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El Anhelo De Lo Prohibido. Ian Curtis Y Joy Division: Las Dos Caras De Una Misma Moneda

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El Anhelo De Lo Prohibido. Ian Curtis Y Joy Division: Las Dos Caras De Una Misma Moneda 313 El anhelo de lo prohibido. Ian Curtis y Joy Division: las dos caras de una misma moneda. La transición del post-punk al gothic rock. Desde The Sex Pistols hasta Siouxsie & The Banshees Elsa Calero Carramolino Historia y Ciencias de la Música Resumen Después de la II Guerra Mundial el mundo estaba extremadamente preocupado por las cosas horribles que el ser humano era capaz de hacer. Europa se dividió en dos partes, la de las víctimas y la de los asesinos, los perdedores de la guerra y los que fueron llamados los ganadores. La guerra no dejó ganar nada a nadie, después de la lucha hubo diferentes tipos de perdedores. En los años nació 50 una nueva generación de músicos. Su infancia y adolescencia estuvo llena de se- ñales y referencias a la guerra y el nazismo alemán. El objeto de este artículo es establecer la relación entre la música punk y el rock gótico y cómo el primero, es decir el punk evoluciona hasta transformarse en el gothic rock. La provocación inicial del punk y el post-punk trató de empujar a la sociedad monárquica, aparentemente feliz y conducir a la gente hacia un movimiento reivindicativo y violento. Esto cambió después del primer intento de suicidio de Ian Curtis (cantante de Joy Division). La mente de Ian Curtis y su música cambiaron desde la queja violenta contra el mundo y la política, desde la búsqueda de la verdad externa hasta la búsqueda de la verdad interna como una expresión de incomprensión. Cuando murió, la prensa transformó su personalidad en un mito a seguir, por lo que una nueva ola de música y músicos como Siouxsie & The Banshees fue inspirado por la ima- gen de Ian Curtis. Ian Curtis 314 315 + 14;*= +301 *3= 7*85:*89&= &= 1&8= &974(.)&)*8= )*= 1&= ,:*77&= + *1= I. Perspectiva de la Inglaterra que vio nacer a Joy Division &8*8.3&94=)*=-B-D+302*1=+&1=)*=M0= *3=+3034=1&=11*,&)&=)*1=-'&=1&=B+303+&1,:348= (1956 — 1976) )*=148=&(439*(.2.*3948=@7*1*;&39*8=62&7(&743=*89&=)S(&)&=9&3= (43;:18&`=1&=57.2*7&=)*=1&8=;.)&8=)*=148=')*=1&=5489*7.47= :7&39*=1&=)S(&)&=)*=148=/*=3&(*7c&=:3&=,*3*7&(.3=)*=3.48=>=)*88 '>=1&=)*=-49748=/;*3*8`=574(*)*39*8=)*=1&8=?)*8 5:S8=/;*3*8`=2&7(&)48=547=*1=7*(:*7)4=)*=1&==:*77&=:3).&11. 57.2.)&8= )43)*= ;.;c&= 1&= (1&8*= ' 8*7c&= *1= 1:,&7= )43)*`= &= "+302.*397&8=*1=&''1&=.3)*5*3)*3(.&=&=)@= 5*8&7=)*=8*7='&5&7*39*2*39*=Q5&7&=8:8=;.)&8`= >=/:394=(43=+'''"5&7&=(438*,:.7=8:=8:57*8 -'_= 2&(c&='*1=,*=)?3&(.=/_22*=+= &= 6 / .;.8.43= 8*= + (424= ,7:54= 2:8.