In his seventh book âRetromania,â British-born rock critic and music memorabilia collector Simon Reynolds asserts that thereâs never âbeen a society so obsessed with the cultural artifacts of its own immediate pastâ as ours. Of course, collectors have always been fascinated with antiques and objects from history. But now web archives like YouTube, Wikipedia, and Tumblr have made it possible for anyone to get lost reliving the pop culture landscape of their childhood. At the same time, smartphone apps like Instagram and Hipstamatic let us turn any new photo into a faded Polaroid relic from the ’70s or ’80s. Reynolds, whoâs been a music journalist for 28 years now, is alarmed that modern musicians are obsessed with period re-creation and applying the sonic equivalent of Instagram filters to their albums rather than creating anything new. Reaching him by phone at his home in South Pasadena, California, we asked him what all this bodes for the future.
Collectors Weekly: What inspired you to write âRetromaniaâ?
Simon Reynolds: As a rock critic, Iâve been anxious about music for a long while. I find very retro, overtly nostalgic music, like what you see coming from Jack White, Lana Del Rey, or Fleet Foxes, to be, well, retrograde. Iâm into innovation and moving forward. All the music I grew up on was like that, starting with post-punk music. Then in the ’80s, I was into Sonic Youth and My Bloody Valentine, and in the ’90s, I was involved in the electronic scene. So the idea that, in the 21st century, music is modeled on the past seems counterproductive, or a failure, even. Obviously, musicians always draw influence from the past, but Iâm talking about bands that explicitly copy the Beatles or something classic like that.
“Itâs fun to relive our pop-culture history. But is the fun based on being scared of whatâs going on now and hiding in the past?”
I started to think about writing this book around 2006, a year after a concert promoter at All Tomorrowâs Parties in Britain invented this thing called âDonât Look Back,â where a band plays its most loved cult or iconic album all the way through. Van Morrison, for instance, did âAstral Weeks,â playing it from Track 1 to Track 9. To me, that seemed like a weird, fetishistic thing to do. But thereâs a demand for it. âDonât Look Backâ became a template. Suddenly, every music festival had an element where bands were doing their most famous album all the way through. That seemed to be a sign of the times weâre living in.
Also in 2006, a record called âLoveâ was put out under the Beatlesâ name, featuring mash-up versions of their songs. George Martin and his son Giles did it in connection with a Cirque du Soleil production in Las Vegas. At the time, I thought this would turn into a big trend. I imagined Pink Floyd would do an album like that, as would the Rolling Stones, but it didnât catch on. Still, it seems significant to me that the nostalgia industry found another way they could squeeze even more enjoyment out of the classics of rock history. How can we keep on enjoying the Beatles? Remix them.
Collectors Weekly: Why does this concern you?
Reynolds: I wonder why weâre so obsessed with the past, particularly in music, because thatâs my thing. A lot of the other retro phenomena I find vaguely amusing, but the music is a genuine worry because I like to be surprised. The first instinct for a new band starting out nowâand Iâm talking about very musical, intelligent peopleâis to go to an existing template and then tinker with it. They have fun trying to reproduce it as exact as they can or adapt it to their purpose in some way. But there are not so many musicians trying to come up with something out of nowhere, which is quite hard to do.
In the past, though, people have tried to do that. That was the general modernist ethos for a long period in music, particularly in the ’60s, but also in the post-punk era I grew up in, and in the electronic techno scene of the ’90s. You might use an idea from the past, but you’d probably mutilate it in some way or drastically change it. Or youâd use it as a springboard to go somewhere new. Now the ethos is much more like reproducing antiques. Itâs about getting that drum sound or that guitar texture. Itâs literally a backward movement. My concern is a sense of everything being seemingly vaguely familiar. Itâs a bit depressing.
Collectors Weekly: Why wouldnât you just listen to the Rolling Stones, if youâre going to listen to a band that replicates the Rolling Stones?
Reynolds: Yeah, itâs redundant. Plenty of that style of music was made, not only by the Rolling Stones but by the Rolling Stones imitators in the ’60s. Your needs can be supplied with what already exists, so why add more redundancy to the world?
