Latest news with #RubberSoul
Spectator
21-07-2025
- General
- Spectator
The ‘Gen Z stare' is another act of teenage rebellion
The latest complaint made against Generation Z is that its members now frequently assume a blank, glassy-eyed expression of indifference and boredom. The 'Gen Z stare', as it's known, has become so prevalent among those born between 1997 and 2012 that it's now a source of habitual frustration and annoyance among their elders – the millennials who coined this term. According to a Times report over the weekend, young parents now continually protest at having to confront this pose among their offspring, a demeanour that manifests itself in lack of eye contact and disregard for basic social niceties. This won't come as a surprise to those who recognise that modern technology, particularly smartphones, has had a deleterious influence on the youngest members of society. The increasing inability of Gen Z to engage in forms of ordinary social engagement is one widely accepted symptom of our technological revolution. There may be other factors, too. The lockdown years of 2020-21 severely stalled and stilted the socialisation and development of a youth at a crucial stage. Some people, speaking in their defence, say that the 'Gen Z stare' reflects a justified gloom and pessimism in that, in relation to future job prospects or the likelihood of ever owning their own home, the youth today have much reason to look disenchanted. In truth, teenagers and those in their early twenties have always been prone to behave like this. Geoff Beattie, a psychology professor at Edge Hill University in Lancashire, explains this perceived disengagement as 'a generational marker, an attempt to project the generation's values of authenticity and individuality'. It's always been thus with teenagers, ever since that word became common parlance in the 1950s. That was the decade which saw the publication of The Catcher In The Rye and the release of the film Rebel Without A Cause. These are two works that encapsulated a generational conflict between rebellious adolescents whose elders didn't understand them – a mutual misunderstanding hindered by teenagers never being masters at expressing themselves articulately or coherently. Affected nonchalance or genuine anomie has been a rite of passage for youths making their first, difficult and sometimes traumatic steps into the mental and physical grown-up world. It's why it's featured prominently in another offshoot of the 1950s: rock 'n' roll. Since then, pop groups have been fond of gazing from the front cover of their albums with looks of distraction, whether it be the Beatles appearing jaded and distorted on the sleeve of Rubber Soul (1965), or The Cure appearing in warped, morbid infra-red on the cover of Pornography (1982), their ultimate tribute to adolescent misery. Along with The Smiths, The Cure appealed most to the alienated and disaffected youths in the 1980s, and to judge by their undimmed popularity to this day, to adolescents of succeeding generations. This is a demographic eternally prone to existential angst. It was no coincidence that songs by The Cure referenced Albert Camus ('Killing an Arab') or Mervyn Peake's Gormenghast series ('The Drowning Man'). Robert Smith, their lead singer and intellectual driving force, did what David Bowie and Patti Smith had done in the 1970s, when they had drawn inspiration from Rimbaud and William Burroughs: appeal to a romantic or introspective artistic inheritance. The Goths, of whom The Cure were the undisputed figureheads, assumed that name for a good reason. Their heirs of the 21st century, Emo kids, came to dress in black and lock themselves in their bedrooms for the same reasons: they hated a world that didn't understand them. This spirit of disenchantment has continued to manifest itself over the years. We witnessed it in grunge in the 1990s, whose aficionados bore an appearance of world-weary disaffection – the dishevelled hobo uniform of that scene was not accidental. Tragically, it turned out that Nirvana lead singer Kurt Cobain was deadly serious when he sung in 1993 'I Hate Myself And Want To Die', but that track did encapsulate a mood of detachment and indifference. Oasis even immortalised in song that decade's youthful declaration of nonchalance: 'whatever'. The 'Gen Z stare' is, in many respects, the latest manifestation of a decades-old phenomenon. As the sociologist Dick Hebdige wrote in his 1979 work on youth culture, Subculture, The Meaning of Style, in respect of this tendency: Punk represents the most recent phrase in this process. In punk, alienation assumed an almost tangible quality. It could almost be grasped. It gave itself up to the cameras in 'blandness', the removal of expression (see any photograph of any punk group), refusal to speak and be positioned… the solipsism, the neurosis, the cosmetic rage. Teens will forever present themselves as bored. Those mired in that troubling transitional point in life will often do so out of defiance and self-differentiation, in rebellion against a world they often don't understand, and one which will seldom understand them.