(&1= *3= +30= B3,1&9*77&=)*=148=&48=5489*7.47*8=&=1&==:*77&=:3).&1`=>=)*=+ 8.34=68:8='?8:=&3)&):7&=547=1&=;.)&=*3=*8*= 2:>=57*(.8&=1&=,*3*7&(.3=)*=/;*3*8=3&(.)48=*3=1&=54898,:*77&=34=488 _= '6 ;*3(.= &1= + @_ B 541c9.(&= = 8*= -' 7*(7:)*(.)4`= &3=,5)6*9*7=70>=:3=&4=@9&7)*=)-= (43= 1&8= 5S7).)&8= )*= 1&8= (477*8543).*39*8= _ " R 34= 8*= 477.8`=;.3.*743=&1=2:3)4=*1=2.824=&4=6"68*=(4388 7*841;*7c&=-Q?148=1)43)*=*1=574(*84=)*=? 9.9:c&= (424= Q )*1= &0 & 8*= '' *1= 57.2*7= +&1= 8*=-7*&12*39*=+_=3.;*1=84(.&1`=1&=)*57*8.3=*7&='1&= )*="=-+0'8:=57.2*7=@'(43=&5*3&8= 3:*;&=0='*1=)*8(439*394=)*=+'1&=)*57*8.3= +. &48= >= *1= 57.2*7= 8*3(.114= )*= 5 7 Blue days, black nights =_B0634=8*=(*c&=&=*89&8=(:*89.43*8=8*7;c&=.,:&12*38 ;?_??@Q6&=)*8)*=8:=47.,*3`= a *89*=,7:54`=>=2:>=*85*(.&12*39*=&3=,*89&7c&3=(43).(.43&)48= 547=1&=0>=*1==2:8.(&1=)*1=242*394`=(424=?)*= "+31<-_<&8= :3&= S54(&= >= :3&= 8.9:&(.3= 2:>= _ B R )*1= (.3*= 34= <-<--= +2*347`=*3=*8*=2.824=&4=)D'0574):/4=8:=57.2*7=Q= ___0_P-0= Atraco perfecto=8*39&3)4=1&8=')*=14=68*7c&=8:=5745.&=;.8.3=8.8 *;+--= _ ++-<___'--= -3. )'9&394=,(424=8:8=(425&*748=)*=(&77*7&=3&(.*743=&= Q)*=:3&=)S(&)&`=541c9.(&=>=84(.&12*39*`=)*(&)*39*=68*=6 "24;.2.*394 hippie=97&/4=(438.,4=:3&=3:*;&=+)*=;*7=1&=;.)&`= (c&=(43=1&=11*,&)&=)*=3:*;&8=+2:8.(&1*8=97&8(*3)*39*8`=7:59:7.88 &1*/&)&= )*= 1&= ;.8.3= 8.*257*= ;.41*39&= *= .39*7*8&)&= 6 1&= ,:*77&= _ -'_)'34=*7&=+@':3=5&973=458 9.2.89&= *3= :3= 2:3)4= 9*2547&12*39*= _ 6&7&= 148= 3&(.)48= *3= 148= B 57.2*748= &48= )*= ;.)&= )*= , 70 ) >= 477.8`= 8*= 9.*2548=)*=54898,:*77&=>=6)*8&77411&743=8:=5*7843&1.)&)=):7&38 -= 9*=1&=:*77&=+*8& performance=@>=)*897:(9.;&=*7&=1&=0= *1=*394734=)*1=King’s School )*=Q2_B08*7c&=:3&=)S8 61&=-1*8=-'+_6*38&7=>=*39*3)*7=1&=;.)&=)*= (&)&=)*='(4389&39*8=>=_B5+= :3=24)4=+&1=.25:*894=34=*7&=+@(.*79&2*39*=-8*= 1&='84347&=)*=*8948=&48`='8:=57.2*7=8*3(.114=Please 8.39.*743= &97&5&)48= *3= :3= 2:3)4= 6 34= 1*8= _ B )748 Please Me, +30-_BG+30.;+31)= ,&8='>=*3=1&8=)S(&)&8=5489*7.47*8=1>=21&8=(434(.)&8= (424=6?&=.3974):(.78*=*3=*1=2:3)4=)*1=248 ;.2.*394=hippie=&>:)&743=&=6-*3(4397&7&3=1&=9&3=&38.&)&= 1. CURTIS, Deborah. “En el filo de la navaja”. En:Touching from a distance. La vida de ?.39*7.47`=*3=:3=2:3)4=-547=1&=_)'*1= Ian Curtis y Joy Division. Trad. Marcos Sánchez Armesto. Madrid: Metropolitan (2008) ):*3)*=)*=1&=)74,&=&97&5=&=-@)*=148=6'_*=148= p.130 54(48=614,7&743=*8(&5&7`=&1,:348=*3(4397&743=:3&=;c&=&19*73&9.;&= “Donde yo vivía había refugios; en nuestro jardín había un refugio de bombas. Al final de la calle 5&7&=(438*,:.7=1&=97*,:&=*3=*1=+&3=,(434(c&=2:>='= donde solíamos jugar había refugios subterráneos. Las películas que veíamos de pequeños en la @_ TV eran de guerra (…) Cuando nacimos habían pasado diez años desde el fin de la guerra, no hacía tanto” -- Bernard Sumner. 