Collectors Weekly: Everyone has to discover the Rolling Stones or punk music for the first time, right?
Reynolds: Punk is starter music for a lot of people. Itâs fast, aggressive music that you can play really well. But in the ’70s, the original punks barely knew how to play their instruments. They were struggling to play in time and deliver their sound. It gave their music a certain edge, which you donât get with the pop-punk from the â90s. I donât mind Green Day at all, and they can really play. A lot of people think TrĂ© Cool is one of the best drummers in rock, which is unusual for a punk musician.
“It has never been possible to go back and revisit old movies, music, TV shows, and even commercials to the extent we can now.”
Initially, punk was more of a shocking image. Punks had safety pins in their noses. Some wore swastikas, not because they were fascists but because the most upsetting thing you could do in Britain in the ’70s was to mock the sacrifices of the previous generation in World War II. So punk was super-threatening for a while. Then, I think, the record industry noticed this new burst of energy, and it did get assimilated fairly quickly. So the pop-punk people of the ’90s were less political, picking up on a more teenage aspect of punk. Bands like the Descendents and the Undertones sang about the woes of being a suburban kid as opposed to anarchy, smashing things up, or destroying everything in protest. And there were a lot of serious protests in ’70s punk, from bands like the Clash and Crass.
Collectors Weekly: Do you feel any music now is making a statement about our society?
Reynolds: I canât think of any, really. But pop music always reflects whatâs going on to some extent. For instance, last year, there were a lot of big pop songs about getting very drunk and living as if there were no tomorrow. Thatâs an explicit theme of a lot of songs like âTill the World Endsâ by Britney Spears, which was actually written by Ke$haâwho started the recent reckless hedonism trend. Then there was Katy Perryâs âLast Friday Night,â which says she woke up from âa blacked out blur.â Thatâs a pretty grim view of pleasure.
To me, the bleak aspect of this hedonism you saw starting in 2010 reflected the state of the economy. Itâs improved this year, but last year, things felt terribly precarious and dark. I sense that these songs are appealing to a certain feeling like, âThere isnât much of a future, so Iâm just going to enjoy life in this rather desperate way as much as I can.â Itâs something that pop songwritersâwho are actually quite well off and not living in this precarious wayâhave intuited that people want.
Collectors Weekly: Part of the appeal of those âDonât Look Backâ concerts is that a 16-year-old who just discovered an album gets to see the band play those songs.
Reynolds: Sure, it makes sense. Itâs not exactly the same as seeing the band the first time around. But itâs a bit like the classical music idea of the repertory, like when you go to see Beethovenâs Ninth Symphony. But itâs not an orchestra working from a score, itâs the actual original band. Of course, there are also a tribute bands, where they have a singer whoâs trying to imitate the specifics or timbre of the original singerâs voice. They might even dress the same and hold their instruments in the same way. Itâs not just the melodies; itâs the whole experience.
Genesis has given their official approval to this one Canadian tribute band called The Musical Box. When the tribute band performed the 1974 album âThe Lamb Lies Down on Broadway,â Genesis actually provided the band with the slides the band used on that tour. So itâs a very close simulation of that ’70s tour, with the blessing of Genesis. You can imagine that becoming a franchise system, when a legendary band gets too arthritic to perform themselves. They could have a franchise in each territory, one for Australia and Indonesia, one for Latin America, and one for North America. It could be a nice little earner for everybody.
Collectors Weekly: What would something new look like now? Are we beyond being surprised?
“If people now see the idea of going to the moon as a corny retro thing, thatâs really sad.”
Reynolds: Itâs difficult to say. So many extreme things have been done sonically and in terms of image. I suppose Lady Gaga had a very good try of being shocking, but unfortunately it does seem like a composite of things done by Marilyn Manson, Grace Jones, David Bowie, Alice Cooper, Madonna, and all these different shock rockers from the past. Her music, however, sounds quite a bit like ’90s electronica. In terms of sound, I would say itâs the dubstep music. The groups that are becoming stadium headliners like Skrillex and Bassnectar are almost like a rock version of the genre. Those mad, wiggly bass lines do sound quite new and quite horrible. When Deadmau5 was on the Grammy Awards, I was excited to hear that sound in that context.
