{"id":1238,"date":"2019-12-07T23:53:29","date_gmt":"2019-12-07T23:53:29","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/70s-resurgence\/"},"modified":"2019-12-07T23:53:29","modified_gmt":"2019-12-07T23:53:29","slug":"70s-resurgence","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/70s-resurgence\/","title":{"rendered":"\u201870s Music is Staying Alive"},"content":{"rendered":"
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\"70s<\/p><\/div>\n<\/p><\/div>\n<\/figure><\/div>\n

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by J. Faith Malicdem<\/p>\n

The resurgence in \u201870s music among my generation was brought to my attention when I walked into the ABBA revival band\u2019s debut at the Hollywood Bowl over the summer alongside my mom and sister. My fondness of the Swedish group\u2019s music stemmed from my mom\u2019s obsession. I recall the almost-daily karaoke sessions she and I would routinely partake in before my siblings were born. Belting \u201cThe Winner Takes It All\u201d was our <\/em>thing. At the Bowl, I couldn\u2019t help but notice the wide range of ages tucked into the rows of seats. A triad of teenage girls to my right was wrapped in sparkly Donna and the Dynamos boas and colorful bell-bottom pants. A club of ABBA fans behind us strutted around with glasses filled with wine and sourdough bread crackling in hand. The middle-aged women wore matching T-shirts that read Dancing Queens.<\/em> To my left, a rowdy group of men in their 20s danced around, practically moshing to \u201cChiquitita.\u201d My mom said she\u2019d figured there were so many young people at the Bowl because of Mamma Mia 2: Here We Go Again<\/em>\u2019s release last summer. <\/p>\n

Over the next few months, I noticed musical influences like Queen, Fleetwood Mac, and Elton John increasingly flooding my friends\u2019 Spotify playlists\u2014and not just the pretentious, avid music nerds who\u2019d promote their curated playlists on their Instagram stories. But what perpetuated the inflow from this era more so than other classic, music-defining periods? Why now? Why my generation?<\/p>\n

\u201870s Music Groups on the Silver Screen<\/em><\/strong><\/h3>\n

Mamma Mia<\/em><\/a>\u2019s release in 2008 and subsequent prequel-sequel crossover Mamma Mia: Here We Go Again<\/em><\/a> <\/em>release ten years later catalyzed an immense influx of ABBA fans, reviving their music for generations who didn\u2019t live to see ABBA\u2019s reign in the 1970s. The premiere of the highly anticipated Bohemian Rhapsody<\/em><\/a> in 2018 prompted audiences of all ages to flood my hometown\u2019s ArcLight theater as multigenerational groups chanted \u201cGalileo! Galileo!<\/em>\u201d <\/em>in unison. My YouTube recommendations were swarmed with \u201cCrocodile Rock\u201d covers after Rocketman<\/em> <\/a>took theaters by storm just this past summer. Twitter\u2019s Discover page is headlined with the news of Graham King securing the rights to Bee Gees music for an upcoming biopic<\/a>. <\/p>\n

In utilizing older music groups\u2019 music to tell a new story through modern storytelling in film, a resurgence in and of itself is encouraged. \u201870s music is reaching a younger audience through association to older, vintage<\/em> times, as the actual music is being paired with a brand new lens of special effects, scriptwriting, and plotline embellishments. Younger audiences have been experiencing these groups\u2019 music and live performances secondhand through older generations\u2019 storytelling, and now those stories are plastered onscreen. There\u2019s a certain appeal to genre-defining groups of their time, and these bands are well-deserving of the new wave of attention they\u2019re receiving, proving their music is timeless. <\/p>\n

Music Licensing in Cinema and Television<\/em><\/strong><\/h3>\n

In order for the aforementioned movies to have been executed on the silver screen, directors and producers had to wrestle for music licenses and rights to specific songs. Karen Han tackles the inner workings of music licensing in the Vulture<\/em>\u2019s article \u201cWhy Is John Denver\u2019s Music in So Many Movies This Year?\u201d<\/a> after Denver\u2019s music had made a notable return to the silver screen. In order to secure a song of Denver\u2019s in a film\u2019s soundtrack, the scene it would be playing behind had to convey positive messages of \u201cpeace and compassion,\u201d according to Han. Denver\u2019s main goal was to maintain a perception and association of all things good with his music, and he accomplished doing so in 2017 with the release of Alien: Covenant, Okja, Diary of a Wimpy Kid: The Long Haul <\/em>and Logan Lucky, <\/em>all of which feature \u201cTake Me Home, Country Roads\u201d with the same positive usage. <\/p>\n

The NBC series Freaks and Geeks<\/em> allocated a substantial chunk of their budget toward the rights to 120-track long soundtrack<\/a>, ensuring that it featured songs that were true to the setting of the series\u2019 era\u2014 and although the show took place in the early \u201880s, it often reminisced \u201870s music culture. Van Halen\u2019s \u201cJamie\u2019s Cryin\u2019\u201d and Joe Jackson\u2019s \u201cGet Sharp!\u201d are reminiscent of the time period, instilling feelings of cheap nostalgia in viewers who have discovered the show through Netflix, and viewers who followed along when the series first aired in 1999. The series received more traction through Netflix\u2019s platform, among audiences who would\u2019ve been infants at the time of the show\u2019s initial release. <\/p>\n

Music licensing plays a vital role in the resurgence of \u201870s music, as it has breathed life into the incorporation of older music into newer forms of entertainment.<\/p>\n

