We’ve all heard the phrase “we’re not going back to the good old days,” or “we’ve got a plan B,” or any number of the phrases that sound vaguely familiar.
The idea of moving to the “good old days” is one that many people have heard, but have only ever really begun to understand, or perhaps never even fully grasped.
The notion that we’re heading back to some sort of “normal” world where the old ways of doing things are still being practiced is a commonly repeated mantra, but the idea of the “old ways” has always been a bit of a mystery.
“I think there’s an element of fear involved, and fear of change, and that fear of losing your identity and your place in the world, of being a part of something that you’re not,” says David Purdom, a music historian at the University of Michigan who has written extensively on the late 1970s and 1980s.
“It’s also an element that’s very reminiscent of the fear that many of us have about our own mortality.
So it’s hard to think of an explanation for why people would feel like this is the right time to go back to something that feels more like a past that they didn’t like, rather than the present.”
What we know for sure is that people are going to try to make the best of it, and many people are willing to do so.
But in order to make this a sustainable and healthy way to go, we need to think about what the benefits of the past are, and what the potential drawbacks are.
This isn’t just about nostalgia or a desire to go home.
“The music of those times has never been replaced,” says Purdum.
“There’s no doubt that there are people out there who love this music and that they’re going to continue to love it, but if we are going in the direction that they are going, there’s going to be a cost.
And the cost is the loss of what we have now.
That’s something that has to be considered.
We’re going in a direction that’s going backwards, not forwards.”
The future for the late 70s, early 80s and early 90s was a world of social upheaval and turmoil.
The decade saw the release of some of the greatest albums of the decade, including The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, Led Zeppelin’s I’m Waiting for the Man, The Clash’s The Black Album, Led N’ Rowdy, and the Stones’ Let It Be.
It also saw the rise of the psychedelic scene, as well as the emergence of some great acts like Nirvana and the Doors.
It was a time of great change, as artists such as the Beatles, The Rolling Stones, The Ramones, and The Who all started to make music that was not exactly in line with the traditional music of their day.
“People didn’t think that there was going to a good old time of rock and roll, or even a great time of music,” Purdoms said.
“In the late 1960s and 1970s, it seemed that the rock ‘n’ roll era was coming to a close, and people were trying to get their lives back on track, and in order for that to happen, the music had to be brought back to a certain level.
There was a sense of, ‘We’re not supposed to be in a bad mood anymore.
We’ve got to get back to normal.'”
The late ’80.
Photo courtesy of the artist/album/band The ’70.
Photo by: courtesy of The Doors’ Tedeschi Trucks Band.
Photo from the Rolling Stones’ Live at the Beach album.
Photo of the Doors’ Live from the Beach.
Photo Courtesy of The Rolling Stone: “We were told, ‘Don’t be afraid to listen to the rock and the roll that we did in the ’70 and ’80, because that’s what we loved.’
But we were also told, that’s not what we should be doing in the future.
We were told: ‘Don-be-the-bad-guy, do whatever you want to do, but don’t do anything you can’t live up to.
You can’t be rock ’em and roll.’
And we were told to get over it.
We should be listening to music we like.
And if you don’t listen to that music, you’re just being bad.”
Purds and his colleague, Robert Salsman, at the American Music History Museum.
“You’ve got these people who are going out there and they’re not really going to make it.”
The idea that music from the ’60s, especially rock and rap, could be “good” is a myth, according to Purdos.
“As far as I’m concerned, the early ’70, ’70-’80s