Itâs still hard to see how you could come up with something that would be utterly surprising that was still vaguely enjoyable. There are all kinds of extreme things you can do. Although even in extreme music, like the sort of music that Wire magazine covers, in a way itâs continuing what John Cage, the Velvet Underground, or Karlheinz Stockhausen did. That super-experimental abstract music has its own enormous history behind it thatâs hard to get beyond. Maybe the new thing will be something that combines sound and vision in some totally free-form way, with the audiences remixing the sound on their iPhones or tablets.
Collectors Weekly: You also talk in your book about pop cultureâs addiction to its own past. What do you mean by that?
Reynolds: My book is focused mainly on music, but I do talk about other art or entertainment forms. When you take it all in, you see that retro is like a culture-wide paradigm. Fashion is the pioneer of this idea of recycling relatively recent looks as retro. Then, you started to get it in graphic design.
In the last decade, it started to show up in movies. Obviously, thereâs the remake phenomenon thatâs been going on for quite a while. But now youâre increasingly getting movies that are done in an outmoded style with a lot of attention to making it look like an artifact from the past. The 2011 black-and-white silent film âThe Artistâ is the big breakthrough moment in that movement. In 2007, Quentin Tarantino and Robert Rodriguez did a pair of movies, âDeath Proofâ and âPlanet Terror,â that were meant to be like a 1970s grindhouse double bill. In between the films, they included ads for nonexistent movies. The whole experience was meant to be as if youâre at a ’70s sleazy cinema, watching these exploitation movies.
And thereâve been TV series like that. In the early 2000s, the BBC aired a comedy series called âLook Around Youâ that was a spoof of very stilted educational programs from the ’70s. With these shows, thereâs a lot of attention to getting the clothes right, as well as the quality of camera or the photography and lighting used at that time. With âLook Around You,â they even make sure the presenters hair looked bad in this period-precise way. Instagram, Hipstamatic, and smartphone apps that filter photos to make them look like snapshots from the ’70s are the same thing. On the one hand, I think this aesthetic appeals to artists because itâs quite challenging. It takes a lot of craft, but itâs not impossible because you have all these digital tools to help you make things look like artifacts.
A sister phenomenon is vintage chic where you are actually getting the original artifacts and decorating your house. In the ’60s or the ’70s, a hip, young couple would have a lava lamp or one of those fiber-optic lamps, design elements that felt very modern. But now you have a chipped, painted sign from a ’40s diner or an ancient manual typewriter as a decorative object. So that says something about changes in design sensibility. People seem to think old, faded, and distressed is more beautiful than shiny, new, and futuristic.
Collectors Weekly: We want the futuristic things from the past, but we donât want the current future.
Reynolds: Thatâs true. Things that are shiny and new are considered plebeian taste or they just look tacky. A lot of the Etsy world is based on this idea that things made new in factories now are cheap, plastic junk, and people would prefer hand-milled paper thatâs silk-screened or objects made out of old things, stuff that has a real texture and grain to it. I recently went a craft fair in L.A.: They had notebooks where each cover was made from an old-school textbook or hardback novel, but inside, itâs just a blank notepad on nice hand-milled paper. They also had belts with tape-cassette shells as buckles. That salvaged and reused aesthetic is a big thing now. Then, you get the Internet version of it, which is Tumblrs just full of old images and old typography.
Thereâs a whole online fetish for the Penguin Books of the ’60s. Penguin is famous for doing these cheap or relatively affordable paperbacks on serious topics. And they had this great grid design that was, in its own time, quite experimental and avant-garde-looking. But now, itâs quaint and charming. People collect these Penguins because they also were sold as intellectual books for the common man, the everyday reader, so theyâre associated with idealism of the time. Itâs something to be obsessed with, I suppose; people like to be obsessed.
Collectors Weekly: Is part of it a rejection of the current pop culture, like trashy reality TV?
Reynolds: Certain people donât like the time theyâre living in, and romanticize a previous era. Itâs probably quite rare in human history that an era or an age thinks itâs the best time. Generally, the feeling all through history is that we are fallen in some way, that weâre a lesser period than the time before. The Renaissance had that idea about the Classical Age, for example. But I suppose there was a period in the mid-20th century when people felt like things had never been better.
