➤ Why Lady Gaga “gets it”, Pixie Lott doesn’t, and the jury is out on Rihanna

❚ WE LIKE POPJUSTICE BECAUSE it’s a website that confronts the heavyweight issues in a field some people regard as lightweight, namely, pop music. With some frequency PJ puts its finger on how our tiny minds work. Today it defines “the best pop music”…

Lady Gaga, Brit Awards

Gets it: Lady Gaga, winner at the 2010 Brit Awards

[From PopJustice, Nov 3, 2010]

THE BEST POP MUSIC OFTEN SUCCEEDS by striking the right balance between trying just hard enough and looking like it’s not trying too hard. Lady Gaga turned things on their head slightly by very publicly and very unashamedly trying extremely hard and — in a world where there is no shortage of overstylised clubkids attempting to posture and preen their way to pseudo-avant garde popstar notoriety — she actually made it work.

Clearly Gaga is a cut above the rest in every respect: combined, her songwriting, style, collaborations, vocals and vision put her in a different league to almost every other popstar of the last twenty years. But her ascent to whatever and wherever she is now is an interesting case study in what happens when the right sort of person (and it has to be the right sort of person, with the right sort of tunes) strikes the right sort of pose…

[Here PJ discusses a Swedish upcomer called Viktorious who seems to “get it” in the same way Gaga does.]

We like popstars who get it. We like loads of popstars who don’t get it, too, but the ones who get it are our favourites. Success does not always come their way but they always make pop a little bit more interesting than the others.

And this is where the knife goes in. PJ has three lists of stars who “Get it”, headed by Gaga, those who “Don’t”, headed by Pixie Lott, and a third option where “The jury is out”: Rihanna.

➢ Read PopJustice’s full list of Gets and Don’t gets, Nov 3

Pixie Lott, PopJustice

Uh Oh, doesn’t get it: Pixie Lott, chart-topping pop princess

FRONT PAGE

➤ Was the Band With No Past truly wafted here from Paradise?

Paradise Point, pop group,

Paradise Point: Roman, Adam, Cameron and Johnnie

❚ THEY’RE BROODY, A TOUCH SULKY, they’re very fresh and very photogenic in black and white. Four songs online show they play their instruments with startling energy — bass, rhythm guitar, syndrums and synth. Their music is high-octane power pop on one track called The Only One. Furious upbeat emo on another called Tears. Whiffs of Duran Duran on Unbearable Without You. The singer does also happen to have a voice, bone structure, mad hands, attitude. Can’t be more than 18. There’s no evidence on their website of ever playing in public. This is the Band With No Past.

Where do bands like this come from, fully formed, straight from the egg? A whisper tells you they’ve already landed a deal, but that can’t be true. Google the name Paradise Point and all you find is a Palm-dotted beach in San Diego.

The Face, Neo Romantics, clubbing, London, Rosemary TurnerSomebody else tells you PP are Brits, playing their first date this month, live with, er, actual instruments. Hang on. These aren’t indie scruffs or thrash rockers. These kids are in their teens, unashamedly popsters, writing songs and making their own music like real pop groups used to before boy-bands — and before the Cowell X-culture robbed the pop charts of a generation of musicians. We have to reach way back into the heritage for groups who could play their own pop.

It turns out to be Steve Strange who’s showcasing Paradise Point at The Face, the bleeding-edge Neo-Romantic clubnight of the 20-tens, but hang on again, you wouldn’t call this band Romos, they don’t dress like Alejandro Gocast. Yet. OK, they sing of angsty love, like in two more tunes they’ve covered on video and posted today — live versions of Katy Perry’s Firework, and Rihanna’s Only Girl in the World, just to show they can big-time it. Straight to-camera demos, in one take, in fashionable black-and-white, understated and fearless and fizzing with energy. Don’t say Busted. Don’t say McFly. Really, there’s no need to wince.

Roman Kemp, Paradise Point

Strange, I’ve seen that face before ... the one on the right’s called Roman, and he somehow reminds me of her

So far, there’s no press coverage on the band. There’s no info, even of any kind, on Paradise Point’s MySpace page or at Facebook. Apart from four names in alpha order: Cameron Jones (vocals), Roman Kemp (bass), Adam Saunderson (guitar/synth), Johnnie Shinner (drums). So, Watson, what do you deduce? Kemp’s face, Holmes, looks familiar, seen it somewhere before. By jove, Watson, you’re right — some pretty high-powered friends on MySpace, as well, Lady Gaga top of the list. There’s a clue in their YouTube tags too: if you like the tags, you’ll probably like the Band With No Past. Better trek down to The Face Friday fortnight, see what they amount to…

FRONT PAGE

2010 ➤ Index of posts for October

Birth of electro-pop, synth-pop,Makers, Gentry, Spandau Ballet

Feb 1978: The Makers, one day to be Spandau Ballet. Photographed by Gill Davies

➢ Classics of 80s graffiti revived by campaigning collective in New York

➢ Final spin confirmed for the Technics 1200, the DJ’s top turntable

➢ On this day in 1980 Spandau fired the starting gun for British clubland’s pop hopefuls: dada didi daaa!

