially, he sees this as an easy way out. He is injected with a substance that brings on extreme nausea, and this onset of nausea is deliberately associated with the enforced viewing of films about violence. Soon after, he cannot contemplate violence without feeling desperately sick. As the act of love has been to him merely an aspect of aggression, even the sight of a desirable sexual partner brings on intolerable nausea. He is forced to walk a tightrope of imposed “goodness.” Society is pleased and looks forward to a crime-free millennium.

    Men are not machines, however, and it is not possible to judge reaction based on a single victim. Alex’s treatment, consisting of viewing these violent films, happened to be playing Beethoven as their background score. When he is relieved from the facility, Alex finds that the music he once adored gives him feelings of excruciating nausea. This unplanned side-effect of the treatment, causes Alex to attempt suicide, after listening to Beethoven’s 9th symphony. The state had gone too far with it’s treatment. It violated the covenant with its citizen, and closed him to a world of “non-moral” goodness. Alex’s final act, in an attempt to end his pain, causes a reaction of shock and compassion from society. He undergoes hypnopaedic therapy, returning him to his former self, or “free” condition. We leave Alex as he thinks up new and elaborate ways to let his regained aggression flourish. The main takeaway of the book, is that it is better to be bad of one’s own free will than to be good through scientific brainwashing. When Alex has the power of choice, he chooses violence, but as his love for music proves, there are other areas of choice. There is an alternate ending to the book, which features Alex growing up in distaste for for his former ways of living, thinking of love as something more than a mode for violence. He even foresees himself as a husband and father. This way has always been open, and Alex decides to finally take it.

    The battle between good and evil gets complicated in A Clockwork Orange, because the conflict is presented as the fight between forced good and chosen evil. Basically, who is a better person–someone incapable of doing evil, or someone with freedom who has the power of choice, but opts for evil? The theme of morality comes into play. As humans, we are given the freedom to believe in what we want, perform any action, and be aware of its consequence. As some may not realize, we trust this system of morality and ethics with our own lives. For example, I can sit at a restaurant, unaware of the fact that the man eating next to me is a crazed serial killer. He can, at any moment, drive his steak knife into me if he chooses, but based on the context of morality and basic ethics, I trust him not to do that. The absolute ease with which someone can cause extreme harm to another person is quite extreme. This is the reason we, as a society, have developed not only prisons, but religions as well. Religions that promise rewards (Heaven) for good deeds, and punishment (Hell) for bad ones. In the novel, the prison priest states that personal choice is required for a person to be deemed “good.” Therefore, a religious person who does not thoughtfully choose their actions, but blindly follows the words of their religion’s instructions to do only good deeds cannot be seen as a “good” person. The actions must be honest, in order for them to be regarded as such. Humans are not meant to be mere clockwork toys, wound up by God or the Devil. It is as inhuman to be totally good as it is to be totally evil. The important thing is moral choice. Evil has to exist along with good in order that moral choice may operate.

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TED: We’re building a dystopia just to make people click on ads

https://www.ted.com/talks/zeynep_tufekci_we_re_building_a_dystopia_just_to_make_people_click_on_ads#t-675242

     As an Advertising major, I found this video quite interesting. It’s absolutely incredible to realize the level of user knowledge that technology has achieved. We ingest an abundance of ads based on this knowledge, much of which occurs without us knowing. I find it a bit scary when I browse a product on an online shop on my laptop, only to find the same product being advertised to me on my mobile Instagram feed. It happens instantly, as well. It gets one thinking just how intelligent this user-targeting software is, and that’s exactly the topic that was further discussed in this TED Talk. 

     The algorithms, that the speaker spoke of, reach much deeper into human behavior than one would think. Youtube, for example, understands our desire to see the extreme. The fact that they have an autoplay feature, suggesting a more “hardcore” video than the one before it, is what keeps us glued to our screens. Simultaneously, this data on us as a user is being recorded, so that they can use it to target us in other ways. Knowing this gets one thinking twice before typing a message, updating our status, sending photos, or searching up our interests on the web, yet it will never stop us. 