Collectors Weekly: After World War II, Americans were really excited about the future and new technology bringing economic prosperity.
Reynolds: Yes, and then, people wanted to get rid of the old stuff. In Britain after the war, the interior decor fashion was the absolute opposite of what it is now. Everybody wanted low ceilings, so people actually built in low ceilings inside Victorian high ceilings. They ripped out the old-fashioned fireplaces. Brass fittings would be replaced by plastic ones. The old-fashioned lamps were replaced by strip lighting, and everything had to be shiny. People got rid of wood; you had to have Formica surfaces. Looking to the future was a big thing in the immediate decades after World War II.
Collectors Weekly: And in the digital world, everyone is craving the tactile, analog experiences of the past.
Reynolds: Thatâs also big now. James May from BBCâs âTop Gearâ had a TV show around an idea called âMan Lab,â where he explored traditional skills such as carpentry, which are becoming lost. He even wore one of those shirts spoofing the World War II slogan âKeep Calm and Carry On.â His was âGet Excited and Make Things,â which was the motto of his show. Thereâs a sort of steampunk-y wing of this movement, too, where youâre making contraptions and inventing stuff. Itâs rejecting the digital for the manual, which is funny, because obviously you canât use anything digital without using your fingers. But when you build things, youâre not moving information around. Youâre moving blocks of wood and metal around.
Collectors Weekly: Why do you think people are so obsessed with artifacts from their own childhoods?
“Will the garish cans of energy drinks like Monster or Red Bull one day have the same vibe as a lovely old Coke bottle?”
Reynolds: Unless you were unlucky enough to grow up in truly awful circumstances, when you were a child, you were fairly oblivious to what was going on politically. You remember the era as a happy time. My mother grew up in Britain during the Second World War, but she still remembers it as an idyllic childhood. Occasionally, her family would have to hide under a table when the bombers flew overhead. She didnât have any sense of deprivation because she didnât know that thereâd been a time when there wasnât rationing. So generally speaking, the cultural products of your childhood are always going to have this halcyon glow to them, as long you didnât have a particularly traumatic childhood. Even then, I think thereâs still something about the first TV shows in childhood, the first movies you watched, like going to see âStar Warsâ when you were 11. Itâs always going to leave a big impression on you.
I suppose thereâs a sense that certain things are changing really fast. Itâs something that happens to everyone at a certain age. In my 40s, suddenly I remember things I had completely forgotten, like my favorite old sitcom. Then, I found bits of it on YouTube, I looked it up on Wikipedia, and discovered all these facts about it that I never knew at the time because I was a kid. But back then, you couldnât find the information even if you were looking for it.
It has never been possible to go back and revisit these things to the extent we can now. And the emotions you get looking at this stuff are rich and complex, because you see how absurd, laughable, and stilted the TV shows or commercials were. But you remember that certain commercials were cultural phenomena. We would sing our favorite commercials in the playground. There would be cult catchphrases would come out of them, like “Nice one, Cyril” or “It’s frothy, man.”
Itâs fun to relive our pop culture history. But is the fun based on being scared of whatâs going on now and hiding in the past? Thatâs what people have always accused nostalgia of. In the ’70s, there was all this ’50s nostalgia, and ’20s nostalgia as well. Various columnists in âThe New York Timesâ wrote about it in the ’70s, wondering whatâs going on with this backward-looking or regressive phenomenon. Often, being nostalgic politically has been linked with conservatism and more reactionary forces. As in, âThings should go back to how they were when people knew their placeâ and that kind of thing. Youâre suggesting that youâre opposed to progress in some way.
Collectors Weekly: But arenât liberal urban-dwellers the most obsessed with vintage chic?
Reynolds: Sometimes liberals construct a myth of how things were, a time before alienation or before the Industrial Revolution or before capitalism. Things were somehow better; people were less alienated; they were more in control of the existence. But usually itâs just another myth. In some feminist circles in the late ’70s especially, it was decided that at one point there was a matriarchy where everyone lived off fruit and we had no class system, like in a commune. It is more or less a mythical time before patriarchy, but there might be some elements of truth to it.
