It was the great pirouette of 2014. Víctor Lenore, journalist who covered the territory of indie musical, made public faith of his repentance with indies, hipsters and gafapastas. A thoughtful book that, he would confess later in some interview, did not help him in professional terms: in the country where Dostoevsky placed his Grand Inquisitor, in general the apostates do not like.
Lenore's subsequent journalistic career has been hectic, with demands from Camela, Laura Pausini, or Isabel Pantoja. One awaited with curiosity his new book, with a strong title: The spectra of the Movida. Why hate the 80s (Akal). Let me tell you that it is more and less than we expected.
Less since, seen his scarce text, one expected a pamphlet aggressive, French style. And not. It belongs to a trite subgenre: the dossier for a summary judgment against the Move, followed by the sentence and its execution. Lenore has raked all those anecdotes that produce blushing plus account settlements and resignations. Nothing escapes his quills: he even adds fragments of fictions by Víctor Coyote or Juan Madrid.
There are too many appointments and few filters. Allegations are collected from bitter artists who, as a minimum precaution, should have been quarantined. Television programs are held without questioning their nepotism. For an initially musical movement, Lenore's listening process does not seem very deep: Aute is reprimanded by What do you say, singer-songwriter of the noses, allegedly shows "unusual cruelty" with the singer-songwriters, without understanding that Luis Eduardo himself was ironic about his public image (and that of his colleagues). Aspiring hunting, complaint Ring, ring, ring, of Sabina, like "the most rancid song of the Spanish pop", without noticing that it is an exercise of style, based on madrileñizar the Like a Rolling Stone, of Dylan. Of course we can not expect much finezza from someone who describes Joaquín's songbook as "the apotheosis of yuppism. " Surely, such a characterization would please Sabina, who overcame the eighties and was marginalized by modernity.
I suggested that Why hate the eighties it is more than a plea against the move. No, it also aims to dismantle the Holy Transition, an irresistible drive among those who reached the age of majority when the most active murderers were the Barbarians of the North. That they were cheered by many of the groups of the so-called Basque radical rock, here piropeado since "it has aged much better than the pop of the capital".
This mixture of observations ad hominem and thick brushstrokes hides a certain "nostalgia of hatred", a longing for revenge. Lenore also regrets that the 1978 Democrats did not elaborate "blacklists of fascist intellectuals", as she says it happened after the Portuguese Carnation Revolution: "There was culturally marginalized who had legitimized the military regime, while here it was preferred to cover everything from glitter, putting the public media at the feet of a gang of young people painted in colors ". One should remember that April 25 was a military coup. With results exactly contrary to those of July 18. Before convening a new civil war, it is convenient to study history.