➢ A second squadron of high-octane British artists zaps the Saatchi space

➢ Facebook may well be the mother of all networks but one man needs to check his maths

➢ Cool 21st-century branding for Channel 4, but when will it junk those clunky Bladerunner idents?

➢ A step up in the world for graffitist Eine, thanks to Potus and lady friends who shop in high places

Molly Parkin, John Timbers

In her heyday: Molly aged 29 at her first art exhibition. Photographed © by John Timbers

➢ Miss Parkin regrets that she said no to Cary… and can’t wait to meet Orson, Lee and Walter

➢ How Keith Richards’s life of debauchery became an inexplicable sign of alien invasion at The Times

➢ 30 years ago today: First survey of their private worlds as the new young trigger a generation gap

➢ 2011: Sade comes home to tour UK but even a cheap seat will cost you £158 !

➢ 1980: The day Spandau signed on the line and changed the sound of British pop

➢ 1980: Rik and pals detonate a timebomb beneath another kind of strip for Soho

➢ 1976: When Iain met Stephen, London traffic stopped and St Martin’s stood still

➢ Britain’s top hatter, Stephen Jones OBE, celebrates 30 years of Jonesmanship

FRONT PAGE

➤ Classics of 80s graffiti revived by campaigning collective in New York

graffiti, Subway Art History,Joan of Arc, Hand of Doom, Martha Cooper ,Henry Chalfant

Joan of Arc at a warehouse along a Brooklyn canal: the graffiti collective Slavery is paying homage to a 1980 work that read “Hand of Doom”. © Robert Wright for The New York Times

[From the New York Times, October 26, 2010]

❚ ANYONE WHO HAS BEEN LOST in the last few weeks around the southern reaches of the Gowanus Canal in Brooklyn could be excused for experiencing a powerful Koch administration flashback. On the wall of a brick warehouse there, a huge mural unfurls itself, a loving, seemingly spray-by-spray re-creation of one of the more infamous pieces of graffiti ever to ride the subway: a 1980 work by the artist known as Seen that covered the length of a No 6 train car with the ominous phrase “Hand of Doom”.

It is the work of a newly formed collective of (mostly) former graffiti writers in their 20s and 30s, who have embarked on an unusual citywide campaign to summon 50 or more of the most famous pieces of old-school graffiti out of the history books and back onto the streets. The project, called Subway Art History, is unusual not only because the artists are making the pieces with the permission of businesses, schools and other perhaps nostalgic owners of blank vertical space, but also because of the nature of the pieces themselves. They are expressions of homage in a subculture that has almost always been defined by fierce competition, intense striving for originality and a kill-the-elders attitude toward the past.

“In graffiti it’s like a teenage thing: No way am I going to become my father, no way am I going to make anything that looks like anyone else’s. — Then, of course, you become your father,” said a 32-year-old former graffiti writer who helped form the collective.

➢ Read Graffiti of New York’s past, revived and remade
— in the New York Times

❚ View video — 25th anniversary of Subway Art, bible of the graffiti movement, by Martha Cooper and Henry Chalfant:

➢ The book: Subway Art, bible of the graffiti movement

FRONT PAGE

➤ Final spin confirmed for the Technics 1200, the DJ’s top turntable

Technics SL-1200MK6,DJing , scratching,SL-1200MK2,vinyl ,analogue, turntable

Last of its analogue line: the Technics SL-1200MK6 boasts robust hand-built construction, servo quartz direct drive, high torque and acoustic insulation, plus the universal S-shaped tone-arm for better tracking of the vinyl groove. Since its release in 1978, the MK2 has become the turntable of choice for deejaying and scratching

[From Tokyo Reporter, October 28, 2010]

❚ PANASONIC ANNOUNCED ON OCTOBER 20 that it is discontinuing the audio products within its Technics brand, most notably the legendary line of analogue turntables, of which the Technics SL-1200 MK6 is the last. “Panasonic decided to end production mainly due to a decline in demand for these analogue products and also the growing difficulty of procuring key analogue components necessary to sustain production,” the company said in statement.

Technics sl-1210, S-shaped tone-arm, analogue,turntable,

Tone-arm of the SL-1200 series: high-precision bearings

Last year, Japan’s last remaining vinyl pressing plant, owned by the production company Toyo Kasei, produced around 400,000 discs from its multifloor factory in Yokohama’s Tsurumi Ward, a far cry from the industry’s peak of 70m four decades ago. Panasonic said that sales of analogue decks today represent roughly 5% of the figure from ten years ago.

The SL-1200 series turntable, which enjoys a massive following in the deejay community, had been in continuous production since 1972. Since then 3.5m units have been produced, making the brand’s purple and grey logo (Technics written twice) an icon in clubs.

Tatsuo Sunaga, a leading club deejay in Japan, nevertheless sees those who prefer analogue as too obsessed to allow the format to become extinct. “I don’t think analogue users will lose interest,” he said.

➢ Read more… Dead spin: Panasonic discontinues
Technics analogue turntables — in Toyko Reporter

WATCH THE SCRATCHMASTER WHO CREATED THE GENRE:

FRONT PAGE