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Thesis Statement

At its core, Anthony Burgess’ dystopian masterpiece, A Clockwork Orange, centers around the theme of choice. More specifically, the choice between good and evil. A penchant for goodness cannot be force-fed, for true goodness is decided through free-will. This moral endowment is what makes us human, for if a man cannot choose, he ceases to be a man.

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Blog Assignment #7           Playtest - Analysis

Black Mirror’s “Playtest” episode warns about the near-future tech dangers of virtual and augmented reality. Although the series is known for its gut-punching twists, this episode, in particular, stands out. It tugs at the heartstrings when we discover the likeable protagonist’s undeserved fate. Cooper, the protagonist, decides to travel abroad after his father’s death. Ignoring his mom’s calls, he decides to live out his vacation. Strapped for cash, Cooper decides to become part of a secret virtual gaming experiment by a world-famous developer. After basically signing his life away, Cooper has an implant inserted into his neck, which tracks his brain frequencies and causes his fears to manifest in a virtual(little does he know) haunted house. Cooper plays along with the jump scares and seemingly real threats. The sinister twist arrives when we realize that Cooper was killed after one second of playing, due to signal interference caused by his mother calling his cellphone. What we, the viewers, have been watching exists only in an alternate, virtual universe.

    When analyzing this complex episode, we are faced with several different layers of reality. These are outlined as physical reality, augmented reality, virtual reality and hyperreality. The gradual blurring of the barriers between these, is what our hero must unfortunately endure. Physical reality is defined as the state of things as they actually exist, without a trace of alteration. In other words, it is that which exists, has existed, or will exist, whether or not these are observable or comprehensible. In Cooper’s case, this is life as he knows it, and has known it. Him leaving his home, going on his worldwide vacation, and arriving at the facility for the playtest, are all part of physical reality. Basically everything up until the point where he fastens the headband.

    This is where things get a bit tricky, due to the sheer power of the device inserted into Cooper’s neck. It gets the point where the audience, has trouble putting together what it is that they just saw. We know, at the end, that the protagonist dies almost instantly, meaning that follows never really happened. It was all a sort of virtual/hyperreality. What he thinks is augmented reality(Gopher game), and later on virtual reality(Mansion walkthrough), all exist within the confines of a virtual/hyperreal world. If we see things from Cooper’s perspective, however, we are able to break these layers down. Augmented Reality begins with the simple Gopher smash game. This form of reality is defined as a live direct or indirect view of a physical, real-world environment whose elements are "augmented" by computer-generated sound, video, and/or graphics. The room that cooper’s, as well as the woman, are all physical reality (or so he thinks), and the computer-generated content is generated in the form of a silly gopher game that feels very real to him.

    Moving on, Cooper faces Virtual reality in the form of frightening entities in the haunted mansion. The spider and bully are part of what Cooper recognizes to be virtual reality; a very realistic one at that. However, there comes a point where Cooper loses grip on what’s real and what’s fake. He encounters his friend, Sonja, who aggressively attacks him, and inflicts a key element of physical reality: Pain. At this point, Cooper’s fear level rises to new heights, because he suddenly feels that his life's in danger. It’s one thing to taunt a gorilla behind the barrier, but it’s an entirely different situation when you’re in there with him. Ironically, what brought Cooper’s life to a bitter and abrupt end, was the phone call of a loved one from the physical world. A comforting call he probably would have loved to answer, considering the terrifying situation he was finding himself in.

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Blog Assignment #6 Simulacra and Simulation

In his text Simulacra and Simulation, Jean Baudrillard discusses the concept of how symbols and signs relate to simultaneous existences. According to him, contemporary society has replaced all reality and meaning with symbols and signs. He argues that human experience is a simulation of reality. Simulacra are copies that depict things that either had no original to begin with, or that no longer have an original. Simulation is the imitation of a real-world process or system over time.

