Download e-book for iPad: Chuck Klosterman on Pop by Chuck Klosterman

By Chuck Klosterman

From Sex, medicines, and Cocoa Puffs; Chuck Klosterman IV; and Eating the Dinosaur, those essays at the moment are to be had during this publication assortment for enthusiasts of Klosterman's writing on pop song.

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Black Sabbath is the most underrated band in rock history, and that designation isn’t weakened by 1994’s Cross Purposes. Even guys who make relatively important albums in the twilight of their artistic life—most notably Bob Dylan and Neil Young—are granted unlimited lines of critical credit simply for not making albums that are completely terrible. The unspoken (though much-denied) conceit of everybody who loves rock ’n’ roll is that nobody old and rickety can be relevant at all, so anything remotely close to social consequence is akin to genius; that’s why Love and Theft was classified as “classic” in 2001, even though it would have been nothing more than “solid” in 1976.

This is not true; I think there are only two or three sentences that appear in both versions. But here’s why I mention this: The reason I was asked to do a story on Billy Joel was because I liked Billy Joel. And this proved ironic, because now Billy Joel hates me. When I delivered the story to the Times magazine, my biggest fear was that it was boring (and maybe even a tad fawning). Joel just seemed sad and alone, and we talked about how he missed being in a relationship. It seems like we talked about girls and love all afternoon, and the conversation was excellent—there was very little small talk.

But on the other hand, I have certain problems in relationships that other people don’t. I was recently on a date with a woman, and she told me: ‘You’re one of those guys who comes with all this stuff. ” Movin’ Out, Twyla Tharp’s $8 million show based on Joel’s songs, will have its official Broadway debut on October 24. But it has already absorbed some of the baggage that Joel has carried for years. When the unorthodox musical opened in Chicago in late July, theater critics described it as “inane” and “cliché-ridden,” prompting major changes to the first act.

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Chuck Klosterman on Pop by Chuck Klosterman


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