By Chuck Klosterman
Originally amassed in Eating the Dinosaur and now to be had either as a stand-alone essay and within the e-book 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
It concisely covered the entire spectrum of current events, most notably the eruption of Mount St. Helens, the ongoing success of NASA, and whatever was supposedly happening in women’s sports and national politics. For some reason, one of the exposés tackled by the Weekly Reader in autumn of 1980 was the rising unpopularity of disco, punctuated by “Disco Demolition Night” at Chicago’s Comiskey Park during the summer of ’79 (news cycles were slower in those days). Disco Demolition Night was a promotional event where a bunch of intoxicated baseball fans blew up Village People albums with dynamite in center field.
The vocals were sung by Agnetha Faltskog (she was the blond one), who divorced Ulvaeus in 1979 after moving out of their home on Christmas night in ’78. “The Winner Takes It All” was released as a single in 1980. ” When thinking about ABBA, this is the song to think about. ” This statement isn’t false, but it’s wrong. I suppose it’s true if you use the word relevance like most people who regularly write about music, but it’s false if you think about how the world actually operates. As a rule, people who classify art as “irrelevant” are trying to position themselves above the entity; it’s a way of pretending they’re more in step with contemporary culture than the artist himself, which is mostly a way of saying they can’t find a tangible reason for disliking what something intends to embody.
AC/DC was irrelevant in 1984 because they lacked the visual impact of less-heavy metal acts like Dokken, and they were irrelevant in 1989 because they weren’t releasing power ballads about teen suicide. They were irrelevant in 1991 because of grunge. They were irrelevant in 1997 because they weren’t involved with the mainstreaming of alternative culture. They were irrelevant in 2001 because they weren’t implementing elements of hip-hop into their metal. When they played Madison Square Garden in 2008, the always likeable New York Times critic Jon Caramanica opened his review like this: “All the recent talk of how AC/DC is due for critical reappraisal?
ABBA 1, World 0. An Essay from Eating the Dinosaur by Chuck Klosterman