Yahoo
12-06-2025
- Entertainment
- Yahoo
Editorial: The influence of Brian Wilson, Sly Stone and … St. Charles?
Brian Wilson, the musical mastermind behind the Beach Boys, died at the age of 82, his family announced Wednesday. Earlier this week came news of the passing of Sly Stone, 82, whose startling originality combining elements of gospel, rock and soul enthralled audiences and fellow artists alike in the late '60s and early '70s recordings of Sly and the Family Stone. Both men were bona fide musical giants. Though their music was similar only in being groundbreaking, Wilson and Stone's lives followed similar, tragic narrative arcs. Both reached artistic peaks achieved by few others in pop music over periods of just a few years. Both were masters of the recording studio at a time when most artists left that part of their work to producers and focused on live performance. And both suffered from the ravages of drug abuse and mental illness for much of the remainder of their lives, making their many fans mourn for what more they could have offered. But what they created in their primes served as inspiration for legions of artists to come. Prince, Public Enemy and OutKast counted Sly Stone as a major influence. Wilson's lush, deceptively sophisticated harmonies and instrumentation were foundational for too many orchestral pop artists to count, and thanks to his epic rivalry with the Beatles in the mid-'60s, they pushed each other to greater heights. The Beatles' 'Rubber Soul' stirred Wilson to create his masterpiece, the Beach Boys' 'Pet Sounds,' which then inspired the Beatles' 'Sgt. Pepper's Lonely Hearts Club Band.' Speaking of 'Rubber Soul,' Wilson told the Tribune a little over a decade ago, 'I was so blown away by that damn album that I went and wrote ('God Only Knows.')' Paul McCartney subsequently called Wilson's work of genius possibly the greatest song ever written. Wilson set out to top the Fab Four yet again with what would have been 'Smile,' but threw in the towel on that legendary 'lost album' amid intra-band acrimony and debilitating mental health issues. Stone and Wilson both were children of California, but we choose to remember the brief but fascinating role of west suburban St. Charles in Wilson's life. Having remarried and feeling revived, Wilson moved to the suburb in the late 1990s to live near producer Joe Thomas, who worked on Wilson's 1998 comeback album, 'Imagination.' Wilson, an iconic Southern Californian, didn't learn to love Midwestern winters and in a few years' time moved back to where he once belonged. But we like to think our slightly less glamorous region played a significant role in Wilson's latter-years career resurgence that followed from what we'll call 'the St. Charles years,' topped by his 2004 celebrated re-creation with a stellar band of his vision for 'Smile.' God only knows what we'd do without the immense musical legacies Wilson and Stone left us this week. Submit a letter, of no more than 400 words, to the editor here or email letters@
Yahoo
12-06-2025
- Entertainment
- Yahoo
Paul McCartney Pays Tribute to ‘Musical Genius' Brian Wilson: ‘I Loved Him'
Paul McCartney has paid tribute to Brian Wilson following the death of the Beach Boys' 'musical genius.' 'Brian had that mysterious sense of musical genius that made his songs so achingly special,' McCartney wrote on social media Thursday, the morning after Wilson's death was announced. More from Rolling Stone John Stamos Remembers Brian Wilson: 'His Voice Is Part of the Divine Chorus' Mike Love Honors Cousin Brian Wilson: 'The Soul of Our Sound' Carnie Wilson Mourns Dad Brian Wilson: 'I've Never Felt This Kind of Pain Before' 'The notes he heard in his head and passed to us were simple and brilliant at the same time. I loved him, and was privileged to be around his bright shining light for a little while.' The Beach Boys and the Beatles enjoyed a creative rivalry in the Sixties that pushed both bands musically, to the benefit of everyone: In response to the Beatles' Rubber Soul, Brian Wilson encouraged his band toward experimentation to create their classic Pet Sounds (Rolling Stone named it Number Two in its list of the 500 Greatest Albums of All Time) which in turn inspired the Beatles on Sgt. Pepper's Lonely Hearts Club Band. McCartney has long praised Wilson's incomparable musical abilities, and even delivered the induction speech when the Beach Boy was welcomed into the Songwriters Hall of Fame, where he declared Wilson was 'one of the great American geniuses.' The Beatle has also claimed that the Beach Boys' 'God Only Knows' is his favorite song of all time, and fittingly ended his tribute by noting, 'How we will continue without Brian Wilson, 'God Only Knows.'' Following news of Wilson's death, his Beach Boys band mates and some of the countless artists he inspired have also paid tribute to the pop music architect and composer of teenage symphonies to God. Elton John called Wilson 'the biggest influence on my songwriting ever; he was a musical genius and revolutionary. He changed the goalposts when it came to writing songs and shaped music forever. A true giant.' Artists like Carole King, Graham Nash, Mick Fleetwood, Nancy Sinatra, and more have shared their own tributes to Wilson. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked
Chicago Tribune
11-06-2025
- Entertainment
- Chicago Tribune
Editorial: The influence of Brian Wilson, Sly Stone and … St. Charles?
