Rock music as a form really begins in 1965. It was new. It was all about novelty, and the music industry was a teenage industry. The products were all aimed at teenagers. It’s not now, and it hasn’t been for thirty years. In a way, the music industry reneged upon its original teen core – but that newness was what made it exciting, which is why people want to keep going back to that point.
Also, this obsession is a result of the perfect storm of the music industry aiming its products at the older consumer. I remember looking at BPI Yearbooks from 1985 and there was a definite push, with CDs, to aim music industry product at an older audience, which then meant the 25 to 35 year-olds. That has increased upwards ever since.
Rock is bound up with generational identification at a particular moment in time, a particular moment in history. Now, generational identification is achieved in different ways. Now, you have competing interests, computer games, the ability of the internet to dissolve communities. Suddenly, the idea of rock as generational identification goes out of the window, really, because teen communities, if they exist, are organised differently now.
“The post-war reconstruction is now being torn apart by people who have no idea what they’re doing. Boy, will they miss that stability when it’s gone.”
We have been living under a global reconstruction since 1945 that is now completely unsustainable. Politically, that post-war reconstruction is being torn apart by people who have no idea of what they’re doing. The new right, Trump, Farage, people aggressively calling for Brexit… They have no idea of what they’re doing, and, boy, will they miss the stability, a stability that they didn't appreciate, once it’s gone.