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Chuck Klosterman IV
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Produktbeschreibungen
From Booklist
Pop-culture-enthusiast Klosterman anthologizes his previously published rock interviews, opinion pieces, and a short story to create an entertaining albeit head-scratching follow-up to Killing Yourself to Live (2005). Rock fans will appreciate the ironies in Klosterman's interviews as he plays the interloper invited to the party who sits back and makes fun. Caustic throughout while alternating between disclosures oddly unrevealing and quasi sympathetic, Klosterman observes, "Britney Spears is the most famous person I've ever interviewed. She was also the weirdest." Bono picks Klosterman up in an insanely expensive car, then helps injured kids in a hospital only to be taken aback when he plays the new, still unreleased U2 album and the kids sing along--not taken aback in humility but in capitalist questioning of how the album leaked. Contradictions and silliness best exemplify this collection. Klosterman's writing is funny and smart, if not so new or earth shattering, and that, after all, is pop culture. Mark Eleveld
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Pressestimmen
"One of America's top cultural critics." -- Entertainment Weekly
"Mr. Klosterman makes good, smart company." -- The New York Times
"He's perfect junk food for the soul." -- The Los Angeles Times Book Review
"Mr. Klosterman makes good, smart company." -- The New York Times
"He's perfect junk food for the soul." -- The Los Angeles Times Book Review
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis
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Chuck's Common-Sense Is In Short Supply In the Culture
5. Oktober 2006
Format:Gebundene Ausgabe
The title of "Chuck Klosterman IV" hearkens back to Led Zeppelin's classic untitled, "Stairway to Heaven" album. It's typical of Chuck's approach, which is to examine our significant pop culture landmarks with ironic, self-deprecating wit. This book collects some of the highlights of Klosterman's journalism over the past decade. He has been hailed as the successor to Hunter Thompson, but I think he has a quality that Thompson lacked (as much as I admired the work of the Good Doctor). That quality is American common-sense, in abundance. Klosterman's method is to examine pop culture with the close reading usually reserved for so-called "high culture." And then he takes the contrarian view, which can yield some surprising insights. A lot of these icons have been only worshipped their whole careers, so the combination of Klosterman's ruthless scrutiny and heartland human sympathy produces strange and wonderful new wisdom.
I mentioned Klosterman's compassion because it's an attribute not normally associated with critics. But it gives us a more rounded portrait of his subjects, which this time include Wilco, Robert Plant, Metallica, U2, the White Stripes, and Britney Spears, to name just a small sample. He can see clearly and unsparingly while taking into account unavoidable human frailties. This got him into trouble with his infamous profile of Billy Joel (included here), which was meant by Chuck to be a celebration of his career, but was interpreted by Joel and other as a too-candid, embarassing look at an artist's mid-life crisis.
My favorite essay in this book is "Cultural Betrayal", which should be recognized as a brilliant analysis of the current culture wars in America. His great central insight: in a democracy "don't get pissed off over the fact that the way you feel about culture isn't some kind of universal consensus. Because if you do, you will end up feeling betrayed. And it will be your own fault. You will feel bad, and you will deserve it." If everyone would take this advice, the bitterness of our national culture arguements would be considerably lessened and we could actually begin to talk to each other again. Klosterman's essays about snobbishly reviled pop culture actually have a distant echo of similar essays by the patron saint of common-sense, George Orwell. It's not an entirely ridiculous comparison, if you will actually take the time to read this witty, insightful collection.
I mentioned Klosterman's compassion because it's an attribute not normally associated with critics. But it gives us a more rounded portrait of his subjects, which this time include Wilco, Robert Plant, Metallica, U2, the White Stripes, and Britney Spears, to name just a small sample. He can see clearly and unsparingly while taking into account unavoidable human frailties. This got him into trouble with his infamous profile of Billy Joel (included here), which was meant by Chuck to be a celebration of his career, but was interpreted by Joel and other as a too-candid, embarassing look at an artist's mid-life crisis.
My favorite essay in this book is "Cultural Betrayal", which should be recognized as a brilliant analysis of the current culture wars in America. His great central insight: in a democracy "don't get pissed off over the fact that the way you feel about culture isn't some kind of universal consensus. Because if you do, you will end up feeling betrayed. And it will be your own fault. You will feel bad, and you will deserve it." If everyone would take this advice, the bitterness of our national culture arguements would be considerably lessened and we could actually begin to talk to each other again. Klosterman's essays about snobbishly reviled pop culture actually have a distant echo of similar essays by the patron saint of common-sense, George Orwell. It's not an entirely ridiculous comparison, if you will actually take the time to read this witty, insightful collection.
21 von 21 Kunden fanden die folgende Rezension hilfreich
Klassik Klosterman
21. Januar 2007
Format:Gebundene Ausgabe
My take on Klosterman is this: if you absolutely must get a pop culture fix by reading about inane movie stars or overrated bands, you might as well read someone who is smart and funny about them, and that person is Klosterman. Although not a metal fan, I loved Fargo Rock City, and found his essays in Sex, Drugs, and Cocoa Puffs exceedingly funny. Killing Yourself To Live didn't work as well for me, and I was glad to get another dose of his shorter works here ( all of which were previous published). The book (whose title is a reference/homage to albums by both Led Zepplin and Black Sabbath) is divided into three parts.
