"What we are dealing with now is not the incorporation of materials that previously seemed to possess subversive potentials, but instead, their precorporation: the pre-emptive formatting and shaping of desires, aspirations and hopes by capitalist culture. Witness, for instance, the establishment of settled 'alternative' or 'independent' cultural zones, which endlessly repeat older gestures of rebellion and contestation as if for the first time. 'Alternative' and 'independent' don't designate something outside mainstream culture; rather, they are styles, in fact the dominant styles, within the mainstream. No-one embodied (and struggled with) this deadlock more than Kurt Cobain and Nirvana. In his dreadful lassitude and objectless rage, Cobain seemed to give wearied voice to the despondency of the generation that had come after history, whose every move was anticipated, tracked, bought and sold before it had even happened. Cobain knew that he was just another piece of spectacle, that nothing runs better on MTV than a protest against MTV; knew that his every move was a cliché scripted in advance, that even realizing it is a cliché. The impasse that paralyzed Cobain is precisely the one that Jameson described: like postmodern culture in general, Cobain found himself in 'a world in which stylistic innovation is no longer possible, [where] all that is left is to imitate dead styles, to speak through the masks and with the voices and styles in the imaginary museum'. Here, even success meant failure, since to succeed would only mean that youw ere the new meat on which the system could feed. But the high existential angst of Nirvana and Cobain belongs to an older moment; what succeeded them was a pastiche-rock which reproduced the forms of the past without anxiety." - Mark Fisher, Capitalist Realism
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