By Chuck Klosterman
Initially accumulated in Eating the Dinosaur and now on hand either as a stand-alone essay and within the book assortment Chuck Klosterman on Pop, this essay is ready ABBA.
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But it’s more pronounced here: The highs were crazier and the lows were grosser. What makes this arc even more noteworthy is that the group itself did not seem actively involved with any of these machinations (the members will retrospectively talk about how they were perceived by the media and by fans, but they scarcely seem to care). They appear uninvolved with the rest of the world; throughout the 1990s, Faltskog did not even own a home stereo. And this natural disconnect is the central reason ABBA has succeeded over time—and it’s something I noticed through other people before I realized it on my own.
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.
The core audience for ABBA did not waiver throughout the next decade; the popularity of their most memorable singles (particularly “Dancing Queen”) expanded despite minor FM radio exposure. When the compilation Gold came out in 1993, every college girl who dressed goofy played it whenever she pretended to be drunk. In 1994, Janeane Garofalo’s character in Reality Bites needed ABBA to define her quirk, while Priscilla, Queen of the Desert needed ABBA to invent gay Australians. ” By the end of the twentieth century, it was far more contrarian to hate ABBA than to love them.