Sixties counterculture found itself at home in Vegas because postmodernity emerged seamlessly from it

Evidence

Ostensibly, they are a comic fifth column in enemy territory; in fact, the unquestioned ease with which they move through, and blend into, this territory is an objective correlative of the sixties transition to postmodernity: Duke and Gonzo, the sixties holdovers, are doing just fine in a postmodern universe they think is utterly alien but in which, in fact, they are actually in large part at home, since it has emerged so seamlessly from sixties culture itself. — Marianne DeKoven, Utopia Limited, 355

Categorization

• XREF: Pays off the ch11 reading of Vegas as the undecidable cusp between modern and postmodern rather than simple repudiation. — connects to: Duke’s Vegas belonging marks postmodernity while his horror stays modernist. — Marianne DeKoven, Utopia Limited: The Sixties and the…, 370; Wolfe saw Vegas as corruption of modernism, not its repudiation — Marianne DeKoven, Utopia Limited: The Sixties and the…, 294; Thompson wrote Fear and Loathing as a sixties epitaph from an anti-Vegas stance. — Marianne DeKoven, Utopia Limited: The Sixties and the…, 310 (+2 more)

Broader Connections

• Architecture’s postmodern turn began with celebrating Las Vegas’s commercial signs #corroborates (0.75) — Perry Anderson, The Origins of Postmodernity, 58
• Everyday metropolitan culture anticipated postmodernism before its intellectual articulation #corroborates (0.72) — David Harvey, The Condition of Postmodernity, 407