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One of my new-wave idols, Scritti Politti’s Green Gartside, used to tell a story about the days when he was an abrasive art-school punk. One night in the spring of 1980, he was the Electric Ballroom in Manchester, England, talking to Joy Division’s lead singer Ian Curtis, frustrated by the dead end of their doom-and-gloom musical styles. “I don’t think I was able to offer him any solace, nor he I,” Green said. “We were feeling pretty dejected and found our respective ways out of it.”
A week later, Ian Curtis killed himself, and Green began playing disco. Ian Curtis’s old bandmates went disco too, renaming themselves New Order. Green never looked back. As he proclaimed, “Fear of pop is an infantile disorder – you should face up to it like a man."
Rob Sheffield, Talking to Girls about Duran Duran (livro incrível, como seria de esperar depois do Love is a Mixtape, e eu iria mais além: o mundo tornou-se um sítio melhor quando os chatérrimos Joy Division acabaram e os New Order nasceram automaticamente pouco chatos)
So why not just let go of the conceit of originality, and let the songbook stand? The revival problem is also the repertory question. Very few people complain that “Hamlet” is restaged every year. Why treat music differently from any other art? Once the original authors are absent, and we agree that their ideas are perfect as is, there seems little reason to monkey with them.
I admit to having dismissed most of these acts out of hand on first listen. Their live shows began dismantling my skepticism. We are broadly taught to respect the innovator, to trust that he or she is doing something important. But we also like what we like, and I like a strong downbeat.
Sasha Frere-Jones, "The delicate art of revivals"
One of my new-wave idols, Scritti Politti’s Green Gartside, used to tell a story about the days when he was an abrasive art-school punk. One night in the spring of 1980, he was the Electric Ballroom in Manchester, England, talking to Joy Division’s lead singer Ian Curtis, frustrated by the dead end of their doom-and-gloom musical styles. “I don’t think I was able to offer him any solace, nor he I,” Green said. “We were feeling pretty dejected and found our respective ways out of it.”
A week later, Ian Curtis killed himself, and Green began playing disco. Ian Curtis’s old bandmates went disco too, renaming themselves New Order. Green never looked back. As he proclaimed, “Fear of pop is an infantile disorder – you should face up to it like a man."
Rob Sheffield, Talking to Girls about Duran Duran (livro incrível, como seria de esperar depois do Love is a Mixtape, e eu iria mais além: o mundo tornou-se um sítio melhor quando os chatérrimos Joy Division acabaram e os New Order nasceram automaticamente pouco chatos)
So why not just let go of the conceit of originality, and let the songbook stand? The revival problem is also the repertory question. Very few people complain that “Hamlet” is restaged every year. Why treat music differently from any other art? Once the original authors are absent, and we agree that their ideas are perfect as is, there seems little reason to monkey with them.
I admit to having dismissed most of these acts out of hand on first listen. Their live shows began dismantling my skepticism. We are broadly taught to respect the innovator, to trust that he or she is doing something important. But we also like what we like, and I like a strong downbeat.
Sasha Frere-Jones, "The delicate art of revivals"
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