{"id":13577,"date":"2012-10-27T09:00:31","date_gmt":"2012-10-27T14:00:31","guid":{"rendered":"http:\/\/www.shotinthedark.info\/wp\/?p=13577"},"modified":"2012-10-27T09:08:09","modified_gmt":"2012-10-27T14:08:09","slug":"dance-music-sex-romance","status":"publish","type":"post","link":"http:\/\/www.shotinthedark.info\/wp\/?p=13577","title":{"rendered":"Tonight I&#8217;m Gonna Party Like It&#8217;s 30 Years Ago"},"content":{"rendered":"<p>I&#8217;ve been doing this series of &#8220;Thirty Years Ago Today&#8221; anniversary posts about great music of the eighties for quite a while now.<\/p>\n<p>Here&#8217;s the thing I&#8217;ve discovered in writing this series; for many of the records I&#8217;ve covered &#8211; <em><a href=\"http:\/\/www.shotinthedark.info\/wp\/?p=4155\">The RIver<\/a>, <a href=\"http:\/\/www.shotinthedark.info\/wp\/?p=4901\">Shoot Out The Lights<\/a><\/em>\u00a0&#8211; it hardly seems like it&#8217;s been thirty years, since the records seem (to me, anyway) so very timeless; they&#8217;re no less a soundtrack in my forties than they were in my teens and twenties.<\/p>\n<p>With others, though? \u00a0They&#8217;re definitely archaeological artifacts; <em><a href=\"http:\/\/www.shotinthedark.info\/wp\/?p=5374\">Boy<\/a><\/em>, U2&#8217;s first album, hinted at greatness and timelessness to come, but it was very much a time capsule for an idealistic post-punk do it yourself world of music I craved being\u00a0<em>in\u00a0<\/em>at the time. \u00a0<a href=\"http:\/\/www.shotinthedark.info\/wp\/?p=6226\"><em>Zenyatta Mondatta<\/em><\/a> and <a href=\"http:\/\/www.shotinthedark.info\/wp\/?p=5093\"><em>Blizzard of Ozz <\/em><\/a>seem like museum exhibits showcasing one of those rare times in music when pretty much anything went.<\/p>\n<address>And it&#8217;s one of those latter that brings us to today&#8217;s anniversary. \u00a0It was thirty years ago today Prince released\u00a0<em><a href=\" http:\/\/en.wikipedia.org\/wiki\/1999_(album)\">1999<\/a>.\u00a0<\/em><\/address>\n<address>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.rollingstone.com\/assets\/images\/album_review\/8be6e69c1e92a56c717b9cec3af7878e2001cdd6.jpg\" alt=\"\" width=\"400\" height=\"400\" \/><\/address>\n<address>And it may have not only been one of the greatest albums of the eighties &#8211; but if you had to pick an album to serve as a time capsule of what The Eighties were, musically, you could pick a lot worse.<\/address>\n<address>If you saw The Eighties as&#8230;:<\/address>\n<ul>\n<li><strong>an inflection point in R&amp;B between the funk of the seventies and the hip-hop-inflected R&amp;B of the nineties<\/strong>,\u00a0<em>1999\u00a0<\/em>was a key turning point. \u00a0While there was no hip-hop on the album &#8211; the term was still on the fringe of pop music culture in 1982 &#8211;\u00a0<em>1999\u00a0<\/em>linked the big-funk-band &#8217;70s with the technology-driven groove that has dominated R&amp;B for the past twenty-odd years. \u00a0Listen to &#8220;DMSR&#8221;, and tell me that&#8217;s not made for sampling.<\/li>\n<li><strong>an era driven by unprecedented change in music technology<\/strong>: \u00a0In spades. \u00a0There&#8217;d been synth-pop albums before\u00a0<em>1999<\/em>; there&#8217;d be many after. \u00a0But when it came to integrating bleeding-edge technology (synths, a top-of-the-line Linn drum machine) with tradition (Prince&#8217;s signature Hofner guitar, a cheapo knockoff of a Fender Telecaster),\u00a0<em>1999\u00a0<\/em>was the gold standard. \u00a0Listen to &#8220;Let&#8217;s Pretend We&#8217;re Married&#8221;, or the title cut, for two of the most glorious melanges of style&#8230;ever!<\/li>\n<li><strong>a period of glorious intermingling between &#8220;black&#8221; and &#8220;white&#8221; music<\/strong>: \u00a0There&#8217;s a story &#8211; possibly apocryphal, although I remember it came from a decent source back (koff koff) years ago &#8211; that John Mellencamp, who was just starting to wiggle his way toward critical respectability, came out to do an encore at a show, carrying a boom box. \u00a0As the story goes, he said &#8220;<em>This\u00a0<\/em>is a great rock and roll song&#8221;, held the boom box up to the mike, and played &#8220;Little Red Corvette&#8221; for the audience. \u00a0 This was kind of a big deal for me; you didn&#8217;t get exposed to a lot of &#8220;black&#8221; music in rural North Dakota in those days. \u00a0And learning from Mellencamp (for whom I didn&#8217;t much care at the time) that there\u00a0<em>was\u00a0<\/em> in fact a link between R&amp;B and R&amp;R kicked loose a brick in my mind that got me thinking, and sent me &#8211; thirty years ago this coming winter &#8211; into the back room at the radio station I was working at, to dig out some old Motwn records and start piecing together the great rock and roll tradition for myself.<\/li>\n<li><strong>Minneapolis&#8217; musical glory days<\/strong>: \u00a0this was the album that blasted the Twin Cities onto the musical map.<\/li>\n<\/ul>\n<p>It&#8217;s all of that. \u00a0And it was anything but timeless; how many albums give themselves a shelf-date? \u00a0 The world <em>didn&#8217;t\u00a0<\/em>end in 2000; everyone had a bomb but we all didn&#8217;t die any day, not yet. \u00a0 &#8220;Tonight I&#8217;m gonna party like it&#8217;s 1999&#8221; is a statement of ironic nostalgia.<\/p>\n<p>But as an artifact of a long-gone time?<\/p>\n<p>What an artifact.<\/p>\n<p>And what a time!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I&#8217;ve been doing this series of &#8220;Thirty Years Ago Today&#8221; anniversary posts about great music of the eighties for quite a while now. Here&#8217;s the thing I&#8217;ve discovered in writing this series; for many of the records I&#8217;ve covered &#8211; The RIver, Shoot Out The Lights\u00a0&#8211; it hardly seems like it&#8217;s been thirty years, since [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[98],"tags":[],"class_list":["post-13577","post","type-post","status-publish","format-standard","hentry","category-the-year-that-was"],"_links":{"self":[{"href":"http:\/\/www.shotinthedark.info\/wp\/index.php?rest_route=\/wp\/v2\/posts\/13577","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.shotinthedark.info\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.shotinthedark.info\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.shotinthedark.info\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.shotinthedark.info\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=13577"}],"version-history":[{"count":7,"href":"http:\/\/www.shotinthedark.info\/wp\/index.php?rest_route=\/wp\/v2\/posts\/13577\/revisions"}],"predecessor-version":[{"id":31318,"href":"http:\/\/www.shotinthedark.info\/wp\/index.php?rest_route=\/wp\/v2\/posts\/13577\/revisions\/31318"}],"wp:attachment":[{"href":"http:\/\/www.shotinthedark.info\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13577"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.shotinthedark.info\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13577"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.shotinthedark.info\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13577"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}