An instant New York Times bestseller! From the bestselling author of But What if We’re Wrong, a wise and funny reckoning with the decade that gave us slacker/grunge irony about the sin of trying too hard, during the greatest shift in human consciousness of any decade in American history. It was long ago, but not as long as it seems: The Berlin Wall fell and the Twin Towers collapsed. In between, one presidential election was allegedly decided by Ross Perot while another was plausibly decided by Ralph Nader. In the beginning, almost every name and address was listed in a phone book, and everyone answered their landlines because you didn’t know who it was. By the end, exposing someone’s address was an act of emotional violence, and nobody picked up their new cell phone if they didn’t know who it was. The 90s brought about a revolution in the human condition we’re still groping to understand. Happily, Chuck Klosterman is more than up to the job. Beyond epiphenomena like "Cop Killer" and Titanic and Zima, there were wholesale shifts in how society was perceived: the rise of the internet, pre-9/11 politics, and the paradoxical belief that nothing was more humiliating than trying too hard. Pop culture accelerated without the aid of a machine that remembered everything, generating an odd comfort in never being certain about anything. On a 90’s Thursday night, more people watched any random episode of Seinfeld than the finale of Game of Thrones. But nobody thought that was important; if you missed it, you simply missed it. It was the last era that held to the idea of a true, hegemonic mainstream before it all began to fracture, whether you found a home in it or defined yourself against it. In The Nineties, Chuck Klosterman makes a home in all of it: the film, the music, the sports, the TV, the politics, the changes regarding race and class and sexuality, the yin/yang of Oprah and Alan Greenspan. In perhaps no other book ever written would a sentence like, “The video for ‘Smells Like Teen Spirit’ was not more consequential than the reunification of Germany” make complete sense. Chuck Klosterman has written a multi-dimensional masterpiece, a work of synthesis so smart and delightful that future historians might well refer to this entire period as Klostermanian.

This book is a survey treatment of the 1990s. The trajectory of the narrative follows from the fall of the Berlin Wall in 1989 to the terrorist attacks of September 11, 2001. This book seeks to give a voice to historically marginalized communities, while providing an overview of the 1990s. The analysis includes examinations of: the end of the 1980s, America’s War in the Gulf, Bush’s domestic agenda; The 1992 Campaign, Clinton’s domestic agenda; The United States and genocide; globalization; science and technology; pop culture; race relations; LGBT and women’s right; and the scandals of the Clinton Administration. The book strikes the balance between providing an analysis of the 1990s, while providing the reader with basic key information about the decade. This book is one of the first of its kind to examine the whole decade and while providing an analysis on a multitude of subjects.

“Full of intelligence and insights, as the author gleefully turns ideas upside down to better understand them. . . Replete with lots of nifty, whimsical footnotes, this clever, speculative book challenges our beliefs with jocularity and perspicacity.” —Kirkus (starred review) “Klosterman’s trademark humor and unique curiosity propel the reader through the book. He remains one of the most insightful critics of pop culture writing today and this is his most thought-provoking and memorable book yet.” —Publishers Weekly (starred review) The tremendously well-received New York Times bestseller by cultural critic Chuck Klosterman, exploring the possibility that our currently held beliefs and assumptions about the world will eventually be proven wrong—now in paperback. But What If We're Wrong? is a book of original, reported, interconnected pieces, which speculate on the likelihood that many universally accepted, deeply ingrained cultural and scientific beliefs will someday seem absurd. Covering a spectrum of objective and subjective topics, the book attempts to visualize present-day society the way it will be viewed in a distant future. Klosterman cites original interviews with a wide variety of thinkers and experts—including George Saunders, David Byrne, Jonathan Lethem, Alex Ross, Kathryn Schulz, Neil deGrasse Tyson, Brian Greene, Junot Díaz, Amanda Petrusich, Ryan Adams, Dan Carlin, Nick Bostrom, and Richard Linklater. Klosterman asks straightforward questions that are profound in their simplicity, and the answers he explores and integrates with his own analysis generate the most thought-provoking and propulsive book of his career.

The Knicks of the 1990s competed like champions but fell short of their goal. An eclectic group who took divergent, in many cases fascinating paths to New York, they forged an identity as a rugged, relentless squad. Led by a superstar center Patrick Ewing and two captivating coaches--Pat Riley and Jeff Van Gundy--they played David to the Chicago Bulls' Goliath. Despite not winning a championship, they were embraced as champions by New Yorkers and their rivalries with the Bulls, Indiana Pacers and Miami Heat defined NBA basketball for a decade. Drawing on original interviews with players, coaches and others, this narrative rediscovers the brilliance of the Knicks, Ewing and his colorful supporting cast--Charles Oakley, John Starks, Larry Johnson and Latrell Sprewell--in the glory days of Madison Square Garden.

The year is 1983, and Chuck Klosterman just wants to rock. But he's got problems. For one, he's in the fifth grade. For another, he lives in rural North Dakota. Worst of all, his parents aren't exactly down with the long hairstyle which rocking requires. Luckily, his brother saves the day when he brings home a bit of manna from metal heaven, SHOUT AT THE DEVIL, Motley Crue's seminal paean to hair-band excess. And so Klosterman's twisted odyssey begins, a journey spent worshipping at the heavy metal altar of Poison, Lita Ford and Guns N' Roses. In the hilarious, young-man-growing-up-with-a-soundtrack-tradition, FARGO ROCK CITY chronicles Klosterman's formative years through the lens of heavy metal, the irony-deficient genre that, for better or worse, dominated the pop charts throughout the 1980s. For readers of Dave Eggers, Lester Bangs, and Nick Hornby, Klosterman delivers all the goods: from his first dance (with a girl) and his eye-opening trip to Mandan with the debate team; to his list of 'essential' albums; and his thoughtful analysis of the similarities between Guns 'n' Roses' 'Lies' and the gospels of the New Testament.

A sexual history of the 1990s when the Baby Boomers took over Washington, Hollywood, and Madison Avenue. A definitive look at the captains of the culture wars -- and an indispensable road map for understanding how we got to the Trump Teens. The Naughty Nineties: The Triumph of the American Libido examines the scandal-strafed decade when our public and private lives began to blur due to the rise of the web, reality television, and the wholesale tabloidization of pop culture. In this comprehensive and often hilarious time capsule, David Friend combines detailed reporting with first-person accounts from many of the decade's singular personalities, from Anita Hill to Monica Lewinsky, Lorena Bobbitt to Heidi Fleiss, Alan Cumming to Joan Rivers, Jesse Jackson to key members of the Clinton, Dole, and Bush teams. The Naughty Nineties also uncovers unsung sexual pioneers, from the enterprising sisters who dreamed up the Brazilian bikini wax to the scientists who, quite by accident, discovered Viagra.

Fashion: Photography of the Nineties is a compilation of over two hundred images culled from the worlds of art and fashion. A chronicle of the fashion iconography of the Nineties, it places images familiar from magazines and style journals alongside their wilder, darker counterparts, many of which are published here for the first time. In these photographs the body and its gestures report on the defining characteristics of a decade. Postures of anxiety, insecurity and sexual uncertainty co-exist with fashion's more traditional celebrations. The ambiguity of gender and beauty lays bare our secret desires, dissolving the boundaries between what is worn and the way we wear it. Elegance and vulgarity, femininity and masculinity, art and fashion meet in the spaces separating the raw, the beautiful, the unkempt and the subversive. Out of the collision between style and the subconscious emerges a portrait of our time.