Collectors Weekly: Iâm old enough that I canât believe people are nostalgic for â90s pop culture now.
Reynolds: Itâs interesting, that moment when a period stops being like a pre-extension of now and suddenly start to seem like a period. For example, âSeinfeld,â which ended in 1998, has never been off the air, really. And six or seven years ago, you might watch one idly, and it would feel like it was vaguely related to the now you were living in. But now you look at âSeinfeld,â and itâs like, âOh, the hair looks dated.â You can see that it suddenly drops into relief as an actual period, and itâs clear from the texture of life, peopleâs hair, and peopleâs clothes that was a different time.
My 12-year-old son collects things from a few years ago that are more or less on the level of Happy Meal toys. Words like âvintageâ and âretro gamesâ are his worldview. Heâs actually bought âvintageââmeaning 10 years oldâPokemon cards, for example. I often bring up my son because heâs such a new, different generation from me. He has that collectorâs bug. Itâs just different stuff, merchandise or promotional stuff. Itâs not like he lives entirely in the world of data: His room is a chaos of things, and heâs still got a primal love of objects. I think thatâs a fine thing to keep in your life, that sort of delight in finding stuff and collecting everything in a set.
Collectors Weekly: If you collect early 1900s postcards, the most valuable ones right now are the store advertisements and political propaganda. Basically, the junk mail.
Reynolds: Some people love cans, too. People will get obsessed with a can of something that wouldâve been completely unremarkable, like a can of baked beans or an oil can, if itâs in good condition and itâs got the typography of the era. It fascinates me to see whatâs considered collectible on these shows like âAmerican Pickers.â Sometimes money can be made out of these things because they are actually cultural artifacts, whereas other things are more like tchotchkes, things youâd use for dĂ©cor. Itâs not rare in itself, but itâs cool enough to display in your living room.
At the time, it never seems conceivable that a thing from everyday life will become a collectors item. For instance, I was thinking about all those garish-looking energy drinks like Monster or Red Bull. Will their cans one day have the same vibe as a lovely old Coke bottle? Will people collect those at some point? It makes you want to save these things as college funds for the kids.
Some of this stuff seems utterly worthless and nondescript, just background noise, but itâs actually cultural data. People are collecting items potentially of historical interest in the future. One of the concerns about the Internet for historians and sociologists is âIs it being documented? Is there a record of it?â
Collectors Weekly: What do you collect?
Reynolds: I collect records, books, and music magazines. It can be very expensive, and I end up with a house full of these moldy, decaying music magazines. But theyâre useful because my other books are more historical than they are polemical, unlike, âRetromania.â Music magazines are just invaluable because they give you a real sense of the era. You have the record company adverts. You have pieces on bands that no one remembers. Theyâre all part of the grist of that time, part of the mulch out of which the legendary bands emerged. The gossip items, news items, even the way the typography in these magazines lookâit all helps you understand the context a band was operating in. Plus, old music magazines are just fun to have and look at. But it is ruinous obsession to develop in terms of living space and, essentially, money.
Collectors Weekly: Do you also collect CDs?
Reynolds: Itâs strange. CDs havenât become a lovable format, have they? Maybe certain odd-looking box sets or limited-edition CDs with unusual designs will become collectible. But your run-of-the-mill CD, thereâs just something resolutely unlovable about them. With vinyl LPs, the spines of records get worn, but it seems to add character to them. Whereas CD cases just become annoying when theyâre all splintered and cracked. And the worst things in the world are CD singles. You canât even give them away.
Collectors Weekly: I talked to a futurologist who told me that soon people will stop owning things like books, movies, or records. It will all be up in the cloud.
Reynolds: My sonâs generation will totally be about the cloud for things like music, and they wonât understand why someone like me likes to have all these records around. But as I say, he still has this attachment to things. The 20-somethings I know are also quite into experience, almost as a counterweight to the digital world. Theyâre very into food and microbrew beer, and into making material things. Itâs not like people only exist in this information world.
Collectors Weekly: So, our futureâs turned out to be these little devices that are basically wayback machines reflecting the way we were?
