#MyGeneration
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Watch "The Big Push - My Generation" on YouTube
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New peeps def into some next level sh!t ⣠⣠⣠#mygeneration⣠#sidehustles⣠#makeitrain⣠#piracy⣠#rivieraknights⣠#victimlesscrimeunit⣠#undergroundmining⣠#digitalnomads⣠#aliceinwonderland⣠#artdiscover https://www.instagram.com/p/CovqETdOV1C/?igshid=NGJjMDIxMWI=
#mygeneration#sidehustles#makeitrain#piracy#rivieraknights#victimlesscrimeunit#undergroundmining#digitalnomads#aliceinwonderland#artdiscover
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My Generation
MY GENERATION
My Generation es una canciĂłn de Patti Smith del ĂĄlbum Horses (Legacy Edition), en donde se le escucha cantar enĂ©rgicamente la letra de esta melodĂa, pues hace un llamado a las crĂticas que en ese momento los jĂłvenes de su generaciĂłn estaban teniendo, al ser llamados como ârevoltososâ o simplemente âinadaptadosâ por su manera de pensar y de ver el mundo.
People try to put us down
Just because we get around
Well I don't need that fuckin' shit
Hope I die because of it
Este es un mensaje bastante interesante ya que en la actualidad aĂșn se ve que todavĂa pasa ese patrĂłn de que generaciones anteriores critican a la nueva, y teniendo en cuenta el año en que su ĂĄlbum fue lanzado siendo una mujer, esto lo hace mucho mĂĄs revolucionario porque le da un poco mĂĄs de peso al valor de su palabra. Si bien no se rebaja el hecho de que los hombres tambiĂ©n han contribuido a este tipo de crĂticas, el hecho de que Patti Smith haya transmitido este mensaje a partir de la mĂșsica y de una forma mĂĄs ârealâ o ârebeldeâ como lo llamarĂan algunos, es una contribuciĂłn muy grande al feminismo y a la mirada crĂtica que se estaba teniendo en ese momento.
Y a pesar de que ella diga que no estĂĄ intentando crear una conmociĂłn o polĂ©mica en base a lo que habla sobre su generaciĂłn, de alguna manera logra hacerlo al tocar ese âpoderâ que se le tiene a personas de mayor edad. Es decir, logra hacer una crĂtica a los juicios de valor que la anterior generaciĂłn estaba imponiĂ©ndole a la de ella, y por lo tanto, eso lo hace bastante revolucionario e interesante viniendo de una mujer con opiniones fuertes como lo es Patti Smith.
Â
Why don't you all fade away
Try to dig what we all say
I'm not trying to cause a big sensation
Talkin' 'bout my generation.
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Il 15 ottobre del 1990 usciva #Nowhere capolavoro assoluto dei #Ride nonché pietra miliare del genere shoegaze.
Vista l'importanza che questo disco ha avuto sulla mia formazione personale vi ripropongo quello che scrissi qualche tempo fa per #MyGeneration
Buona Lettura: ‎ïž
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Speedtwins â It's More Fun To Compete 2Lp 1978 (2015) Pseudonym Records - Netherlands. LĂmited 500 Copies. El Ășnico Lp de estos Holandeses que practican Punk 77 crudo y rĂĄpido. Esta edicion incluye el Lp con un disco extra con hasta 13 temas no editados antes. Ellos llegaron a girar con los Sex Pistols en el Scandinavian Tour y uno de sus singles estrella fue la revision que hicieron del My Generation de los Who. #Speedtwins #lp #33rpm #punkrovk #rock #instavinyl #punk #vinylcollection #vinyljunkie #mygeneration #vinylporn #vinylrecords #rock #vinylcollectionpost #punkrock #indie #recordcollection #vinilo #recordcollector #artwork #design #duthpunk
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I see what the O.G.âz be saying about the new generation but my generation only here because of the generation ahead of us. I see all the evil pushed on us. We inherited the world. I wish they could understand we are a direct reflection of them and how they raised us. Iâm going to go harder cause thatâs all I know, if the odds are against me I can still beat em.
#sign #mygeneration
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The Who My Generation Eden Project 2023 #thewho #mygeneration #edenproje...
