late stage capitalism

the patina of daring had begun to wear thin on the eighties’ chosen crop of celebrity-rebels. Entire new lines of insolent shoes would have to be designed and marketed; entire new looks and emblems of protest would have to be found somewhere. Consumerism’s traditional claim to be the spokesman for our inchoate disgust with consumerism was hemorrhaging credibility, and independent rock, with its Jacobin ‘authenticity’ obsession, had just the things capital required. Out went the call for an “alternative” from a thousand executive suites, and overnight everyone even remotely associated with independent rock in Seattle—and Minneapolis, Chapel Hill, Champaign, Lawrence, and finally Chicago—found themselves the recipients of unsolicited corporate attention