      Baudrillard discusses the three degrees of simulacra, and attaches them to a specific historical period. The first is associated with the premodern period, where representation is clearly an artificial placemarker for the real item. The uniqueness of objects and situations marks them as irreproducibly real. The second is associated with the modernity of the Industrial Revolution, where distinctions between representation and reality break down due to the proliferation of mass-reproducible copies of items, turning them into commodities. The commodity's ability to imitate reality threatens to replace the authority of the original version, because the copy is just as "real" as its prototype. Finally, we have the association of postmodernity and Late Capitalism, where the simulacrum precedes the original and the distinction between reality and representation vanishes. At this point, there is only simulation, and originality becomes a meaningless concept.

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Blog Assignment #5 Monster Theses

       Jeffrey Cohen’s essay brings an entirely new perspective to the idea of “monsters.” Personally, when I think of what a monster means to me, I think of 2 things. First, the fantasy aspect of the word comes to mind. I imagine monsters from movies, video games and books. Monsters that don’t exist, basically. Classic characters like Dracula, Frankenstein’s monster, Godzilla, etc. Basically, I imagine creatures and beings that mean to cause harm. Big teeth, claws, fur and scales all find their way into thought when the word is spoken. I would also like to mention that it is possible for one to think of these creatures in a positive light. Children, for example, can associate the word with Sesame Street or Monsters Inc. Both of these series attempt to take the fear out of the monsters, and push their positive human qualities to the surface.

      The second thought that comes to my mind when I hear the word “monster,” is a human being who has done things worthy of that title. This can range from politicians to serial killers. Many in today’s society would consider Putin, Trump and Kim Jong Un to be contemporary monsters. This is not because they grow claws or suck blood, but because they cause harm. They instil fear into people’s minds, and have the power to erupt violence amongst ourselves. When it comes to people like serial killers and terrorists, the term’s use becomes obvious and appropriate. Murderers are no longer human in our eyes. Their conscious decision to take lives has deprived them of their humanity, and we see them as animals (Although that is essentially what humans are, and killing remains one of our more savage traits).

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Blog Assignment #4 Memento as a Postmodernist Film

     Christopher Nolan’s Memento is a phenomenal example of chronological disorder and the absence of truth. The film, confusing and complex in its themes and elements, continues to be a well-respected staple in cinema. The story brings up numerous theories from its viewers, and proves how intriguing the postmodernist style can be. It pushes the boundaries, and demands it’s spectator’s full attention. The plot deals with the story of Leonard Shelby, a man who we are led to believe suffers short term memory loss after receiving a blow to the head during a burglary assault. His wife suffocating to her death after being raped is the last thing Leonard can recall. After managing to kill one of the attackers, he gets knocked out by the second intruder, and can no longer create new memories. He remembers his life up until that point, but can only retain new memories for minutes before they disappear entirely. Leonard’s basic purpose in life after the incident, is to track down and kill that second attacker. Due to his condition, however, it makes solving the case extremely difficult. Leonard uses polaroid photographs, various notes, and a series of tattoos scrawled throughout his body to remind himself of important information. Postmodernists describe the world in which a contemporary man is not only himself devoid of meaning, but most importantly lacks the tools that would help him to reach the truth, to grasp reality, to objectify the world.

    Memento contains two sequences. The first sequence is in color, while the second is in chronological order. Color sequences proceed in reverse chronological order, while the black and white sequences proceed in chronological order. The director, Christopher Nolan, uses this technique in attempt to have the viewer experience the difficulty and frustration that the main character feels, trying to put together the fragments that we’re watching. Leonard creates the meaning of his world over and over again, exemplifying the the condition in a man that can be called postmodernist. Leonard’s dependence on his constructed meanings, along with the conscious modification he applies to them, deprive him of the possibility of finding out the truth. He is essentially adding pieces to the puzzle everyday, without hope of knowing that they will even connect in the end, because any information (supposed truth) he took down, was subject to change at the moment it was recorded. In fact, by the end of the film, the viewer knows nothing more about Leonard that he himself knows. This essentially leads the viewer to the realization that, while we were also working alongside Leonard to solve the case, we end up being just as confused as he is. We are rendered as hopeless as the main character, trapped in a cage of inevitability, and experiencing the postmodernist elements of anxiety and panic.

