Download ABBA 1, World 0. An Essay from Eating the Dinosaur by Chuck Klosterman PDF

By Chuck Klosterman

Originally accumulated in Eating the Dinosaur and now to be had either as a stand-alone essay and within the booklet assortment Chuck Klosterman on Pop, this essay is set ABBA.

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Additional info for ABBA 1, World 0. An Essay from Eating the Dinosaur

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This is crazy for lots of reasons. The first is that I’m sure the main explanation as to why this didn’t happen was because Agnetha (the blond one) did not want to do it (she now lives as a semi-recluse and never enjoyed fame, even while she was pursuing it). The second reason is that it would be funny to wake up from a skiing accident in a hospital named after ABBA. The third is that I cannot imagine ABBA fans being disappointed by even the lamest of cash-grabbing reunions (ABBA fans are not exactly authenticity hard-liners).

They are the only group who completely understands what they do, including the things they do wrong. So if that is what you like, there is only one place to really get it. The rest of culture does not matter. The Grateful Dead were kind of like this as well, but not as singularly as ABBA; while it’s easy to think of artists who deliver a comparable sonic experience to the Dead, the closest equivalent to ABBA Music—probably the Bee Gees—doesn’t come close at all. ” Its musical traits have been outlined ad nauseam elsewhere: Their records feature a wall of sound where overdubbing makes every detail bigger and brighter than it should be.

The core complaint (from the most predictable sources) was that ABBA records sounded like collections of commercial jingles. In retrospect, this criticism is as misdirected as it is uninspired: By erroneously tying “Waterloo” to advertising, it somehow implied that ABBA were capitalist stooges who wanted to sell something beyond the music itself (in truth, it was the TV commercials who wanted to affect people as easily as ABBA, not the other way around). Much like the Carpenters, ABBA became representative of a musical aesthetic so distant from the edge of rock that clever people weren’t even willing to expend energy hating them.

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