By Chuck Klosterman
Originally gathered in Eating the Dinosaur and now to be had either as a stand-alone essay and within the publication assortment Chuck Klosterman on Pop, this essay is ready ABBA.
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Extra info for ABBA 1, World 0. An Essay from Eating the Dinosaur
But why? The reunion didn’t happen, and it won’t happen. Unlike just about every other act from their era, ABBA doesn’t need the money or want the attention (or want the money and need the attention). They don’t have to worry about the future of their music, because other people will make sure it never disappears. It doesn’t matter if the critical consensus surrounding their import changes, because no one who likes ABBA Music cares if it’s supposed to be good or bad. They’ll never have to reunite and pretend to be in love.
The M requires capitalization. And this is because—more than any other group of the post-Beatles era—ABBA is a genre unto itself. It’s a brand of music that’s sometimes recognizable in different songs and sometimes glimpsed through other artists, and everyone naturally grasps the qualities that come with it; you sometimes hear elements of it in department stores or druggy foreign films or New Age religious services. But only ABBA could make ABBA Music in totality. They are the only group who completely understands what they do, including the things they do wrong.
Because if we don’t play a guitar solo in one of these songs, that dates it to this period. ” When this exchange occurs during the film, everyone in the audience giggles. It seems like Nigel Tufnel logic. But Hammett intuitively understood something the other guys in Metallica didn’t want to accept: The mere recognition of an extrinsic reality damages the intrinsic merits of one’s own reality. In other words, it’s a mistake to (consciously) do what everyone else is doing, just as it’s a mistake to (consciously) do the opposite.
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