At the end of his 2005 monograph On Bullshit, Harry Frankfurt makes a rather provocative claim: for a person skeptical about truth, insofar as one takes it to be the case that our grasp of the facts about ourselves is no more to be trusted than anything else in a bullshit-riddled world, “sincerity itself is bullshit”. The presentation proposed here explores that claim by way of a look of some of the work of rock musician and composer Jim Steinman, best known for creating hits for acts like Meat Loaf, Air Supply, and Bonnie Tyler and scoring some of the music from director Walter Hill’s 1984 “rock and roll fable” Streets of Fire. Unlike some approaches to the aesthetic application of Frankfurt’s work – like Eva Dadlez’s recent treatment of kitsch as the relevant analog of bullshit when it comes to art – the goal here is to use the example of the Steinman power ballad (represented by Bonnie Tyler’s recording of “Total Eclipse of the Heart (Turn Around)”) to consider another possibility. It may turn out to be the case that bullshit and sincerity alike are doing a different kind of aesthetic and epistemological work than Frankfurt’s argument allows.