Chuck Klosterman on Rock: A Collection of Previously Published Essays

Chuck Klosterman on Rock: A Collection of Previously Published Essays

Chuck Klosterman

Language: English

Pages: 172

ISBN: B0042JSS3G

Format: PDF / Kindle (mobi) / ePub

Chuck Klosterman on Rock: A Collection of Previously Published Essays

Chuck Klosterman

Language: English

Pages: 172

ISBN: B0042JSS3G

Format: PDF / Kindle (mobi) / ePub


From Fargo Rock City; Sex, Drugs, and Cocoa Puffs; Chuck Klosterman IV; and Eating the Dinosaur, these essays are now available in this ebook collection for fans of Klosterman’s writing on rock music.

Forró and Redemptive Regionalism from the Brazilian Northeast: Popular Music in a Culture of Migration

The Museum in Transition: A Philosophical Perspective

Real Life Rock: The Complete Top Ten Columns, 1986-2014

5 Very Good Reasons to Punch a Dolphin in the Mouth (And Other Useful Guides)

Golf and Philosophy: Lessons from the Links (The Philosophy of Popular Culture)

The Matrix and Philosophy: Welcome to the Desert of the Real (Popular Culture and Philosophy)

 

 

 

 

 

 

 

 

 

 

black-and-bluesy sleaze on “Don’t Change That Song” and “Cathouse.” Most of the initial attention surrounding this album was granted to “Babylon,” a rap song that seemed like an attempt to rip off Anthrax’s attempt at ripping off Licensed to III, but it sure seemed funny at the time. However, it was the second side of Faster Pussycat that paid the rent. “Smash Alley” examined the downside of high heels and switchblades and also reminded me that I should probably listen to my Smashed Gladys

no rock. AC/DC is rock, but only from Bon Scott era, and maybe on Back in Black. Saxon, Judas Priest—these are the rock bands.” Zeljko works on this Carnival cruise line because Serbians bombed his house during the ’90s. Now he supports his wife and kids by refilling my glass with ice water and sending his paycheck across the Atlantic. This makes me so depressed that I briefly consider buying some Saxon records. It’s Wednesday afternoon. Ten minutes ago, I was inside a casino. I don’t normally

it. However, Some Kind of Monster underperformed at the box office (at least compared to its prerelease expectations). In a weird way, all the media coverage may have actually hurt the film’s commercial viability; you could almost experience the entire movie by reading about it. I still think Some Kind of Monster is a wonderful documentary, but everything you need to know about it can be illustrated within the span of three thousand words. Sometimes I suspect audiences assumed they already knew

is sing the songs that changed her life. And if men (or women) want to watch her do that simply because she’s a woman, that’s fine; being a woman doesn’t have any impact on why she loves Physical Graffiti and In Through the Out Door. “Actually, the hardest thing is just memorizing the lyrics,” she says. “When I was learning ‘Stairway to Heaven,’ I had to close my eyes and create this entire movie in my head—I had to come up with this entire visual fucking thing, just so I could fucking remember

neighborhood. When they got famous in the ’70s, that social despair poured through their black-hearted music. The guys in Poison grew up in industrial Pennsylvania, and their youth was similarly grim. However, Poison got famous during the 1980s, and they fucking loved it. Open Up and Say . . . Ahh! is an Epicurean affirmation of all that is great about cheesy, plastic rock ’n’ roll. It wasn’t merely that Poison wanted nothing but a good time—they asked the world why they were supposed to want

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