By Chuck Klosterman

From Sex, medicines, and Cocoa Puffs; Chuck Klosterman IV; and Eating the Dinosaur, those essays at the moment are on hand during this e-book assortment for lovers of Klosterman's writing on pop tune.

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Sample text

Part of what perplexes Joel is that he feels as if he is no longer the kind of celebrity who warrants tabloid coverage; when I argue that the news media are always going to be interested in anyone who has sold twenty-one million copies of his greatest-hits collection, he reminds me that he hasn’t made pop music in almost ten years. “I don’t think what has happened to me is that different from what happens to most people,” he says. “The only difference is the scale. People seem to think my problems are larger than life, but they’re not larger than my life.

Joel’s best work always sounds like unsuccessful suicide attempts. ” These songs are okay, I guess, although they never struck me as being particularly reflective of anything too important. They felt (and still feel) a tad melodramatic. They seem like they’re supposed to be “hit singles,” which means they sound like they’re supposed to be experienced in public. Because Joel has no clear connotation as a public figure, these songs don’t gain any significance by being popular. That paradox is even more evident on Joel’s 1982 follow-up album The Nylon Curtain, an opus with three decent songs that lots of people know by heart—“Allentown,” “Pressure,” and “Goodnight Saigon”—and six amazingly self-exploratory songs that almost no one except diehard fans are even vaguely familiar with.

Nashville is so straight. I guess I’m sort of considered an outlaw here with Steve Earle. They used to write grittier stuff. It’s gotten so puritanical… I don’t want to be identified with the stuff that’s on country radio now. ” Well, good for you, Lucinda. It’s nice to see you’ve jammed the pretension of Kill Rock Stars into country music. Granted, there is some truth to what Williams says; she’s certainly doing what she can to keep her own music “grittier,” inasmuch as she likes to make albums about gravel roads.

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