    The other characters in the film, that play major roles, are Teddy and Natalie. Both take advantage of Leonard’s condition in order to reach certain goals. Natalie uses him to get rid of an oppressor, whele Teddy uses him to catch drug dealers for profit. The only trust Leonard swears by is his system of notes and tattooes, which he essentially discovers “for the first time” every day. These notes are very often made hastily, however, and prove to be just as deceptive. Leonard relies on his system to avoid being manipulated, as well as to prevent himself from being tossed in a void of confusion. Leonard also relies on the story of a Sammy Jenkins, who unconsciously killed his wife as a result of his short-term memory loss. This story serves as a cautionary tale for Leonard, who uses it to remind himself not to fall into the same case of despair. He strives to remain as controlled as possible. We end up discovering, however, that Leonard fabricated this story to cover up his own guilt for unintentionally murdering his beloved wife. In an act of vengeance, he uses this fabrication to play against Teddy. Once discovering the truth, as he has numerous times in the past, he intentionally re-creates memories, and keeps the investigation going, knowing fully well that he will forget the truth anyway. This causes him to suppress that horrible truth he so does not want to accept, and keep his own fictitious story in motion, only to unfortunately discover the truth once again. As a conclusion to the film, Leonard essentially chooses simulation over reality. Teddy tells Leonard that they both killed the person (John G.) that Leonard’s been obsessed with finding, over a year ago, and an additional 6 more (drug dealers) after that. It is even discovered that Teddy’s real name is John G (the same name as the killer Leonard is after), because it is so common. Leonard writes down this information on a photograph of Teddy, and uses it to continue the “investigation,” eventually murdering Teddy at the end.  

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Blog Assignment #3 The Remix Culture Quentin Tarantino films - Everything is a remix

https://vimeo.com/19469447

       When it comes to cinematic entertainment in its pure, raw form, Quentin Tarantino is a director that, most would agree, delivers. His films ring with the nostalgia of past decades, and provide the perfect mix of shock and drama. Always incredibly thought out, Tarantino’s scenes can sometimes make it seem like his style is too good to be his own. This is because, to some extent, it is. Tarantino is a master of remix, and incorporates influences from many of his favorite films into his own movies. This ranges from the incredible soundtracks and beautiful cinematography, to the dramatic fight scenes and vintage aesthetics. His influences are combined so well, that they seamlessly blend into themselves, creating a film that is the best of several worlds. As a viewer, you know that what you’re seeing is new and very “Tarantino,” but few are aware of the movies that ultimately made Quentin the director that he is. His inspiration comes mainly from foreign films, most notably 1960s Japanese samurai films and Italian Spaghetti westerns. He analyzes these “classics,” and reshapes particular scenes, often adding the very American “nostalgia” aspect with touches of Grindhouse. Although his remix technique is evident throughout all of his films, one stands out among the rest - Kill Bill.

      This gritty, highly-stylized, film is a melting pot of classic film inspirations. The story follows a femme fatale on her quest for revenge against the man who murdered her unborn child, and tried to do the same to her in the process. This movie oozes Japanese flair, and also takes influence from Bruce Lee films, as well as Clint Eastwood classics. The short video I provided the link to, takes the viewer through many side-by-side comparisons of scenes from Kill Bill and the movie and the corresponding scenes from the movies that inspired them. This way, we can get a clear example of remix culture at work. The similarities range from mild to flat out obvious.

      We begin with several examples from the classic Bruce Lee favorite, “Game of Death” (1978), where Lee’s motorcycle scene, coupled with his iconic yellow jumpsuit, are clearly seen in Kill Bill, with regard to Uma Thurman. There are even a couple of related scenes where the camera zooms into the protagonist’s face in a similar way, along with the cheeky smirk that they give. In another scene, now taking influence from Bruce Lee’s other classic, “Fists of Fury” (1972), Uma and Lee are both surrounded by nervous opponents who flinch in a similar way, in response to the hero’s sudden, offensive stance.  