Brian Wilson, the musical mastermind behind the Beach Boys, died at the age of 82, his family announced Wednesday. Earlier this week came news of the passing of Sly Stone, 82, whose startling originality combining elements of gospel, rock and soul enthralled audiences and fellow artists alike in the late '60s and early '70s recordings of Sly and the Family Stone. Both men were bona fide musical giants. Though their music was similar only in being groundbreaking, Wilson and Stone's lives followed similar, tragic narrative arcs. Both reached artistic peaks achieved by few others in pop music over periods of just a few years. Both were masters of the recording studio at a time when most artists left that part of their work to producers and focused on live performance. And both suffered from the ravages of drug abuse and mental illness for much of the remainder of their lives, making their many fans mourn for what more they could have offered. But what they created in their primes served as inspiration for legions of artists to come. Prince, Public Enemy and OutKast counted Sly Stone as a major influence. Wilson's lush, deceptively sophisticated harmonies and instrumentation were foundational for too many orchestral pop artists to count, and thanks to his epic rivalry with the Beatles in the mid-'60s, they pushed each other to greater heights. The Beatles' 'Rubber Soul' stirred Wilson to create his masterpiece, the Beach Boys' 'Pet Sounds,' which then inspired the Beatles' 'Sgt. Pepper's Lonely Hearts Club Band.' Speaking of 'Rubber Soul,' Wilson told the Tribune a little over a decade ago, 'I was so blown away by that damn album that I went and wrote ('God Only Knows.') Paul McCartney subsequently called Wilson's work of genius possibly the greatest song ever written. Wilson set out to top the Fab Four yet again with what would have been 'Smile,' but threw in the towel on that legendary 'lost album' amid intra-band acrimony and debilitating mental health issues. Stone and Wilson both were children of California, but we choose to remember the brief but fascinating role of west suburban St. Charles in Wilson's life. Having remarried and feeling revived, Wilson moved to the suburb in the late 1990s to live near producer Joe Thomas, who worked on Wilson's 1998 comeback album, 'Imagination.' Wilson, an iconic Southern Californian, didn't learn to love Midwestern winters and in a few years' time moved back to where he once belonged. But we like to think our slightly less glamorous region played a significant role in Wilson's latter-years career resurgence that followed from what we'll call 'the St. Charles years,' topped by his 2004 celebrated re-creation with a stellar band of his vision for 'Smile.' God only knows what we'd do without the immense musical legacies Wilson and Stone left us this week.
South Wales Argus
29-05-2025
- Entertainment
- South Wales Argus
Mersey Beatles set for Newport Riverfront Theatre gig
On Thursday, June 5, the band will perform at the Riverfront Theatre, celebrating the 60th anniversary of the iconic Shea Stadium concert. With a history spanning 25 years, The Mersey Beatles have delighted audiences worldwide, and this show promises to be their biggest UK tour yet. The performance will feature an array of classic hits from 1965, including beloved tracks from the albums Help! and Rubber Soul. Fans can also expect a journey through the psychedelic sounds of Sgt Pepper, a stroll down Abbey Road, and an homage to later masterpieces like Revolution, Get Back, and Hey Jude. Hailing from Liverpool, The Mersey Beatles were the resident tribute band at the famous Cavern Club for a decade, performing over 600 times at the venue where The Beatles first made their mark. (Image: DAVE NELSON) The current lineup includes Mark Bloor as John, Steven Howard as Paul, Craig McGown as George, and Brian Ambrose as Ringo. Looking ahead to the Newport show, Mr Howard said, "We cannot wait to take to the stage at the Riverfront Theatre. "We always have an amazing night in South Wales – the audiences are always up for a good night – so this will be an amazing night." Tickets for The Mersey Beatles at Riverfront Theatre are on sale now, available from the Newport Live website.