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đFOR SALEđ #ć€çăšăŹăłăŒă ăăźăžăŁă±æé«âšâš ăăĄăăźæčéăăççšăăŠăăăăăȘć€çăæČąć±±ăăăăŸăđ ć€çăŻ... FUEIHO BOOGIE https://fueihoboogie.official.ec/ ăŹăłăŒăăŻ... THE WHO/My Generation https://sorc.theshop.jp/items/69524349 #sorc #vinyl #records #LP #äžć€ăŹăłăŒă #ăŹăłăŒă #ăŹăłăŒăă·ă§ăă #ăŹăłăŒăć„œă #ăąăăă°ăŹăłăŒă #discogs #vinyllover #recordcollector #recordstore #recordshop #ćć€ć± #èŠçć±± #kakuozan #é»è¶ć±ç #éłäč #ć€ç #äșæèĄŁæ #FUEIHOBOOGIE #ăăŒăšăŒăăŒăăŒăźăŒ #vintageclothes #vintageclosingă#thewho #mygeneration #ăă€ăžă§ăăŹăŒă·ă§ăł (SORC 60's-70's Used Records) https://www.instagram.com/p/Cl_F8shvZEt/?igshid=NGJjMDIxMWI=
#ć€çăšăŹăłăŒă#sorc#vinyl#records#lp#äžć€ăŹăłăŒă#ăŹăłăŒă#ăŹăłăŒăă·ă§ăă#ăŹăłăŒăć„œă#ăąăăă°ăŹăłăŒă#discogs#vinyllover#recordcollector#recordstore#recordshop#ćć€ć±#èŠçć±±#kakuozan#é»è¶ć±ç#éłäč#ć€ç#äșæèĄŁæ#fueihoboogie#ăăŒăšăŒăăŒăăŒăźăŒ#vintageclothes#vintageclosing#thewho#mygeneration#ăă€ăžă§ăăŹăŒă·ă§ăł
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My vs your Gen
My vs your Gen
#mygeneration #yourgeneration #truthandfacts #2genders
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my generation, part 3
There was a period between 1974 and 1979 â no more than four or five years at most â when it looked as if we might redeem ourselves. Punk rock is rarely identified with Baby Boomers these days, but it is the one enduring cultural legacy to which my generation can lay sole claim. From its raggedy-assed, New York originators â among them, Iggy Pop (born 1947), Patti Smith (born 1946), Richard Hell (born 1949), Johnny, Tommy, Joey and Dee Dee of The Ramones (born between 1948 and 1952), and The Dead Kennedysâ Jello Biafra (born 1958) â to the rawer, more politicised and subversive Londoners with whom the public most readily associates punk â among them, The Sex Pistolsâ Johnny Rotten (born 1956) and Sid Vicious (born 1957), The Clashâs Joe Strummer (born 1952), The Bansheesâ Siouxsie Sioux (born 1957) and The Damnedâs Dave Vanian (born 1956) â and its one great Australian band, The Saints, the late G.G. Allin (born 1956) oh, and Nick Cave (born 1957), still the coolest Australian alive, its protagonists were all, without exception, Baby Boomers.
Punk was unarguably a social as well as a musical revolt, and its raw, selfânegating anger was directed not only at an older generation, but at the majority of its own, which had sold out any chance for genuine social and political change. It was no accident that punk first emerged during the mid-1970s, when the city of New York, under mayor Abe Beame, teetered on the edge of bankruptcy or that many of its most coherent and vehement songs, such as The Clashâs London Calling, were released in 1978 just before the infamous âwinter of discontentâ under Prime Minister James Callaghanâs Labour government, during which the economy began to collapse under the weight of high unemployment, industrial unrest, and dysfunctional public services. The rising groundswell of Conservative sympathy (and selfâinterest) would carry Margaret Thatcher into power the following spring.
Punkâs musical prejudices were many, but a constant in all of them was impatience with its own generationâs obsession with the surface of things. With its paredâdown, DIY approach to recording, total disdain for basic instrumental skills, and simplistic, buzzâsawâlike songs that were never more than one tempo â fast â two minutesâ duration, three chords and fourâbeats-toâtheâbar, with titles like Too Drunk to Fuck, Blank Generation, White Riot, and Anarchy in the UK, punk slashed at the tieâdied remnants of hippie counterculture â by then, an already long-in-the-tooth Eric Clapton, the legendary guitarist and founder of the â60s âsupergroupâ Cream, was appearing in British beer ads â and directed its razorâedged, amphetamineâfuelled intensity toward the shimmering glitter of disco and the grandiose posturing of heavy metal rockers, whose stadium gigs were becoming as overâproduced and robotic as Hitler-JuÌgend rallies in the 1920s and â30s.