      Moving on, the viewer notices a wide array of influences from Japanese ‘Jidaigeki’ or ‘Period drama’ films revolving around samurai. We find an extremely obvious inspiration from “Samurai Fiction” (1998), where the hero is seen fighting off enemies in a dark room, where only their clashing silhouettes are visible. Even the gridded background is the same. Next we have a very graphic scene where the hero slices off an enemy’s arm in a single, clean slash. The inspiration was taken from the 1962 film “Sanjuro.” Also taking inspiration from the same film, we have a very over-the-top action sequence between a single warrior against a group of opponents that features plenty of bloody carnage. “Shogun Assassin” (1980) follows, with Uma and her daughter watching the actual movie in a bedroom together. This moment reveals how the film influenced Uma’s behavior throughout Kill Bill, since she too saw violent Samurai movies as a child. Japanese femme thriller inspirations like “Lady Snowblood” (1973) also make an appearance.  

      Following this, we find a good number of Spaghetti Western influences in Kill Bill. The blurry, blistering walk through the desert that Uma’s character endures is taken from the iconic scene with Clint Eastwood in “Once upon a time in the West.” Keeping in tune with the genre, we have the dramatic ‘red eyes’ sequence from “Death rides a horse” (1967), finding its way into Kill Bill. Along with this, we have the ‘execution’ scene from “The Good, the bad and the ugly” (1966). Italian Horror Director Dario Argento’s bloody movie, “Deep Red” (1975), was an inspiration for the chain-choke scene in Kill Bill.

      Finally, I would also like to mention Tarantino’s triple threat influenced scene, in which he takes aspects from separate films, and melts them into a smooth scene that works perfectly. The whistle song from “Twisted Nerve” (1968), “Black Sunday’s” syringe scene (1977) and the intensity of the prom scene in Carrie (1976).

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Blog Assignment #2 Postmodern Film Analysis -    Pulp Fiction

https://www.youtube.com/watch?v=s7EdQ4FqbhY

       In the world of modern cinema, Tarantino’s Pulp Fiction can easily be considered one of the most stylistic, influential and “greatest films ever made.” The film is considered the director’s masterpiece, and it was praised most for its fantastic screenwriting. The film's self-reflexivity, unconventional structure, intertextuality, the subjectivity of time and extensive use of homage and pastiche have led critics to describe it as a touchstone of postmodern film. 

      Postmodernism is a challenge against the likes of high modernism. It is the erosion of the older distinction between high culture and so-called mass, low culture. The film makes a point of addressing this concept. It is riddled with gratuitous violence, graphic imagery and an obscene amount of the word “fuck.” Despite this, it was nominated for 8 Oscars, won the Palme d’Or at Cannes, and is considered by most critics to be an exceptional film. It is this combination of “low-brow” content for a “high-brow” audience that exemplifies one of Pulp Fiction’s positions within postmodernism. The film deals with gangsters, heroin, rape and murder, but composes a no-doubt entertaining film by taking these elements of what most would consider to be shocking. By definition, a “Pulp Fiction” is a book or magazine containing lurid subject matter, usually printed on rough, unfinished paper. This is translated in video form, as the film is gritty, and contains aspects of grindhouse, which many may know, is one of Tarantino’s favorite genres.        

       The following concept is perhaps the most famous aspect of Pulp Fiction as a postmodern piece. The film completely disregards chronological order, and decides instead to lay out pieces of it’s story using a nonlinear timeline. This disturbs the norms of narrative structure, and keeps the audience on the brink of confusion, without pushing them over entirely. This gentle treatment of the story line rewards the audience when it gets figured out. It’s a satisfying feeling you get, as a viewer to see the pieces fit together. This technique is not just to get fancy with the narrative, either. Due to its order we feel more connected to it’s characters. We get to know them in different parts of their stories, which makes the progression of the film much more interesting.        

