By Chuck Klosterman
From Sex, medicinal drugs, and Cocoa Puffs; Chuck Klosterman IV; and Eating the Dinosaur, those essays at the moment are on hand during this publication assortment for fanatics of Klosterman's writing on pop track.
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Additional info for Chuck Klosterman on Pop
But I think it makes him feel worse. “That song still applies to me,” he says in a weirdly stoic tone. “I heard it the other day, and it still moved me, because I feel like that today. I’ve only felt content a few times in my life, and it never lasted. I’m very discontented right now. There are situations in my life that didn’t pan out. I’m like most other human beings. I try and I fail. ” To punctuate this statement, he whaps himself on the side of his skull with an open hand. It’s the kind of thing that should be funny, but somehow it isn’t.
Before he even utters his lyrics, people accept his words as insights into their version of existence. Had Bruce written “Paradise by the Dashboard Light,” people would play it at weddings. Once again, I want to stress that I have no qualms with how this process works. I’m not interested in trying to convince anyone that they should (or shouldn’t) adore whichever denim-clad icon they choose. However, this abstract relationship between the perception of the artist and the appreciation of his product unfairly ghettoized Billy Joel while he was making the best music of his career (and some of the best music of the late seventies and early eighties).
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. And though those barbs were mostly directed at Tharp, it’s easy to see how they could strike Joel as well, even though he played virtually no role in the production. The characters in Movin’ Out include Brenda and Eddie (the couple from “Scenes from an Italian Restaurant”) and Tony (from the song “Movin’ Out”), all of whom have their lives thrown into chaos by the Vietnam War (illustrated by tracks like “Goodnight Saigon”).
Chuck Klosterman on Pop by Chuck Klosterman