Malcolm McLaren (born on January 22, 1946 â one of the very first Baby Boomers) was punkâs arch manipulator, its mediaâsavvy Svengali. The thenâpartner of fashion designer Vivienne Westwood (who had yet to make her name and fortune as a couturier) and the coâproprietor with her of a fetish and bondage clothing shop called SEX on Londonâs Kings Road, McLaren was the dandyish, amoral and rudely cunning (if not downright crooked) manager of Britainâs most infamous punk band, The Sex Pistols, fronted by Johnny Rotten (neeÌ John Lydon) The band was a McLaren creation, inspired by both the disaffected, workingâclass kids â prototypical punks â that hung out at SEX, and McLarenâs own encounters with the nascent New York punk scene during a visit there in 1974. The Sex Pistols lasted only a couple of years â releasing just one album, Never Mind the Bollocks, Hereâs the Sex Pistols, before Johnny Rotten announced their breakâup during a shambolic American tour in 1978, and the bandâs notorious bass player, Sid Vicious, killed his girlfriend in a drugâaddled haze at New Yorkâs Chelsea Hotel the same year, overâdosing on heroin a few months later at a party to celebrate his release on bail from the cityâs Rikerâs Island jail â but not before McLaren had demonstrated just how to execute what he would later call âthe great rockânâroll swindleâ.
In 1976, McLaren showcased The Sex Pistols during punkâs first festival at the 100 Club on Oxford Street, London, and talked EMI into signing the band for what was said to be a halfâmillion pound advance â although this figure was probably just McLaren hype â and releasing its first single, Anarchy in the UK, at the end of November 1976. Less than a fortnight after the song hit the UK charts, the band members got into an onâair slanging match with Bill Grundy, the host of Thames Televisionâs popular early evening program Today; guitarist Steve Jones called him a âfucking rotterâ. It was the beginning of a run of bad press â âPunk? Call it Filthy Lucreâ ran the front page headline of The Daily Express â and it was deliberately inflamed by McLaren. It scared EMI enough to terminate its contract with the band at the end of January 1977. Six weeks later, in a ceremony staged (probably by McLaren) outside the gates of Buckingham Palace, the Sex Pistols signed to Herb Alpertâs A&M Records. This time the deal didnât last the day: at a party back at the record labelâs offices, the band members sexually harassed secretaries, picked fights with executives and, in a lurid coup de grace, Sid Vicious trashed the managing directorâs office and vomited on his desk. A&M publicly cut the band loose less than a week later.
It was left to one of the first of Englandâs Baby Boomer entrepreneurs, Richard Branson (born 1950) â who played in an altogether bigger league than McLaren when it came to both opportunism and shameless selfâpromotion â to sign the band to Virgin Records for another large advance and the promise of total artistic control. In May 1977, The Sex Pistols released its second single, God Save the Queen. With the help of some wellâplanned radio airplay and the usual sensationalist press, it reached number two on the UK charts during the same week as the country celebrated Queen Elizabethâs Silver Jubilee. Later, one of the bandâmembers, Paul Cook, told a journalist: âIt wasnât written specifically for the Queenâs Jubilee. We werenât aware of it at the time. It wasnât a contrived effort to go out and shock everyone.â Maybe not, but Malcolm McLaren convinced the band to change the original title of the song, No Future.
McLaren recently recalled that he made money then âby doing the exact opposite of what most people would think would be correct. I acted the irresponsible, the ultimate, child and everything I did was what society hated.â His public posturing and gameâplaying during punkâs last gobâspit at âthe systemâ would have made Sir Guy Grand proud. Sadly, by the end of the â70s, punkâs truculent nihilism had dissipated, and a corrosive process of co-option and homogenisation had begun. Within a decade, punk and all the other good things youth culture had encompassed over the previous quarterâcentury â and would encompass, briefly, in the decade ahead, such as rave culture, graffiti art, gangsta rap and mashâups â would be reduced to an unidentifiable but easily consumable mush. Meanwhile, a faltering global realpolitik, resurgent squabbles in the Middle East, and economic and social disarray in the developed world (especially the United Kingdom) suggested a future more uncertain and dangerous than anything that George W. Bush would have us fear in the aftermath of 9/11. The brittle, preâApocalyptic edginess of the early â80s was reminiscent of the â60s.
MTV was launched on American cable networks on August 1, 1981. The US Centre for Disease Control and Prevention had just recognised the first cases of AIDS, in five gay men in California. Of course, the two events were unrelated but it felt like the beginning and the end of youth culture.
