In October of 1988, Sonic Youth released Daydream Nation, an album littered with references to the speculative cyberpunk fiction of William Gibson. While I have never read Gibson’s work (though I have seen the god-awful film adaptation Johnny Mnemonic), it is my understanding that his writing predicted many of the technological and cultural developments we now take for granted, including the ubiquitous influence of computers and the Internet on our daily lives. Just as Gibson’s writings predicted these developments in technology, so too did Daydream Nation predict developments in rock music; if there is such a thing as “speculative music,” then surely Sonic Youth’s sprawling masterpiece (and really their early career as a whole) falls squarely into this category.
It seems like a lot of people I know don’t like KISS. Because of this, I can’t help but suspect that I may be surrounded by communist subversives. Of course it could be that I grew up with KISS (and Gene Simmons in particular) as a household name, being introduced to them by my uncle at a very young age. Or it could be that most people I know for some reason don’t think that the following things are awesome: blood, fire, makeup, battle-axe shaped bass guitars and catchier-than-herpes nuggets of 3 minute, 3 chord pop rock.