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Tag Archives: The Eighties
What makes a work of art a classic in one era and laughable in another? I’ve written before about the Citizen Kane Effect, or the idea that some works that were groundbreaking for their time had such a profound effect on the medium that they essentially became the new standard, to the point that the innovations of the past might appear mundane to the modern eye. But there’s a flipside to this phenomenon — sometimes a work is innovative and interesting for its time, but as the years pass on, the tropes of the genre change, or the grammar and shorthand for how particular ideas are expressed evolve. When this happens, older works can feel miscalibrated or even half-baked to viewers who come to them after their heydey, having grown accustomed to the conventions of follow-on works that build on, and eventually move away from, their hallowed predecessors.
Perhaps this is why, despite my best efforts, I essentially laughed my way through A Nightmare on Elm Street. It’s prudent to go into any work of art, especially those considered landmarks of the genre, with an open mind. While some seminal works may be overpraised, it’s worth the effort to appreciate why something is considered a classic, even if a modern viewer may have trouble connecting with it. But at a certain point, no matter how hard we try, we cannot escape the baggage that we carry into our viewing experiences.
Perhaps it’s naive to expect a horror film to have the same impact thirty years after its debut that it did when it was originally released. And yet, my prelude to A Nightmare on Elm Street was The Exorcist, a film that predated Nightmare by nearly a decade, but was still just as vivid, striking, and scary in the present day as it was to audiences in the seventies. At the same time, my postscript to the film was Nightmare director Wes Craven’s own Scream, released a little more than a decade later, which manages to be both frightening and fun while trafficking in the same tropes that Craven himself helped establish in Kruger’s first slasherrific outing. So what makes the difference? Why is one scary movie chilling and another chuckle-worthy?
Recently, Cracked’s Robert Brockway wrote an article discussing cover songs that stole the show from the original. He concedes at the get-go that it’s a mission where the “rules are subjective and everybody hates each other by the time it’s over,” but the exercise is still a worthwhile one. As he describes it:
“The point is to think of a cover song that just completely stole the show from the original artist, not necessarily because of its quality, or arrangement, or performance, but because the cover has an intangible something that more fully embodies what the song should have been.”
There’s something I have always appreciated about cover songs. I grew up in a time where remixes were slowly becoming the well-populated domain of DIY DJ’s, and the internet featured a wealth of music and lyric repositories that made it easier than ever for people to put their own spin on a favorite song. The spirit of the aughts was to not only take the old and make it new again, but to make it personal.