Regardless of the motivation behind their creation, all these materials are consumer items. However, rather than judge the extent to which the motive of any producer is tainted by commercial imperative, a more salient and empirical issue involves exploring how producers of such material position themselves with respect to this past and its cultural capital.
As the final section suggests, this can reveal a highly ambiguous, yet reflexive, attitude towards nostalgia. One of the consequences of this transaction has been the increase in promotional material targeting a new generation of listeners.
The twelve-page pamphlet was given away in JB Hi-Fi stores with a mock price tag of 30p and labelled as Issue 1, ; see Figure 1. The fanzine, however, uses visual and stylistic cues to associate the publication—and the band—with a punk aesthetic from a very specific place and time.
Other pages contain memories of young London punks in the late s recalling a concert at Battersea Park and another youth buying tickets for an early New Order gig. These are self-consciously nostalgic moods. I have a lot of respect for the surviving members of Joy Division. This marketing strategy is enhanced through a scornful portrayal of the commercially-tainted present. This portrayal contrasts with the more contested version of Joy Division created by those trying to establish themselves as authoritative witnesses described in the previous section of this paper.
In the case of the promotional material, this involves nostalgia as both mood and mode. It becomes another resource available to audiences trying again to make sense of Joy Division. This suggests research could productively focus more on exploring audience responses to these materials, including an interpretation of how knowledge of the source of information affects its reception, and why audiences are drawn to the different accounts of the past and—more importantly—how they use them.
In particular, questions have been raised about the motivations behind some of the activities of Peter Hook, ex-bass player for Joy Division and New Order. Everyone's entitled to start a tribute band … Peter could have done a lot of things and we could still be friends, but now he's taking our actual heritage … There was a way back from that other stuff.
But not with what he's doing with Joy Division. Fitzpatrick , In this manner, some of the authoritative witnesses appeal to contemporary representations of Joy Division to strengthen their own claims to authenticity. These contestations over the content and meaning of the past, and who to take seriously, occur in an ongoing dialogue between the present and the past Bennett, Central to these debates are different orders of nostalgia, and different claims to authenticity.
Crucially, authoritative witnesses of the nostalgic past must appeal to present contexts if they wish to be taken seriously. This often conflates the orders of nostalgia as mood and nostalgia as mode. Rather than seeing this revisiting of the past as being evidence of a problematic contemporary over-emphasis on nostalgia as argued by Reynolds, , we have demonstrated here that these materials represent a range of possible relationships with the past, some of them more nostalgic than others.
These moods and modes of nostalgia are employed to assert claims of legitimacy and authenticity, and of who has or should have the ability to reconstruct the past. However, these materials open a legitimate space for new generations of listeners to explore another, ersatz, order of nostalgia and add to the evolving legend and mythical status of Joy Division Beaumont, , 4. From their re-mastered albums to mash ups, there are many original ways to listen to Joy Division thirty years after their demise.
And if contemporary users wish to join The Wombats and dance to Joy Division, who is going to stop them? Corbijn Anton Control , England, Momentum Pictures. Davis Fred , Yearning for Yesterday: A sociology of nostalgia. New York, Macmillan.
Coser, Trans. Johnson , Mark Turner , Bryan S. There is an oft-repeated line that Joy Division sounded like the decaying environment of late 70s Manchester. New Dawn Fades is among the greatest songs on Unknown Pleasures. Decades appears to conclude Closer on a note of calm: it glides along, richly melodic, thick with synthesizer. Shadowplay was the song Joy Division chose to play on their first TV appearance in You can see why.
Both beautiful and deeply moving, it depicts his struggle to communicate with remarkable empathy. Dead Souls is almost unbearably intense, its Stooges-y riff churning away behind an increasingly desperate-sounding vocal. Essential, difficult listening.
Its catchiness concealed a strikingly blunt, agonising, inconsolable depiction of a crumbling marriage. But then, incredible songs were coming in profusion to Joy Division at the time: Atmosphere marked the start of a remarkable burst of creativity that no one — except possibly their lead singer — realised would be their last. The location and surrounding culture is key to Cummins' work - almost as important to the photo as the band themselves. That's especially the case with the snowy bridge shot, which would later adorn the cover of the band's Best Of compilation.
And to have a picture that was almost architectural, where the band were an adjunct to it. More recently, Cummins explains, he has revisited the bridge to reflect on how things have changed since his original photoshoot. Last year, he took a picture from the bridge looking back into Manchester, "to show how the city has developed in the time since then".
In they didn't. Joy Division: Juvenes by Kevin Cummins is out now. Joy Division cover becomes climate campaign mural. Unknown pleasures: Exhibition charts Factory's rise. Joy Division tapes 'saved from skip'.
Image source, Kevin Cummins. The Princess Parkway shoot on Epping Walk bridge in Hulme includes flashes of the band in lighter, candid moments. Cummins feels the snow gave his famous Epping Walk bridge shot a "graphic, stark quality". Warning: Third party content may contain adverts. Curtis's arresting stare in this portrait has become an "emblem" of his legacy with the band, says Cummins. Cummins returned to shoot Epping Walk bridge in
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