       Finally, we have the use overwhelming use of homage and pastiche in Pulp Fiction. Pastiche is a sort of parody, or imitation, of a particular style. The film does not reference one particular era or style, but several. The characters, their clothing, hairstyles, cultural references, as well as the music of the film all refer to different periods of the 20th century. Samuel L. Jackson’s character, Jules, for example, sports a Jheri curl and stache, and references flock of seagulls. All of these aspects, including “jungle boogie” on the car radio, point to the 1970s. Mia Wallace, Uma Thurman’s character is entirely pastiched. She and Travolta’s character, Vince, go out to a 50s/60s diner called Jack Rabbit Slim’s. There they order burgers and milkshakes while being waited by Marilyn Monroe and Buddy Holly. They even participate in a “Twist” dance contest, that reminds the viewer of Travolta’s famous Saturday Night Fever scene. Mia also makes further references by calling Vince a “square” and “Daddy-O.” When they arrive home, later that night, Mia dances to Neil Diamond’s version of “Girl, you’ll be a woman soon. These all point out to the 50s/60s aspects of her persona. Finally, we have Harvey Keitel’s character, The Wolf. He’s the epitome of cool, and exudes a professional personality. He introduces himself into the film, while driving a 1992 Acura NSX. This was the first time the car had made its movie debut, and audiences loved it’s exotic look. With the exception of the NSX, which points to the 90s, there is no other aspect of the film that pinpoints the exact era of the movie in a certain time, due to the heavy homage and pastiche that Tarantino provides. 

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Blog Assignment #1 You say you want a devolution - Vanity Fair -Kurt Andersen

      Taking into account my own interests and view on current culture, fashion, music and general style, I couldn’t agree more with Kurt’s point of view. The point he introduced early in the article is something that I myself have discussed with friends. I came to the realization that American style has remained visually bland for the past 20+ years. I find that every era, every decade, has a “look.” As the article mentioned, if you were to look at nearly any photograph of American life throughout the 20th century, you could most probably deduce what decade it derives from. It is not only the graininess or muted colors of the photographs that give it away; it’s the fashion and “way of life” belonging to that era. When you watch movies, or commercials, people even spoke differently. As an American growing up in the 21st century, I can’t help but feel almost ashamed. It makes me quite sad to know that our generation has no “look.” It only has modern technology to define it. The waves of digital images that we’re exposed to, and the ease with which we’re able to look up anything we’d like from the past, is the reason we have the urge to appropriate past styles as our own. Seeing masses of people in New York, wearing suits like uniforms, for example, is something that I find quite fascinating. There were expectations with how people should look, and if you went against them, you stuck out like a sore thumb. It’s remarkable how in this day and age, wearing suit on the everyday would make you look like some sort of try-hard, excusing the fact that it may be for work. It may just be the fact that I live in the era, but I don’t see future generations looking back at the 2000s, wanting to dress like us because it looks “cool” or “vintage.” I couldn’t even tell you what the quintessential fashionable outfit of our time is, unlike past eras. Bell bottoms and long hair were synonymous with the 1970’s for example. Today, style is just a smorgasbord of past trends. Street fashion, especially around 2010, pushed vintage as its motto. I couldn’t even count how many vintage or “used” clothing stores I’ve been to, in search of pieces that recall a certain time period. Today’s fashion-forward crowd is hungry for unique style, and past eras had exactly that.

      The article brought up music, which much like clothing, faces the same dilemma. My playlist literally only contains music before 2000, because it has life. It doesn’t feel meaningless. It takes me back to that particular time, while I hear it. Another fact worth mentioning is the overwhelmingly popular demand for vinyl records, and even cassettes. Urban Outfitters, a retailer for fashion-conscious teens and young adults, stocks its own fair share of vinyl records and tapes. My generation is thrilled, because of the authenticity. I’m personally a bit sick of content only getting more and more crisp. Today, if it’s not High-Definition, it’s not worth our time.

    Finally, I would also like to quickly point out a very unique point that the article made, on the subject of yuppies in the 80s, being like heterosexual gays, in terms of lifestyle. I was instantly reminded of Patrick Bateman’s character in American Psycho. He lives a life of personal, childless luxury. Investing his money in sharp clothing and good food. Spending his nights at the hottest clubs, and making sure his physique is always tip-top with a consistent tan, and a morning regimen that includes 1,000 crunches and a peel mask.