Download Sex, Drugs, and Cocoa Puffs : A Low Culture Manifesto by Chuck Klosterman PDF
By Chuck Klosterman
From the child who introduced you Fargo Rock City -- the 1st publication in background to garner the compliment of Stephen King, David Byrne, Donna Gaines, Sebastian Bach, Jonathan Lethem, and Rivers Cuomo -- comes Sex, medicines, and Cocoa Puffs -- the 1st publication in background to check breakfast cereal, truth tv, tribute bands, net porn, serial killers, and the Dixie Chicks.
numerous writers and artists have spoken for a new release, yet nobody has performed it particularly like Chuck Klosterman -- with an exhaustive wisdom of pop culture and a probably easy skill to spin superb prose out of not going material. no matter if deconstructing Saved via the Bell episodes or the creative legacy of Billy Joel, the symbolic significance of The Empire moves Back or the Celtics/Lakers contention of the Nineteen Eighties, Chuck will make you think that, he'll make you snigger, and he'll force you insane -- frequently without notice.
Sex, medicines, and Cocoa Puffs is ostensibly approximately video clips, activities, tv, tune, books, games, and kittens...but, quite, it's approximately us. we all. As Klosterman realizes overdue at evening, within the second earlier than he falls asleep, "In and of itself, not anything relatively issues. What concerns is that not anything is ever 'in and of itself.'"
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Additional resources for Sex, Drugs, and Cocoa Puffs : A Low Culture Manifesto
Sample text
Lou’s range allowed him to be a sort of self-contained 4 Seasons, doing the suave low parts as well as the soaring falsetto choruses. The female background singers (including Twyla’s daughter) were every bit as over the top as Lou and added just the right amount of ridiculous moxie. “Trapeze,” “Diary,” “Jungle,” “Crying in the Street” and “Baby We Got to Run Away” were cut from the same cloth as “Lightnin’ Strikes,” but were tailored for a more flamboyant fan. They were too quirky to stand much of a chance with a wide audience.
Masterful pop chord progressions guide the rhythmic side of a heavily electro mix, producing a relentlessly engrossing, Mobyesque effect. Although Brown is contextually closer to Seal than Moby—and more complex and rough-hewn than either artist—the appeal is to the same self-serious club-goers and couchstoners. Brown’s real talents aren’t vocal or instrumental—they’re collaborative. On most tracks here, Dave McCracken, Tim Wills and Inder Goldfinger alternate guitar, percussion, keyboard, and production with a Buckner & Garcia 35 recently self-taught Brown.
Here, on their fourth LP in eighteen months, are the Beach Boys’ most expendable toss-off (the instro “Denny’s Drums”) and their most indelible keeper (“Don’t Worry Baby”). Here, too, are the acknowledged classics “The Warmth of the Sun” and “Fun Fun Fun,” its glassine guitar bright as Cali light. But there’s also a no-sweat cover of “Louie Louie” that closely follows Richard Berry’s original; another butter-rich ballad, “Keep an Eye on Summer,” that matches “Warmth” (gorgeous falsetto fade); and the redundo sax/guitar title track.