Reynolds: Itâs not as heroic and grand as the future once seemed. I did an interview with âSalonâ magazine when the book came out, and I mentioned the Space Race. âSalonâ is famous for these grumpy, touchy, smartass commenters. One guy commented that basically the Space Race was campy. I thought, if some people now see the idea of going to the moon as a corny retro thing, thatâs really sad. At the time, they were attempting such a grand, heroic visionary thing. It was such an enormous achievement, the same spirit that took the explorers to discover the New World.
Itâs sad that the whole idea of outer space seems to have dropped away. Supposedly, President Obama has recommitted to the Space Race and to funding NASA, which is talking about moon bases and a manned trip to Mars. In all honesty, I don’t see how the United States can afford it, but supposedly it’s “on” again. For my son, itâs not really part of his mental architecture. It doesnât seem to hold any romance, and thatâs a puzzling development for me as someone who can actually remember watching the moon landing when I was 6. My son is just crazy about everything to do with social media and the Internet. For him, thatâs where the adventures are.
Unable to create, it must cannibalize. Then cannibalize the cannibals and so on. Why else make a Dennis the Menace movie.? Golden Girls, the movie? Name that Tune the movie?
I don’t really see a problem and I think this article is a bit overly analytical.
We’ve always mixed and matched different styles from different eras. I tend to prefer a lot of music from the past over “today’s music” but why think purely in terms of decades? As far as I’m concerned, anything from 1950-present generally fits into my era, even though I was born in 1979. I don’t consider a song from 1975 to be “old” and I don’t feel pressured to subscribe to the cultural movements of 2012. I happen to like vintage tee shirts because they look cool, but I still buy Levi’s because bell-bottoms or stonewashed jeans looked (and still look) ridiculous. Talk to any designer or architect and you will find that no time period is immune to nostalgia or revival. Today is no exception, and no one is “ruining everything” except maybe people who strictly follow the current trends.
It’s very simple really, human hearing can only identify a finity number of tones, hence there’s a finity number of riffs/melodies, that number is of course high, but we’ve long since passed it equivivalent to peak oil. Don’t just take my word for it, Spider Robinson figured it out already back in the 80s before it happened:
http://www.spiderrobinson.com/melancholyelephants.html
I agree with you Ryan. I’d add that looking backward is a healthy approach in music, as long as it’s done creatively. Music happens so fast, and there’s so much of it, that full appreciation of it can get lost before we’re onto the next thing. (This especially goes for jazz, which is in the midst of a very healthy looking-backward period right now.) So refocusing attention on some of this stuff is good. It’s fine to create something completely new, but it’s rare and always has been. And feeling pressure to create something cutting-edge for our brave new future can be as much a result of marketing as retromania is. What’s obnoxious about someone like Katy Perry (and I do like a few of her songs) is that she gives you the worst of both worlds — VERY current robotic, ultra-slick pop plus dopey fetishization of the past in her visual style.
Is this all new to you? I guess you didn’t outright say so but I certainly get the impression it is to you. People have always done this. We look back on the past and make it all into something it wasn’t to imagine a time better than our own. Y know, back when everything was “pure” or “real”. This is a staple of how mankind deals with his/her difficult existence. The only “big” music movement I ever got to see firsthand was all the 90’s alt stuff. And believe me when I tell you it didn’t happen how people talk about it.YES, during that time those bands were much “bigger” than any rocks bands would be now. But they still really weren’t ruling the radio by any means. In fact for the most part they were totally ignored except for a few chosen ones. But if you were there, you wouldn’t have even known a giant musical revolution was happening if you would have turned on your radio or TV randomly 23 out of 24 hours of the day. All these classics that people talk about now from that era…Pavement, Mudhoney…the really clever ones were very much ignored in their time. We look back and create a past as we want to imagine it. Not to sound so depressing…I actually think we do it so we can critique our present and try to imagine a world we’d like to create in the future.
As someone who regularly attends one of these Retro-style events every year (London’s Chap Olympiad) I can tell you my motivation is fewfold.
