" they were like an explosion of otherworldly glamour"
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secret thesis (slight return's slight return)
" they were like an explosion of otherworldly glamour"
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THE glam bassist. "Oddity" might be the first time I registered the existence of the bass as an instrument - for those strange d... -
Watching a bunch of Dame Edna Everage stuff - a doc, chat show appearances, those An Audience With Dame Edna specials done in front of an...
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Continuing from the previous post .... The title of Paul Stump 's excellent book on prog rock The Music's All That Matters captur...
Expanding on your thesis - I don't think the Roxy aesthetic (clothes or album sleeves) is BAD, but I also don't see why it's treated as the fulcrum point of the whole group by so many UK writers. I think there's a gap between old-school American and English music fans where the former isn't insensitive to visual aesthetics (as they're often accused of being), but do treat it more like an accent instead of the primary matter. Obviously, punk-and-after scrambled the geographic particularities of this, but I'd still say it's more true than not.
ReplyDeleteWhy English music fans/writers often treat the fashion as paramount is an interesting question - maybe because the UK 'youth cults' were so hyper-specific, polarized, and co-existing (as opposed to the more diffuse, overarching, and successive US cults, where an aspect of a fashion could float through several different groups in time and space without such a specific meaning attached to it)
There is plenty of aspirational dressing in American music, from blues/R&B/country/hiphop, but it borrows from each other an awful lot more (a Nudie suit is a pimp suit with wagon wheels) - there's not this expected maniacal fixation on particular details and what they signify, at least not usually
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