"Things That Are True" contains about twenty profiles and pieces of reportage. Included are the best Britney Spears profile ever ("Britney Spears is the most famous person I've ever interviewed. She is also the weirdest. I assume this is not a coincidence."), a very good U2 piece ("U2 is the most self-aware rock band in history. This generally works to their advantage."), and solid profiles of musicians The White Stripes, Radiohead, The Streets, Billy Joel, Jeff Tweedy, and metal tribute bands. There are also profiles of actor Val Kilmer, basketball superstar Steve Nash, a Q&A with Robert Plant, experiential pieces on Latino Morissey fanatics, the unofficial "Goth Day" at Disneyland, Akron-area clairvoyants, and a "Rock Cruise" (featuring Styx, REO Speedwagon, and Journey), and contrarian review essays on the documentaries "Super Size Me" and "Some Kind of Monster."
The somewhat briefer "Things That Might Be True" section contains about fifteen more personal opinion pieces written in recent years for Esquire (these are available at Esquire.com) and Spin magazines. Topics include how to recognize your personal nemesis and archenemy, the Olympics, guilty pleasures, monogamy, the ten most accurately rated artists in rock history, pirate vogue, robots, genetics, watching VH1 for 24 hours, etc. The final section, "Something That Isn't True At All," is a 35-page "not-so-loosely autobiographical" short story written back in 1999.
The style throughout is pure Klosterman, although there is a certain sympathy or quasi-compassion in some of the pieces that plays a nice counterbalance to his natural snarkiness. One rather refreshing element is the newly written introductions to each item in the first section. These provide an interesting context and are a peek into how a magazine writer might come to regret elements of their work. The pieces in the second section are introduced by the kind of pithy hypotheticals he unveiled in Sex, Drugs, and Cocoa Puffs. Ultimately, the best way to read the book is leave it lying around the house and anytime you're tempted to pick up Entertainment Weekly or US or flip on MTV, pick it up and read something far funnier, smarter, and more insightful. Sure, it's just pop culture, but that doesn't mean it has to be idiotic.
"Things That Are True" contains about twenty profiles and pieces of reportage. Included are the best Britney Spears profile ever ("Britney Spears is the most famous person I've ever interviewed. She is also the weirdest. I assume this is not a coincidence."), a very good U2 piece ("U2 is the most self-aware rock band in history. This generally works to their advantage."), and solid profiles of musicians The White Stripes, Radiohead, The Streets, Billy Joel, Jeff Tweedy, and metal tribute bands. There are also profiles of actor Val Kilmer, basketball superstar Steve Nash, a Q&A with Robert Plant, experiential pieces on Latino Morissey fanatics, the unofficial "Goth Day" at Disneyland, Akron-area clairvoyants, and a "Rock Cruise" (featuring Styx, REO Speedwagon, and Journey), and contrarian review essays on the documentaries "Super Size Me" and "Some Kind of Monster."
The somewhat briefer "Things That Might Be True" section contains about fifteen more personal opinion pieces written in recent years for Esquire (these are available at Esquire.com) and Spin magazines. Topics include how to recognize your personal nemesis and archenemy, the Olympics, guilty pleasures, monogamy, the ten most accurately rated artists in rock history, pirate vogue, robots, genetics, watching VH1 for 24 hours, etc. The final section, "Something That Isn't True At All," is a 35-page "not-so-loosely autobiographical" short story written back in 1999.
The style throughout is pure Klosterman, although there is a certain sympathy or quasi-compassion in some of the pieces that plays a nice counterbalance to his natural snarkiness. One rather refreshing element is the newly written introductions to each item in the first section. These provide an interesting context and are a peek into how a magazine writer might come to regret elements of their work. The pieces in the second section are introduced by the kind of pithy hypotheticals he unveiled in Sex, Drugs, and Cocoa Puffs. Ultimately, the best way to read the book is leave it lying around the house and anytime you're tempted to pick up Entertainment Weekly or US or flip on MTV, pick it up and read something far funnier, smarter, and more insightful. Sure, it's just pop culture, but that doesn't mean it has to be idiotic.
5 von 5 Kunden fanden die folgende Rezension hilfreich
Great collection of pop culture tidbits....
8. September 2006
Format:Gebundene Ausgabe
If you like S,D&CP, you will love this too. There are always parts where I find the things Klosterman is writing about is picked directly from my life growing up on the tailend of Generation X.
You either like this type of writing or you don't. Klosterman's work typically applies to a very specific segment of the population, but to that segment his writing really connects.
I especially enjoyed the essay on identifying your Nemesis and your Archenemy, and the differences between the two, for I too have a Nemesis - and yes we are friends, yes we sit down and have a drink together every so often, and yes we have both punched each other in the face at one point or another in anger.
If you want to read a book where you find yourself laughing out loud while reading it on the subway, pick it up.
You either like this type of writing or you don't. Klosterman's work typically applies to a very specific segment of the population, but to that segment his writing really connects.
I especially enjoyed the essay on identifying your Nemesis and your Archenemy, and the differences between the two, for I too have a Nemesis - and yes we are friends, yes we sit down and have a drink together every so often, and yes we have both punched each other in the face at one point or another in anger.
If you want to read a book where you find yourself laughing out loud while reading it on the subway, pick it up.
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