By Chuck Klosterman
From the child who introduced you Fargo Rock City -- the 1st e-book in heritage to garner the compliment of Stephen King, David Byrne, Donna Gaines, Sebastian Bach, Jonathan Lethem, and Rivers Cuomo -- comes Sex, medicines, and Cocoa Puffs -- the 1st booklet in background to envision breakfast cereal, fact tv, tribute bands, net porn, serial killers, and the Dixie Chicks. numerous writers and artists have spoken for a iteration, yet nobody has performed it rather like Chuck Klosterman -- with an exhaustive wisdom of pop culture and a likely easy skill to spin incredible prose out of not going material. even if deconstructing Saved via the Bell episodes or the inventive legacy of Billy Joel, the symbolic significance of The Empire moves Back or the Celtics/Lakers competition of the Nineteen Eighties, Chuck will make you're thinking that, he'll make you giggle, and he'll force you insane -- often unexpectedly. Sex, medications, and Cocoa Puffs is ostensibly approximately videos, activities, tv, song, books, games, and kittens...but, fairly, it's approximately us. we all. As Klosterman realizes past due at evening, within the second ahead of he falls asleep, "In and of itself, not anything rather issues. What issues is that not anything is ever 'in and of itself.'
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Extra info for Sex, Drugs, and Cocoa Puffs
Considering how remarkably crisp and emotionally intact their first sessions for the first album, Peter Green’s Fleetwood Mac, still sound 40 years later, it is rather amazing that they were engineered (by Mike Ross) onto a four-track machine, over three slim days, completely live, including vocals, with no overdubbing whatsoever. This alone places them in stark contrast to their other famous British peers, who were by then making experimental music that could not be performed live at all, thus beginning an alienation from their audience that would corrosively affect their creativity in the long run.
Even Jethro Tull started out as a pseudo-blues band. Meanwhile, the American blues roots were being further tilled by extraordinary talents such as Paul Butterfield, 30 Fleetwood Mac: 40 Years of Creative Chaos Canned Heat, and the Blues Project, featuring the incendiary guitarist Mike Bloomfield. ‘‘There were a million groups making a mockery of the blues. And a million guitarists playing as fast as they could and calling it blues. I didn’t want the music messed about. I was possessive about it,’’ he lamented.
Their long-term vision, however, unfolded in slow motion—so slowly, in fact, that many people are unaware of their magnificent middle period. Their creative trajectory was so distinctively innovative precisely because of this long-delayed production of their own uniquely personal style. Unlike their ambitious peers, who seemed to arrive full blown on the musical scene, it took Fleetwood Mac another 10 years (plus a great deal of tragedy) before they would deliver the shiny baby of their later pop phase.