With its allâmusicâvideo format modelled on Top 40 radio by former whizzâkid Baby Boomers fresh out FM radio programming and advertising â the first video that MTV broadcast was The Bugglesâ Video Killed the Radio Star â and its use of young, goodâlooking âvideo jockeysâ, or VJs, who appeared to have been genetically engineered to match a broad crossâsection of the racially diverse, financially disparate, youth demography found in densely populated American urban centres, even if the music it first featured was predominantly white, MTV appeared to dull rather than enliven the collective imagination, despite its popularity. The symbiosis it had with a music industry already absorbed into huge, multinational media conglomerates â MTV itself was itself the product of a joint venture between Warner Communications and American Express, the WarnerâAmex Satellite Entertainment Company, that morphed into MTV Networks Inc. just ahead of an IPO in 1984 â was obvious and a little creepy: apart from hourly entertainment news spots and studio interviews with music stars, MTVâs only content was music video clips produced by the major labels and provided to the new network free of charge (although it would not be long before the network would charge them to put a video into what was called âheavy rotationâ). In other words, MTV was running ads for the record labels twentyâfour hours a day, seven days a week.
None of its growing audience gave a damn. âToo much is never enoughâ as one of MTVâs earliest promotional slogans put it. In keeping with the times, the new network was about as cynical as you could get.
âI think the relationship between authentic youth cultural happenings and youth culture consumption is indistinguishable,â Douglas Rushkoff, Professor of Media Culture at New York University, said in a recent interview. He might as well have simplified it to âculture and consumptionâ, because even by the â80s the porous membrane between the two had already been breached â and not just among youth. Shopping was the primary cultural activity of most major cities in the developed world, and with more products competing across more programming choices â if not yet more media ââfor the exponentially shorter attention of more consumers willing to spend more time and money on themselves than ever before, it was inevitable that marketers would have to look for other ways of ensuring, if not higher (or more conscious) awareness of their brands, then more constant visibility. We needed the brands to become ambient, everâpresent. âTurn it on, leave it onâ â another MTV slogan.
It didnât take genius to figure out that brands should behave like the media they used to distribute awareness of themselves. Nuances of meaning and emotional engagement could be different depending on how and where the brand insinuated itself into a consumerâs awareness: the medium was no longer just the message, as McLuhan had argued when, in 1967, he rewrote his most famous catchphrase, but rather the massage, the effect on our sensorium. Traditional advertising was, and still is, interruptive â it deliberately intersected the periods of attention we allotted to entertainment and information programming across what was, in the â80s, a limited range of passive media â so the logical step was to create opportunities for brands, their product expressions and values to exist not only within the context of entertainment and information (still mainly as interruptive advertising), but also within the content.
Today, a high percentage of the multiâmillion dollar marketing budgets (and sometimes the $100â200 million negative costs) of blockbuster feature films â usually the actionâdriven franchises such as James Bond, Spiderman or XâMen, the soâcalled âtentâpole picturesâ that prop up the intrinsically rickety balance sheets of Hollywood studios â are funded by product placement written into the scripts even before shooting begins. For example, Fordâs multiâpicture, multiâbrand relationship (including Aston Martin, Jaguar, and Range Rover) with the most recent series of Bond films starring Pierce Brosnan was said to have cost the ailing US car manufacturer over $US125 million; and in 2000, international courier Federal Express underwrote much of the production and marketing budgets of Cast Away, starring Tom Hanks as your average FedEx executive who is transformed into a modern Robinson Crusoe when the FedEx cargo plane on which he catches a ride crashes on a remote island in the Pacific.
Pop singers such as Mariah Carey, BeyonceÌ, JayâZ, Kanye West and Nelly supplement their already extraordinary earnings from record sales, music publishing and touring with millions more dollars just for âname checkingâ brands in songs that will pervade, for a short while, the awareness of a huge number of young, impressionable consumers impatient to realise their potential. Agenda, a US youth marketing company, even tracks what brands are mentioned most in the songs on US music charts to create a Top 40 chart of its own, American Brandstand. (The current Gen Y pop stars have studied Boomer formulae for appropriation and hype, now so refined that anyone can use them. Rather than rejecting them, they have embraced these formulae with such enthusiasm that, for the first time since the â30s, youth culture appears to be âaspirationally olderâ.)
