The surprise TV hit of the summer is a show that looks like it could have been made 30 years ago. Netflix’s Stranger Things is a suspense horror show set in 1983. It takes place in small Indiana town where one night a boy goes missing. There’s a mysterious government lab, a monster and boys riding around town on bikes.
If you’re hearing echoes of E.T., The Goonies or any number of beloved 1980s classics, that’s not a coincidence. Matt and Ross Duffer, the show’s twin brother creators, tell NPR’s Ari Shapiro that when they pitched Stranger Things, they didn’t use a storyboard or a written synopsis; instead, they assembled a trailer made of snippets from ‘80s films.
A child’s reading is guided by pleasure, but his pleasure is undifferentiated; he cannot distinguish, for example, between aesthetic pleasure and the pleasures of learning or daydreaming. In adolescence we realize that there are different kinds of pleasure, some of which cannot be enjoyed simultaneously, but we need help from others in defining them. Whether it be a matter of taste in food or taste in literature, the adolescent looks for a mentor in whose authority he can believe. He eats or reads what his mentor recommends and, inevitably, there are occasions when he has to deceive himself a little; he has to pretend that he enjoys olives or War and Peace a little more than he actually does.
Between the ages of twenty and forty we are engaged in the process of discovering who we are, which involves learning the difference between accidental limitations which it is our duty to outgrow and the necessary limitations of our nature beyond which we cannot trespass with impunity. Few of us can learn this without making mistakes, without trying to become a little more of a universal man than we are permitted to be. It is during this period that a writer can most easily be led astray by another writer or by some ideology. When someone between twenty and forty says, apropos of a work of art, ‘I know what I like,’he is really saying ‘I have no taste of my own but accept the taste of my cultural milieu’, because, between twenty and forty, the surest sign that a man has a genuine taste of his own is that he is uncertain of it.
After forty, if we have not lost our authentic selves altogether, pleasure can again become what it was when we were children, the proper guide to what we should read.
We know that we’re different. People don’t see our type of music all the time. Some people don’t know what to think right away or think, ‘holy shit that was amazing.’ But you don’t leave our show saying ‘meh.’ You’ll leave our show with a reaction either way and I love that.
Megan of Megan Jean and the KFB (Klay Family Band). The husband and wife duo have a gypsy, avant garde Americana sound… At least that’s the best description so far for Megan’s moody vocals that sound best belted out over a washboard, banjo, guitar, stompbox and/or upright bass.
Jerry DePizzo, Saxophonist for O.A.R., justifies his band's existence
Everybody knows that band they had when they were younger - whether they were in it, or whether it was your friends’ band - that they always went to see. Even if they were horrible, you always went and saw them anyway because it was your band.
O.A.R. was that band. And we were fortunate to write the type of music that people connected to. It’s five guys up there that really appreciate where they are.