Tyrel had told me that Rachel was special; no expiration date. We did not know how long we'd be together. Who knows?
Deckard in Blade Runner
was still alive. It was the year of the debut album by Roxy Music of Harvest by Neil Young, Transformer by Lou Reed. Everything was changing, but he had not yet left the building, but after having shot down the stairs a few times soon going to do it forever. In 1972, while Deep Purple excited squeals with hordes of hairy, Elvis sang in a vocal fanfare of "Always On My Mind" in anticipation of his myth as the title of the song proclaimed, an evocation of absent more mourned, former lovers and the dead.
was the past, a glorious past, yes, the speaker through his prodigious voice from another time. "When did" That's Alright Mama "in 1955 ... said it Bob Dylan "There was no sensitivity and power. In 1969, he was able at full speed with nothing more than strength back. I too have fallen into that trap. Watch the 1974 Tour. " [1]
" Give me another chance, "he begged Elvis wearing his white spandex jumpsuit with sequins and ridiculous coat, which he understood to catch up. Elvis was the first to dress up as Elvis, and that had little to do with communion between art and life they aspired to the most radical artists of the moment. David Bowie himself understood: it was during that 1972-the last of those six years that according to Lucy R. Lippard art changed forever - when Bowie morphed into Ziggy Stardust.
But Elvis was not performance, his music was going down a road while his life it was for a very different and tortuous. As a result of the radio era, to try to catch the train of the new mass entertainment, was something like what happened to Chaplin when finally making a sound film deftly whisked dialogues between ambient sounds : Times Modern remained a chaplin great, but that film was not going to ever do again. Still
Dylan said in 1965 that " disks are the most important. [...] There is no way that there is interference in the sound, while at the concerts ... We played in places where they sometimes have these tremendous audiences. [...] Not so easy to come to hear a band and it is like listening to someone. " [2] falls short with respect to Modern Times, Chaplin that had rolled to cry in silence how in the world of machines and nothing seemed to be made by or for people.
As the owners that end up looking like their dogs, humans were merging with machines they had engendered. In the mid-80's Dylan and said fear about how manufactured records, and went further: "If you see the same material in concert will disappoint you, because ... Uh ... Well, if you want to see it live. You may not want. " [3] The truth is that in England in those years, and throughout the world, actually, there were many people who wanted to see live bands like Pet Shop Boys or Depeche Mode, probably hoping to find the same thing on their records sound so clean. However, much as we try to use them as if they were a synth in the melodic voice of Neil Tennant and Martin Gore still had traces of humanity, and precisely for that conveyed something disturbing. The Pet Shop Boys rescued "Always On My Mind" in 1987 retaining the full original dose of nostalgia, and added two other main ingredients of the formula postmodern: frivolity and technology. Was the cocktail of the second chance, that Elvis did not know or would not prove, that no.
The Depeche Mode were more somber, and were more vocation Robotic Pet Shop Boys. But the best of their songs was just one of 1989 which gave the new media to old role: a simple electric guitar as a bass, and perhaps this baroque reminiscence was what was apparently came from the future. That guitar was an extension alla Cronenberg the human part of the group, his voice and melodic choruses, all trying to replicate a precision electronic machinery.
The song once again remitted Elvis and Priscilla Presley was conceived as the King, Jesus Christ as their owners, in the sense that Depeche Mode encouraged us to consider our best friends: no need nothing more, even when your lover and you have left your dead and are not sure of remaining in the real world. What if they too will fail? Knew the answer from Descartes, but Matrix made us doubt again.
When in 2002 remade Johnny Cash "Personal Jesus", revealed not only that he or Elvis or Dylan were not in the machine age, but Depeche Mode at the bottom, either. Like Pet Shop Boys, or Ultravox, Kraftwerk or , only represented the response of humans to their own mechanical monstrosity, in an era that still could be measured with it, until the techno and house the became particularly insistent, and ominously metric impeccable. Cash on the verge of death was as Dylan in the beginning: a man of imperfect voice appropriating foreign songs.
His "Personal Jesus", stripped of all the technological apparatus of Depeche Mode, stripped the machine and showed that there was still beating under something, and that something was still important, " as if it were the second hit a HAL 9000 risen after "Daisy, Daisy" who once sang as he killed .
[1] Jonathan Cott (Ed.): Dylan on Dylan , Global Rithma Press, Barcelona, \u200b\u200b2008, p. 307
[2] Op. cit. p. 97-98