In some cases, entirely new, purposeâbuilt content has been created as brand vehicles â not only TV programming, film and music but also sporting and cultural events. The array of high profile, sponsored literary prizes in the UK is an example. Another is the unregulated, postâapocalyptic version of âthe world gameâ, played inside a locked cage, that Nike invented to promote its involvement in the 2002 World Cup hosted by both Korea and Japan. Nike featured it in a couple of awardâwinning TV ads starring some of soccerâs bestâknown international players. Then the US company built a realâ life arena â a playing field deconstructed as theme park and sciâfi movie set â in a Tokyo warehouse, where Japanese youth, its target consumers, could play it as well.
All sides of the marketing/media/consumer equation are still dominated by Baby Boomers. We are the most powerful consumer segment in the global economy, with aggregate gross earnings in the United States alone of US4.1 trillion dollars a year (and with a projected global entertainment media spend of $US1.8 trillion a year by 2010). If we are no longer at the whiteâhot core of the hyperâmediated consumerism that passes for popular culture these days, our money â and the parasitic tenaciousness with which we have wormed our way into the imaginative ambitions of other generations, usually to their detriment, since the midâ60s â enables us to exert influence everywhere.
Advertising strategists, demographic researchers and academics argue that both Generations X and Y are inured to Baby Boomer attempts to market to them on anything but their own terms. âYoung people have grown up immersed in the language of advertising and public relations. They speak it like natives,â Douglas Rushkoff writes in his 2000 book Coercion: Why We Listen To What They Say.âAs a result, they are more than aware when a commercial or billboard is targeting them. In conscious defiance of demographicâbased pandering, they adopt a stance of selfâprotective irony â distancing themselves from the emotional ploys of the advertisers.â
To some extent, this ignores the depth of the Baby Boomersâ experience. Boomers were still young when passive, preâprogrammed mass media began a slow transformation of its hardware, formats and programming, and we not only participated in the early evolution of interactive media â through which individualised information, entertainment, transaction and communication could eventually be accessed any time, anywhere â we were among its inventors. Media are as much a natural element for Boomers as they are for younger generations. We have appropriated, coâopted or âremixedâ the disparate perceptions, attitudes and trends of four generations of youth culture distributed â and preserved â by old and new media in order to commoditise them (while sterilising any inherent idealism): how do you think we came up with the amorphous hipâness of The Gapâs tâshirts and cargo pants, or Starbucksâ BeatnikâmanqueÌ coffee lounges?
Will the younger generations ever break the ageing Boomersâ suffocating headlock on popular culture? To some extent, they have already by sharing music, video, games and software online. Baby Boomer executives, lobbyists and lawyers decry fileâsharing because it deprives a workâs creator of both income and control, and because it threatens all businesses â not just those in entertainment or publishing â which derive revenue and power from the licensing of intellectual property (in other words, most of the worldâs largest corporations). Our real dread is fileâsharingâs subversive simplicity. All it needs is mass for it to erase traditional concepts of ownership and value.
The revolution starts there.
Part three of three. First published as part of a single essay in Griffith Review, Australia, 2006.
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ColorLikeGold # 08
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âą Vinyl is the Answer âą â
My Generation â
@33.45rpmz #vinylistheanswer #mygeneration #vinylgeneration #vinylwords #quotes #words #vinyl #vinylrecords #records #music #sound #vintage #retro #culture #highfidelity #gramophone #cratediggers #turntable #recordaddict #vinyllover #turntablism #hifi #vinylgram #vinylcollection #vinylcommunity #vinylcollector #ilovevinyl #vinyljunkies #3345rpm #3345rpmz https://www.instagram.com/p/CRgKkeesOuj/?utm_medium=tumblr
#vinylistheanswer#mygeneration#vinylgeneration#vinylwords#quotes#words#vinyl#vinylrecords#records#music#sound#vintage#retro#culture#highfidelity#gramophone#cratediggers#turntable#recordaddict#vinyllover#turntablism#hifi#vinylgram#vinylcollection#vinylcommunity#vinylcollector#ilovevinyl#vinyljunkies#3345rpm#3345rpmz
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Pete Townshend
(born Peter Dennis Blandford Townshend, 19 May 1945) guitar, The Who
#thewho#woodstock#1960s#festival#bethel#newyork#usa#saturday#daytwo#august#vocals#guitar#bass#drums#rogerdaltrey#petetownshend#johnentwistle#keithmoon#mygeneration#thewhosellout#tommy#liveatleeds#whosnext#heavenandhell#icantexplain#itsaboy#amazingjourney#sparks#eyesighttotheblind#christmas
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Skate kid
#clueless#cluelessmovie#cluelessquote#nineinchnails#nine inch nails#rollingstone#rolling stone#generation#generations#mygeneration#my generation
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