I find the level of vulgarity on the modern street a bit much to wear at times – what ever happened to the concept of social grace? I’m truly tired of shabbily dressed people out in the streets, ass-cracks slipping out of ill fitting track bottoms in supermarkets and whatnot. And I’m afraid to say that the Pop Music of today has descended into utter vacuity, there’s no poetry or musicality about it in the least. It’s no wonder bands like the Fleet Foxes are trying to go back to a sound and style that seems to have at least an aroma of relevance.
Things reached a nadir or sorts for me this summer when British Airways launched an advertising campaign inviting Britons not to fly but to stay home and support the Olympics, all while The Clash’s “London Calling” played in the background. Proof positive nobody listens to lyrics anymore since the advert ended with Joe Strummer singing “London is drowning – and I live by the river”, perhaps not the best light in which to present the Capital.
I go to the Chap Olympiad every year to spend a day in the company of people for whom respect for your fellow passengers on this planet is a cherished value.
That also means that what I wear is clean, reasonably well-fitting clothing. I don’t mean I wear a tie to go shopping at the grocery, but my shirt is tucked in my trousers at least! It’s just a sign of respect, not only for my fellow Man but for myself as well.
Finally, I think it’s fair to say recording technology has changed humanity’s relationship with music. It’s no longer about the performance but about the recording. In the same way that Film has changed the Stage – we now have immortalised “definitive” versions of characters who will always look like Humphrey Bogart, Audrey Hepburn or Harrison Ford. So it’s no surprise Genesis is “franchising” performances of their classic albums – I’m sure no one is happier than Phil Collins who will likely never have to play The Cinema Show. More’s the pity.
I’m not sure where we go from here. There is precious little else you can do to shock and scandalise society once someone has worn a meat dress to a premiere. And maybe that’s also why Retro is so popular. Maybe people don’t want to be shocked anymore, Maybe we just wanna live decently and have some fun. Low sugar, good wine and microbrew-adled fun but fun nonetheless.
Modern’s not bad when it’s done well, after all.
Face it, boys & girls…the 90s sucked. But not as bad as the 80s. I was there (and well before).
Personally, I find today’s music boring and un-creative. The pop scene hasn’t changed in decades and it’s still weak music aimed at the 16 year old female.
Rock music seems to have died, which I like so I guess I’m one of those looking for retro sounds ie rock.
Hip hop and rap all sound the same and the musical variances seem nearly undetectable.
Metal has become a scream fest with over driven guitars and a complete lack of melody.
I’m certain there is still good music out there that doesn’t fit into a mould, but that’s not what gets played on radio or promoted anywhere.
It’s sad that with all the distribution options available, the best music I hear of still comes from word of mouth, person to person.
The actual Future scares the shit out of most of us…
I completely understand where this article is coming from and we have a vintage online shop! I’ve always collected antiques and ” VINTAGE” stuff, but just lately we’ve started to make new stuff designed and made by ourselves in our local village. You can take influence as long as you give it a kick into the present. I’m sick of all this sentimental attachment to a time one never lived through. Let’s live for now.
Ryan and Taras are right.
I think this article have no porpouse, capitalism and mass production technology depends on pop culture to sell.
No. No it’s not ruining everything. In fact it’s probably not ruining anything.
In the 1950s, people romanticized the Old West into something it wasn’t — a land of dashing heroes and soft-hearted villains leading a simple and happy life — as an emotional antidote for the alien stresses created by the increasingly technological society that was just beginning to come into existence. The cowboys and Indians of 1950s television and movies are no more real than the modern faux-seventies punk bands; it’s pure escapism.
The belief that things were better in the past is pervasive throughout human history. It’s a natural consequence of our tendency toward cultural homeostasis — or conservatism, to use the classical definition, but that term has become politically charged and largely misrepresented in modern America, so we’ll just call it homeostasis.
Put another way, a fondness for “retro” is simply the human emotional equivalent of an ostrich sticking his head in the sand. Eventually, the ostrich must remove his head in order to breathe.
TLDR: Guy lives long enough to witness nostalgia cycle and become disconnected from musical innovation, and becomes concerned at unorginality of today’s youth.
