Why is 80s pop culture so unique
Weird, weird, 80s star
MusicA-ha & amp; Co .: The biggest stars of the 80s24 photos In the 80s, pop music freed itself from the rule of the guitar. It was the last decade that the musical mainstream had something for everyone. And: music became unthinkable without optics and pose. A time is your time when you experienced it at the age of 13, 15 and 17 years, when all your senses were open to the new, the popular, when everything interested you, without exception, and at first you didn't reject anything and feel secure felt in the present.
The 80s were a good time for adolescence because it was the last decade in which one could feel at home in youth movements, which were then experiencing their peak of importance, on the verge of decline. Access to these spiritual communities was easy, it was achieved through music.
Choreographies and the visual moment
From this point of view, the 1980s began in 1977 when punk was buried in England. Malcolm McLaren, the inventor of the Sex Pistols, turned radical music into a business. He gave the gathered musicians an appearance that originally had nothing to do with this type of music.
The red hair, the checked pants and safety pins became the ciphers of punk, and from then on no new band cared about what they wore or how they looked. That is the paradox of punk: it made tabula rasa and freed music from the bombast à la Pink Floyd. But at the same time he brought the pose into pop. It was about choreographies and the visual moment, no longer necessarily about content and values.
So there was music that was pure entertainment. Its creators wanted success, as great as possible. "The music of the 80s was designed for people who wanted to make a career," said Malcolm McLaren. Bands like Heaven 17 sang about business people, Duran Duran's video clips created deep vacation scenarios of people who made it. The fact that both groups wanted to have been critical, as they assert in interviews today, was not noticed when their records were released. Their multimedia products looked too intoxicated by the insignia of the economic boom.
Tremendously effective music
What we associate with the music of the 80s today was its effect. It's tremendously effective music, and so is people who were socialized in the 60s and 70s and found themselves in front of Wham! and Spandau Ballet disgust, will not deny that songs like "Freedom", "Gold" and "Enola Gay" have an irresistible attraction. It's not for nothing that every major city has 80s parties that are well attended. And not exclusively from their mid-thirties.
The mainstream at that time was so broad that it could offer everyone a home. He just swallowed everything, a guitar could saw in a synth piece, and rapping was allowed in a ballad. Anyone who liked Depeche Mode accepted that “One Love to Give” by Stephanie von Monaco was played at his party, because the two pieces of music had different backgrounds, but were similar in one crucial point: They could, given the right mood, be carried away.
Music was sensually doubled
And that's what it was about. The 80s were one single celebration of the moment. Above all, the invention of music television and the supply of cable connections meant that the songs of the time were accessible to everyone. Music was no longer just heard, but sensually doubled. This increased the effectiveness, especially with adolescents, to whom visual stimuli have a stronger effect than acoustic ones. So whoever grew up in the 80s was infected with double the dose of pop culture.
One dreamed of the metropolises, one had to go there from time to time because the Bennetton branch and the shoe store with exactly the Budapesters from the Level 42 video existed only in the big city. Pop culture was just as widespread in the provinces as it was in Hamburg and Munich, without much delay. While today only Berlin counts, people were more independent and creative in the country back then. Memory books like “Dorfpunks” prove this.
Resilience of the electronic sound
The fact that the music of the 80s is celebrating a renaissance today has to do with the resilience of the electronic sound and the similar production conditions for music. At that time the synthesizer ended the dependence on the guitar, today the laptop gives musicians greater autonomy. And record stores like Rough Trade in London, where bands commissioned their self-produced singles, basically functioned like Myspace.
The decisive point, however, is that since then there have never been any more musical experiments with a comparable broad impact. The sound of OMD, for example, was created on a £ 100 synthesizer that the band had ordered from a mail order company. The records were millions of successes.
At the end of the 80s, the mainstream fell apart, genres like techno emerged, guitar pop and so on. It was never as beautiful as it was back then.
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