an accidental, per­fect work of 1990s per­for­ma­tive art

“The most no­table thing to me was the dude in the back, brows­ing through a sin­gle rack of records for a sol­id 20 min­utes. I was go­ing to come here and post how it was weird, but then I re­al­ized: It’s not weird. Not in the 90s. Be­fore smart­phones and In­ter­net and MMOs and all that shit, go­ing out was ex­cit­ing.”
—Lov­able­Con­trar­i­an on Red­dit

“With the help of Red­dit, Rogers says she was able to iden­ti­fy the year as spring of 1992, due to some­one spot­ting Garth Brooks’ Rope in the Wind al­bum, the Wayne’s World sound­track, Slaughter’s The Wild Life and Pantera’s Vul­gar Dis­play of Pow­er. Tra­cy Chap­man plays in the back­ground. It’s strange­ly calm­ing, work­ing as a hy­per-re­al­is­tic art piece much bet­ter than that artist who rolled through Man­hat­tan in a met­al tube in 1998, film­ing every­thing.”
—Sophia June, Willamette Week

This time cap­sule ap­peared in 2017.

Here I am en­joy­ing it for the first time in 2021.

The mall was en­ter­tain­ing.

No phones.

The idea of see­ing one’s face on a TV screen was still a nov­el­ty.

CDs came in tall, half-record-sized ‘long­box­es.’

I would buy FULL al­bums at Tow­er Records for ONE song.

I’ve got a head full of drought
Down here
So far off of los­ing out
Round here
Over­ground, watch this space
I’m open to falling from grace
—Sneak­er Pimps, 6 Un­der­ground

 

—michelle cosco

Flom­mist Michelle Cosco is an ex­is­ten­tial­ist try­ing to make sense of the over­whelm­ing sub­jec­tiv­i­ty of the world. Avid pho­tog­ra­ph­er and an­i­mal lover. She seeks to see oth­er peo­ples views in the pe­riph­er­al of her ad­ven­tures. Copy­right © 2021 Michelle Cosco.

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