LGBTQ+ and Feminist Icons <\/em><\/strong><\/h3>\n

So, what about the artists behind the music? How have their personas affected the grasp of their music in a new era? Kate Bush\u2019s \u201cWuthering Heights\u201d topped the UK charts, making her the first female artist to have made it to #1 as the writer of her own lyrics. EMI Records had initially wanted her to approach the song in a more bubblegum-pop manner, but she refused. She continued to stand in defiance, refusing to be marketed as a sex icon just because of her femininity. Today, her music and image embody feminist ideals.<\/p>\n

Similarly, Debbie Harry rebranded punk as she took the music industry by storm. Her success didn\u2019t reach its peak until the formation of Blondie at age 30. The group scored a spot on the top charts with \u201cHeart of Glass\u201d and \u201cOne Way or Another\u201d. Debbie prefaced femininity in the music industry in the late \u201870s with a new take on defining her own career and her own look. <\/p>\n

With the growth in LGBTQ+ visibility, audiences today have become fond of the flamboyant fashion and eccentric personas Elton John, Freddie Mercury, and ABBA branded themselves with. And of course, along with the recognition of these artists for their contributions to the gay community came the resurfacing of their music. Modern musical spearheads have countlessly covered these artists\u2019 music, (some personal favorites of mine include the Regrettes\u2019 rendition of \u201cDon\u2019t Stop Me Now<\/a>\u201d and Miley Cyrus\u2019 cover of \u201cThe Bitch Is Back<\/a>\u201d) while others pay homage by dressing up as the legends for Halloween. <\/p>\n

However, ABBA\u2019s legacy is a special case. It isn\u2019t the actual members of the group who stand alone as LGBTQ+ icons\u2014it\u2019s their music that resonates with the community collectively. \u201cDancing Queen\u201d is arguably the most popular anthem in the gay and drag culture. In an interview with Gay Times<\/em><\/a>, ABBA member Bj\u00f6rn Ulvaeus said \u201cWe found out quite early that \u201cDancing Queen\u201d had become an anthem and we were very proud that we\u2019ve been chosen by the community.\u201d In fact, ABBA is making a comeback with two songs to be released later this year. Ulvaeus credits the gay community for the group\u2019s return to music. It\u2019ll be their first new music release in 40 years. As the spectrum of sexuality and the power of women grow more visible, it is no doubt that these artists\u2019 music will continue to grow to serve as anthems of celebration.<\/p>\n

Artists and Their Farewells <\/em><\/strong><\/h3>\n

Sometimes music doesn\u2019t resurge in a positive light. Two days after David Bowie\u2019s release of Blackstar<\/em> in January of 2016, the icon died of liver cancer. Its commercial success, in the wake of Bowie\u2019s death, resulted in the album topping the Billboard 200 charts\u2014the only Bowie album to ever do so. Younger generations recognize Bowie as someone who \u201cnormalized weird<\/a>,\u201d and as someone who shifted the way experimental and art rock would be executed forever. <\/p>\n

In a bittersweet attempt to bid adieu to his musical career, Elton John announced the Farewell Yellow Brick Road tour in early February of 2018. The tour is set to last until December 2020, with Elton John continually adding dates to each leg of it. As fans who grew up with Elton follow the hype of the \u201cfarewell\u201d notion, so do their children. It\u2019d be a foolish move to pass up any <\/em>opportunity to witness a versatile, quintessential performer do a final dance on stage, right? With that being said, younger audiences feel compelled to witness a once-in-a-lifetime performance, especially following the release of Rocketman.<\/em> Suffice to say, a swan song prompts listeners to reflect upon an artist\u2019s repertoire, rightfully so. <\/p>\n

Social Media<\/em><\/strong> <\/h3>\n

In honor of 50 years of music-making, Fleetwood Mac embarked on a tour, which began this fall and is set to run through Spring 2020. A friend of mine got tickets to go see them at TD Garden in October and was kind enough to invite me to accompany him (thank you, Vincent!). We found ourselves amidst a sea of middle-aged fans with drinks in hand, bouncing their shoulders in anticipation, awaiting the one and only Fleetwood Mac to reign the stage. Vincent and I were gobbling up a slice of New York Pizza when a woman decked out in Stevie Nicks merch tapped me on the shoulder. \u201cI\u2019m so glad fun, young people are going to be dancing with me all night!\u201d she exclaimed. Vincent and I were the youngest audience members in sight. That\u2019s when the pitch idea for this deep dive was born. <\/p>\n

On March 22nd, 2018, Twitter user @bottledfleet tweeted<\/a> a meme that would bring Fleetwood Mac\u2019s \u201cDreams\u201d back to the Billboard Hot 100 charts, ranked at a solid No. 14, 40 years after the song\u2019s initial release. <\/p>\n

Admittedly, Fleetwood Mac was a foreign artist whose music I\u2019d only heard because my mom would shuffle a playlist on YouTube. Only after seeing the meme did I become an avid fan. That night, I almost shit my pants when Stevie Nicks came onstage. <\/p>\n

The resurgence of specific waves of music has much to do with a mere reminder of a group\u2019s music\u2014whether that reminder is in the form of a film, a television show, a movement, death or a social media post. Artists today undoubtedly draw inspiration from \u201870s music and bands, paying homage to a groovy time. Charli XCX claims to have looked up to Kate Bush stylistically, My Chemical Romance collaborated with The Used for an \u201cUnder Pressure\u201d live performance<\/a>, and a Bee Gees biopic is in the works. What a time to be alive!<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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