2. CURTIS, Deborah. “Una banda sonora urbana”. En: Touching from a distance. La vida de Ian 3. ROBB, John. “The roots of the punk”. En: Punk Rock: An Oral History. Great Curtis y Joy Division. Trad. Marcos Sánchez Armesto. Madrid: Metropolitan: 2008. pp. 19-46. Britain: Ebury Press (2006). p.25. 316 317 ).)&`=547=1&=11*,&)&=)*=3:*;48=(42543*39*8=&=1&=_*89&(&= 1&= + 57*;.&`= 6 '*`= &= 1&= (7*&(.3= 2.82&= )*= 1&= '= 249.;&)&=547=&1(412=B_":3=57.3(.5.4=148='= )*= )= 6 *7&3= 47.,.3&12*39*= /- & *1= ,:.9&77.89&= )*= / *1= ' 6&:1= ,0 >= *1= ' 1*3= 0_ "= *89&='*=*9&5&`=8414=8*=*).9&743=(:&974=8*3(.1148=>=:3=@')*= *89:).4=Never Mind the Bollocks, Here’s the Sex Pistols. B8*,:3)&=*9&5&=>=8.3=):)&=1&=@574):(9.;&`=8*=.3.(.&7c&=(43=1&= =)*=0(43=*1=+)*=.3974):(.7=&=)G.(.4:8=(424= 7*57*8*39&39*=)*1=.)*&1=*89S9.(4=no future, en 1977. "2.824=&4= *1=*257*8&7.4=&1(42=B942=1&8=7.*3)&8=)*=574):((.3= )*1=,7:54=(43;.79.S3)48*=*3=8:=2&3&,*7=>=(7*&)47.=+):7&39*= *89&=*9&5&`=6?@1&=)*1=punk=@):74=)*1=,7:54`=(:&3)4=8*=5748 ):/*743=+@_"*1148=)*89&(=8:=5&79.(:1&7= ;.8.3=)*1=-God Save the Queen`='(424=:3=8*3(.114= *3=+311(43=*1=+)*=(7.9.(&7=*1=+.3,1S8=+&=1&= +@6_=5*8&7=)*1=(&48=>=*1=)*8(43(.*794=.3.(.&1=6= *89*=8.3,1*=574):/4`=+57*(.8&2*39*=*1=61*8=4947,=1&=@== _ " )*8(&74= >= 1&= &,7*8.;.)&)= )*= *89*= ,7:54= += ' (43= *39:8.&824= 547= *1= 0' /4;*3= _ God Save the Queen=+5&7&=1&=/:;*39:)=&3,148&/43&`=*3=')*=)= W71&=“última y mayor ola de pandemónium moral basada en el pop”5. The Sex Pistols Londres )5:*)*=(438.)*7&7=61&=9*7(*7&=*9&5&=)*1=,7:54=8*=*897:(9:7= (1976) -*1=')*=1&='547=5&79*=)*=&*3=+312&1=+ ?1&=(&9.(&=,.7&=69:;4=1:,&7=*3=""''_"+312>=+313= 1&=&(9.;.)&)=)*=148=Pistols @?'= II. El entorno musical inglés de los años 70 y 80 84347&=)*1=+6)&7c&=;.)&=&=8:='+*8(7.9&=547=B= The Great Rock ‘ n ‘ Roll Swindle_=&4=8.,:.*39*`=G.(.4:8=2:7.= )*='--6/:394=(43=1&=5489*7.47=-)*=& II.1 The Sex Pistols, lo salvaje puesto a escena 9*3`=574):/4=*1='+)*1=_*=2&3*7&=@= 148= ' 7*89&39*8`= .3(1:>*3)4= & 8*= - 7*:3.)4`= *3= P- )= 6 *8= :3&= ' .3,1*8&`= (:>&8= 7&c(*8= 2:8.(&1*8= ).;*78&8=4(&8.43*8`=5&7&=1&=')*=+tours`=*397*= 8*=&8.*39&3='*1=,S3*74=2:8.(&1=punk4_B+8:7,.= *1148=)*89&(&=*1=Filthy Lucre Tour *3=+330_",.)*=+')*=,0= -+31*3=B>=*8=(438.)*7&)&=(424=:3&=)*=1&8=57*(:78 148=Sex Pistols=+.3(1:.)48=*3=*1=))*=1&=+)*1=&0= 847&8=)*1=24;.2.*394=punk=*3=&'>=5489*7.472*39*=>= 8.3='8.,:.*3)4=*1=*3(&394=)*=1&=541S2.(&=61.)*7&3`=8*= )*=2&3*7&==&=&1=7*894=)*=")43)*=8*='(43= 3*,&743=&=&8.89.7=&=1&=(*7*243.&=+@(424=una mancha 1&=+'&=5&79*8=.,:&1*8`=)*1=punk=&2*7.(&34=>=*1= de pis”6.
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