Newsflash: people have always fetishized the past, and cultural innovations occur much like evolution- repetition of past ideas with small, incremental changes that accrue over time, and only make themselves apparent in retrospect. Much like in the 60’s, some people preserve their Victorian homes, while others strip away outdated fixtures in the name of energy efficiency and modern design. The only difference in music is that with decentralized distribution and the fall of music labels as cultural gatekeepers, we no longer have businessmen arbitrarily designating advances in genre and whatnot. The reaction to this revenue decline from labels is to skew conservative and more aggressively embrace models that worked in the past, and try to preserve marketability to an aging demographic that still purchases physical media.
I don’t think we are more or less retro obsessed than we ever have been. Culture is nostalgia (it is what came before) and there is nothing wrong with that. Newness is the way you combine the past influences with the current trends. This has always happened and always will. The myth of originality is an impediment to creativity. Everyone is unique and necessarily will create something new that references the influences of their culture. I think hip-hop, which is barely mentioned in this article, is the best example of this where people are sampling old music but recontextualizing it with more modern sensibilities until it unquestionable sounds a whole lot different.
Katy Perry dressed up like the 80s singing over a dubstep beat is “new” in this sense (though it makes me want to kill myself). At some point retro becomes a game of “finding original sources”. Which is a bottomless pit. Using The Beatles as second 0 of music makes no sense since they were playing Chuck Berry tunes … and he was playing T-Bone walker … and they were all playing Robert Johnson, and he was playing songs he heard from nameless slaves, etc … So it is a slippery slope with the retro game. There is always another door and usually it just devolves into the hipsterism of being knowledgeable on the more and more obscure source (behind which many others lie).
Something seeming new or creative is not an objective standard. It is a problem of knowledge. When you say “wow that is new!” you are really saying “wow, I don’t know the original source for this!”. That is why Green Day can seem very new to a 12yr old where as the old crusty self-described punk rocker hates them.
Two words: Nostalgia Goggles.
So long as these are on, everything in the past is worth looking into, while the present and the future are considered trite.
Someday I hope these goggles come off of some people and allows them to see into the times ahead of us and start thinking about the long term effects of our actions into the past.
Essentially, everything is relative. Given enough time, our cultural artifacts will be ‘nostalgia’ once they’ve accumulated a certain patina of time on them.
I used to wax on about the terrible trends of the present time…in highschool…when the spice girls and brittany spears were ruining music. Seems dated now.
Culture has always looked back on what was before for as far back as man was alive. We’ve always gotten influences from other times and people and to say that one culture is more obsessed about the past then any other one before is just silly. That is humbly my personal oppinion though. We will just have to see where the journey takes us. Your just overcomplicating the situation when we should all just learn to sit back, pick up the sunshine and as the Eagles say :D and I say Take it easy!
Or maybe, people should like what they like and stop analyzing the hell out of everything? Just a thought.
I think the demarcation of decades through “godawful” styles can be attributed to the inappropriate exploitation of the latest technology. Just because you suddenly can doesn’t mean you should. For instance, the simple introduction of hair spray essentially led to women and men alike wearing 3D art of their heads for 30 years. An example for today would be curved TVs. It does not enhance anything, but flexible films and LED technologies allow the manufactures to do it and market it as something special.
If we had to listen to certain people, we would feel constantly guilty. Guilty for looking into the past and becoming nostalgic, without admitting that some things were bad, and guilty for wanting to escape the present.
I feel like most people are actually conscious that the past was not as great as the nostalgia suggests it, they simply use it to help them cope with the present. I saw comments comparing nostalgic people to ostriches. So we are ostriches for preferring Victorian furniture to Ikea’s and collecting ephemera from the 50’s, even if we enjoy the actual progress ? I see nothing wrong with that…
That’s precisely what I do, I am fond of antiques, but I would not give up on the times I live in, because the technology allows advantages that no other era offered.
And I don’t miss my childhood at all, except for the existence of a few things, like some toys that give me good memories. The 90’s had no charm to me when I was a kid, I always felt like I was born at the wrong era, and I am certain that it wouldn’t have been better with the 70’s and 80’s, too.
Ironically, I feel now like I am born at the right time, precisely because people become all nostalgic about the old stuff I dream about all day.