Adoro mergulhar no extensíssimo arquivo de notícias do The New York Times, onde estão disponíveis notícias (algumas delas apenas mediante pagamento) publicadas no jornal desde 1851(!). Uma pérola (gratuita) que eu lá encontrei foi a seguinte notícia do dia 28 de Março de 1984 sobre uns tais The Smiths que, na altura, estavam a fazer furor no Reino Unido. E que, aparentemente, até nem pareciam ser maus de todo…“To the bemused American observer, today's British pop scene appears to be an endless parade of new faces, new haircuts and new clothes, a race to see who will come up with the week's silliest group name and most outrageous new style of androgyny. There's plenty of novelty, but when it comes down to looking for original stylists, for bands or performers with something new to say and a new way of saying it - well, to be charitable, the pickings are slim.
The Smiths, a new British quartet with a deliberately plain name, have given their first album, released in the United States by Warner Bros. this week, a deliberately plain title: ''The Smiths.'' In their photographs, they look like four plainly dressed young men. The group's instrumentation - drums, bass, guitar and a singer - couldn't be more ordinary. But the Smiths' plainness ends here. Their music, their lyrics, their overall sound and stance, are individual and quite extraordinary.
The group's singer and lyricist, who goes by the single name Morrissey, seems to be single-handedly transforming pop's oldest icon, the love lyric, into something personal and fresh. He is reinventing words and phrasing that have been out of fashion for years - words like handsome and charming, phrasing like a lover's promise: ''There never need be longing in your eyes/ as long as the hand that rocks the cradle is mine. (…)"
The New York Times (1984)
Para ler o artigo completo, follow me.
Sem comentários:
Enviar um comentário