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Tag: Chuck Klosterman (1-3 of 3)

Book excerpt: Read a full chapter from Chuck Klosterman's 'I Wear the Black Hat'

I-Wear-the-Black-Hat-jacket

In his new book,  I Wear the Black Hat: Grappling With Villains (Real and Imagined) out July 9, journalist and author Chuck Klosterman explores the nature of villainy, from O.J. Simpson’s “second-worst decision” to the anti-heroes created in American pop culture. Check out a full chapter of the book below, in which Klosterman deconstructs the Eagles and his other musical dislikes.

Editor’s note: Klosterman is married to EW senior writer Melissa Maerz.
READ FULL STORY

Chuck Eddy's 'Rock and Roll Always Forgets': 25 years of unique pop-music writing

I admit it: It took me a good 10 years to “get” Chuck Eddy. Reading his early pieces, mostly in The Village Voice, where music editor and ultra-talent-scout Robert Christgau showcased Eddy’s idiosyncratic ardencies (Montgomery Gentry? White Wizzard?) and a prose style that was conversational if your idea of conversation was being hectored by a good-natured obsessive, I was stumped. Eddy defeated my pride in being able to ignore the taste of a critic as long as he or she wrote well. His aesthetic seemed random, if not willfully, showily perverse.

But eventually – through sheer quality; through sheer quantity (as a once and future freelancer myself, I admire a man who churns out well-wrought sentences by the ream) – Eddy won me over. How glad I am to see the publication of Eddy’s new song(s) of himself Rock and Roll Always Forgets: A Quarter Century of Music Criticism (Duke University Press). Glad, first, because it’s truly a representative selection, tracing the slithery paths of Eddy’s enthusiasms from Marilyn Manson to Mindy McCready just to stick with the “M”s, with tart new intros that set up reprints of some of his greatest hits. And glad, second, that there exist publishers still willing to release anthologies of rock writing, since so much great rock criticism remains uncollected, neglected, less forgotten than never known to a wider audience. (Can we get a Tom Smucker book together, please? I’ll edit the damn thing myself.) READ FULL STORY

'The Advanced Genius Theory': Author Jason Hartley explains which artists are on a whole different level

Jason-HartleyJason Hartley’s Advanced Genius Theory (“are they out of their minds or ahead of their time?”)was hatched over a pizza with his friend Britt Bergman as a way to explain why musical artists like David Bowie and Lou Reed are seen as brilliant in the beginning and slightly kooky as time goes on. EW spent some time talking to him about the theory — and the book.

ENTERTAINMENT WEEKLY: Can you explain the Advanced Genius Theory as simply as possible?
JASON HARTLEY: It all kind of comes down to there’s a certain level of genius that is so great that it should always be trusted, no matter what the appearance is. So for instance, most people think of artistic geniuses starting out early, making their great statements when they’re young, then as they get older their work seems to decline. The idea behind the Advanced Genius Theory is that there are certain people who start out great and they get greater and greater, but they’re so great that we don’t understand them.

Who’s a good example of this?
Bob Dylan is the perfect one. There are a lot of components of the theory, and some superficial characteristics, and he meets basically all of the foundations and superficial stuff. The foundations are you have to have a long career; you have to be working on your own, you can’t be in a group; you typically end up selling out like doing a commercial; and also you seem to completely lose your way and you also embrace religion. Bob Dylan does all these things. READ FULL STORY

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