By Chuck Klosterman
Originally amassed in Eating the Dinosaur and now on hand either as a stand-alone essay and within the publication assortment Chuck Klosterman on Pop, this essay is set ABBA.
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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.
All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever. For information address Scribner Subsidiary Rights Department, 1230 Avenue of the Americas, New York, NY 10020. , the publisher of this work. com. The Simon & Schuster Speakers Bureau can bring authors to your live event. com. Manufactured in the United States of America ISBN 978-1-4516-2473-1 ABBA 1, World 0 1 Sometimes it’s hard to tell if things that happened in your life only happened to you or if they happened to everyone.
I could go on and on with this list. 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.