He has the hallmarks of the critic's negative view on what he chooses to call "mass media" a more sinister phrase historically than "popular culture". As "America's best-loved semipro freelance conversationist" self-proclaimed , Klosterman generates his odd brand of comfortingly low expectations making you feel that you could be talking to anyone, late at night, stoned, about familiar topics: Critic Mark Greif in The Guardian called it "one of the better essay collections of recent years," noting "Klosterman has attained cult status, his books joining the select and successful canon of reading for people who do not read.
Critic Mark Greif in The Guardian called it "one of the better essay collections of recent years," noting "Klosterman has attained cult status, his books joining the select and successful canon of reading for people who do not read. In an essay on Billy Joel - whose significance is that he's a major pop musician whom no one, ever, can think of as "cool" or want to emulate - Klosterman declares that "the musical component of rock isn't nearly as important as the iconography and the posturing and the idea of what we're supposed to be experiencing" an amazing and telling statement for a journalist who worked extensively at the music magazine Spin. In , Cocoa Puffs reads as an uneven mix of smart and sexist and offensive. A rant against soccer particularly among youth , claiming it supports outcast culture. He has the hallmarks of the critic's negative view on what he chooses to call "mass media" a more sinister phrase historically than "popular culture". That means for people like himself who think about the issues of life through the difference of approach between Radiohead and Coldplay rather than that between Socrates and the Sophists. Like, for example, myself. The following essays are included in Sex, Drugs, and Cocoa Puffs: The Lady or the Tiger: So is Klosterman a philosopher? Klosterman explains how the s rivalry between the Los Angeles Lakers and the Boston Celtics symbolizes all rivalries in life, including politics, religion, and race. It was edgy, but in an inviting way for these types, people who felt like no one was listening even if they had the root privilege of their skin and their sex. Reception[ edit ] Sex, Drugs, and Cocoa Puffs was positively reviewed by critics. But in Sex, Drugs, and Cocoa Puffs he seems as if he still has to prove how hip, smart, and deserving of ladies and attention he really is. As one of the Guns N' Roses fakers puts it: To glue together what would otherwise be a disparate accumulation of introspective and journalistic pieces, Klosterman puts personalised "interludes" between each essay, in the manner of Hemingway's In Our Time. These essays will resonate with you, overeducated hipster reader. Klosterman describes his experience with the reality-mimicking video game The Sims and how The Sims illustrates that "even eternally free people are enslaved by the process of living. A brief history of the cereal industry, and how Kelloggs was begun as a religious company, but now is a microcosm for coolness. The interest in a weird book of 18 essays about ephemera surprised Klosterman. Also how music taste is used to gauge coolness, and those who ignorantly say they like all kinds "except country" only say so to appear cool. The way to break out out this cycle is to find the working-class intellectuals who can alter the status quo. The remarkable feature of Billy Joel's album Glass Houses is that "You can't characterise your self-image through its 10 songs". He really is a good essayist, though, and strangely all the disguises add to the charm. If you grew up in the 80s and early 90s, then you will get these, and they will likely be the encapsulation of everything you and your drunkard Chuck Taylor wearing, irony branded, PBR drinking buddies discussed on the long walk home from the party.
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Sex, Drugs, and Cocoa Puffs Book Review
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