by Mindy Clegg
In retrospect, the year 1994 seems a momentous one. That year: the genocidal war in Bosnia continued. NAFTA began and Mexico saw the Zapatista uprising emerge in rebellion against it. The Rwandan Genocide began and ended. The Republic of Ireland recognized Sinn Fein. Nelson Mandela was elected president of South Africa. Nicole Simpson and Ron Goldman were found murdered, kicking off the “case of the century” as OJ Simpson (a popular retired football player and actor and estranged husband of Nicole) was accused of the murder and later acquitted. President Clinton signed an assault weapons ban. And Kurt Cobain committed suicide on April 5th, with his body not being found for three days.
Perhaps we can see that year as indicating the direction the post-Cold War era was headed. As the Iron Curtain parted and the Berlin Wall fell, hope was palpable, at least in the US and in Europe. We in the west might have heeded the message of the 1989 Tiananmen Square crackdown in China.
By the year 1994, it was clear something other than just the emergence of a more peaceful, unified and democratic world was manifesting. Contrary to Francis Fukuyama’s celebratory missive in 1989, history had not ended but was marching merrily along. Neoliberalism was ushered in by western powers and authoritarianism was soon to follow. Strikingly, it was the Democratic party (US) and the Labour party (UK) who did much of that ushering once in power, under the auspices of President Bill Clinton and Prime Minister Tony Blair. Their third way ideology continued the Reagan-Thatcher revolutions of deregulation and government disinvestment, setting the stage for the current right wing challenge to liberalism around the world. While the shifts seem obvious in the political realm, can we see the neoliberal shift in the cultural production, too? I argue we can, and that the rise of Nirvana and subsequent death of Kurt Cobain offers us a vector to explore just that cultural shift. Read more »