Here's the story as I see it. Since the 1960s, mainstream media has searched out and co-opted the most authentic things it could find in youth culture, whether that was psychedelic culture, anti-war culture, blue jeans culture. Eventually heavy metal culture, rap culture, electronica -- they'll look for it and then market it back to kids at the mall. And the original kids who are doing it feel really upset about that, because they thought they had found something cool and now it's available at the mall, and now the kids who are participating in it are actually just putting more money into Sony and Time Warner and big corporations. It's a limited view of what's happening, but an honest one and it's something to kind of be upset about, because the idea was to create something that stayed genuine, that stayed the output of teenagers, the output of youth rather than something that's about the consumption by youth. And that's really the big difference: is this our expression or is this our purchase?
So the last great one seemed to be grunge music. It was independent record labels. It was done by local bands in local places. And then this Nirvana phenomenon happened where Nirvana -- who was sort of the best of the grunge bands -- ends up getting picked up by mainstream record labels, sold on MTV and going unplugged there and becoming a mainstream group, ending in the suicide of Kurt Cobain, which, whether or not he was depressed and whether or not he was a drug addict, represented to those of us who felt like we are part of the grunge movement, represented the suicide of the grunge movement. [It] represented Kurt Cobain communicating to all of us, "I've been sucked into the system. I'm part of the borg. The only thing I can do now to prevent my stuff from being used that way is suicide." And it's real. I mean that's the only thing we know about life, right? Death and taxes. You know, so death, this is real. It's the last real thing that he could do, because everything else was becoming part of the fake media world.
Since then, I think the relationship between authentic youth cultural happenings and youth culture consumption is indistinguishable. I think that kids who are on "The Real World" are kids who've aspired to be on MTV their whole lives. They've learned how to behave by watching MTV. So that now when MTV takes a bunch of them and puts them in a house and puts a camera on them, they're not putting a camera in the real world. They are photographing people who've been programmed how to behave by MTV. So where is the reality in the equation? The reality is the introduction of media into this equation. The reality is the media. So that we end up reaching an abstracted form of authenticity that is authentic for the very fact that it's mediated consumptive marketing pulp. The reality itself, the tapestry of reality is composed of media iconography. That is the new plane of reality for these people.
...The way Madison Avenue and the media empire work is they get a kickback for media consumption. They don't care what is passing through their pipes as long as something's passing through their pipes and they can get a little grease off it, you know, accumulate a couple dollars off this momentum. Smart people who understand realize they can feed almost anything into the machine and as long as it creates interest, they're going to get their messages out there, too. So you've got guys like Mike Judge making "Beavis and Butthead" or, you know, Trey Parker making "South Park," or even Eminem -- though probably mentally ill -- he's proving that you can put messages and imagery into the machine that you would think the machine would resist. But the record companies get so much secondary media on it, they get so much hype out of it, that they cannot resist but use this stuff.
So we're in an interesting moment now where because corporations are not really alive, because corporations are really programmed to increase the bottom line by any means necessary, we're in an interesting moment where people who understand how that works can nest their media with very potent ideas, very potent imagery. Whether it's Marilyn Manson or Eminem, you know, this culture of demonology or this imagery of hate or whatever it might be, can spread in ways that normally adults would [have] resisted.