archetypal dyads

Murphy

Murphy

cat malogen
Saint and Greavsie - a dry, sardonic St John’s sober Scottish-scouse straight man, played off against Spurs wizard Greavsie’s laconic, alcoholic savantesque insights, a man who never fully recovered after not playing in the 66 final (yes, yes 30 years of hurt + a further 20 more for the lols). Liverpool vs Spurs, say no more

Every comedy duo imaginable = self-explanatory

2 party systems = DiY and BWPT as an example. Bwptwho? Exactly

Brexit = Morrissey and various cunts vs I dunno, but remember this?




Kirk and Mallinder = one of the 20th century’s finest synth explorers vs the bloke who barked and posed a bit (maybe plucked a bass string on amphetamines once?)

@Corpsey
 
Corpsey

Corpsey

bandz ahoy
Reading about impressionism quite a bit recently and the big split in French art at the time was Delacroix vs Ingres

Romantic vs classical
Painting vs drawing
Colour vs line
Repose vs motion

ETC.

And i was thinking maybe a thread about instances of this phenomenon in other artforms, where there's two big totems/titans and everyone else is picking a side, even if it's against their own will
 
sufi

sufi

lala
so many appalling dyads in music thru the years, back to the OP where they are not in partnership but the relationship exerts force still

stones vs beatles

oasis vs whowasit again?

takethat vs spicegirls

amy vs that other girl

goldie vs bukem

abashanti vs shakazulu

simple minds vs u2

timberlake vs britney

sexpistols vs theclash

loop vs spacemen3

sisters vs the cure

nik kersahw vs howard jones

shawaddywadyy vs madness
 
Corpsey

Corpsey

bandz ahoy
sufi said:
timberlake vs britney
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Maybe this was a sort of media rivalry or spat but I don't think they represented different things in the public consciousness, did they?

Which means maybe they're still a dyad but not a very interesting one...

OR ARE THEY?
 
sufi

sufi

lala
Corpsey said:
Maybe this was a sort of media rivalry or spat but I don't think they represented different things in the public consciousness, did they?

Which means maybe they're still a dyad but not a very interesting one...

OR ARE THEY?
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yeah also most of those examples are terrible but the dyad is interesting where they are orbiting around the same sound or style but as one gets closer to whatever they are orbitting the other is displaced, or maybe they are both plummeting towards the same centre of gravity and all sorts of incandescence can happen as they approach the event horizon
 
sufi

sufi

lala
looking back there are dyads where one half became mega-classic and the other faded away
queen/roxy music?

i don't think they wer exactly locked in a creative frenemy embrace but they probably went to the same parties/scored off the same dealers
 
yyaldrin

yyaldrin

in je ogen waait de wind
Corpsey said:
Reading about impressionism quite a bit recently and the big split in French art at the time was Delacroix vs Ingres

Romantic vs classical
Painting vs drawing
Colour vs line
Repose vs motion

ETC.

And i was thinking maybe a thread about instances of this phenomenon in other artforms, where there's two big totems/titans and everyone else is picking a side, even if it's against their own will
Click to expand...
have you been to the philip guston exhibition in tate? i was reading an article about how versatile his oeuvre is and that when he was making a name of himself in the abstract art world he went back to painting figurative, against all trends and expectations of that time. not sure it is what you mean but anyhow i'd go and see the exhibition if i was in london.

"What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything—and then going into my studio to adjust a red to a blue."
 
Corpsey

Corpsey

bandz ahoy
yyaldrin said:
have you been to the philip guston exhibition in tate? i was reading an article about how versatile his oeuvre is and that when he was making a name of himself in the abstract art world he went back to painting figurative, against all trends and expectations of that time. not sure it is what you mean but anyhow i'd go and see the exhibition if i was in london.

"What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything—and then going into my studio to adjust a red to a blue."
Click to expand...
I went and saw this last weekend, I was on a mild dose of mushrooms (this is my ideal state to go to galleries now, although financially speaking its impractical!).

I struggle a bit with abstract stuff cos of that impossible (For me) to repress instinct to ask "what does it mean?" (and ofc the old "MY 8 YEAR OLD COULD DO THAT!" thing) but I did like some of his abstract paintings. I found them weirdly hypnotic—the mushrooms helped.

Anyway, I think this is a slightly different phenomenon of larger movements of/against styles, although with Ingres/Delecroix of course there's a degree to which that's happening and being attributed to two individual artists.

I'm not knowledgeable enough to know if Delacroix was really a singular figure striking out against the Academie or if he was just a big source of inspiration to the Impressionists who did...

Baudelaire wrote some great essays on both Delacroix and Ingres, let me see if I can dig them up
 
Corpsey

Corpsey

bandz ahoy
Nope, but here's a section on Ingres vs Delacroix from Wiki

Ingres and Delacroix[edit]​

Ingres and Delacroix became, in the mid-19th century, the most prominent representatives of the two competing schools of art in France, neoclassicism and romanticism. Neo-classicism was based in large part on the philosophy of Johann Joachim Winckelmann (1717–1768), who wrote that art should embody "noble simplicity and calm grandeur". Many painters followed this course, including François Gérard, Antoine-Jean Gros, Anne-Louis Girodet, and Jacques-Louis David, the teacher of Ingres. A competing school, romanticism, emerged first in Germany, and moved quickly to France. It rejected the idea of the imitation of classical styles, which it described as "gothic" and "primitive". The Romanticists in French painting were led by Théodore Géricault and especially Delacroix. The rivalry first emerged at the Paris Salon of 1824, where Ingres exhibited The Vow of Louis XIII, inspired by Raphael, while Delacroix showed The Massacre at Chios, depicting a tragic event in the Greek War of Independence. Ingres's painting was calm, static and carefully constructed, while the work of Delacroix was turbulent, full of motion, colour, and emotion.[131]

The dispute between the two painters and schools reappeared at the 1827 Salon, where Ingres presented L'Apotheose d'Homer, an example of classical balance and harmony, while Delacroix showed The Death of Sardanapalus, another glittering and tumultuous scene of violence. The duel between the two painters, each considered the best of his school, continued over the years. Paris artists and intellectuals were passionately divided by the conflict, although modern art historians tend to regard Ingres and other Neoclassicists as embodying the Romantic spirit of their time.[132]

At the 1855 Universal Exposition, both Delacroix and Ingres were well represented. The supporters of Delacroix and the romantics heaped abuse on the work of Ingres. The Brothers Goncourt described "the miserly talent" of Ingres: "Faced with history, M. Ingres calls vainly to his assistance a certain wisdom, decency, convenience, correction and a reasonable dose of the spiritual elevation that a graduate of a college demands. He scatters persons around the center of the action ... tosses here and there an arm, a leg, a head perfectly drawn, and thinks that his job is done..."[133]
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Baudelaire also, previously sympathetic toward Ingres, shifted toward Delacroix. "M. Ingres can be considered a man gifted with high qualities, an eloquent evoker of beauty, but deprived of the energetic temperament which creates the fatality of genius."[134]

Delacroix himself was merciless toward Ingres. Describing the exhibition of works by Ingres at the 1855 Exposition, he called it "ridiculous ... presented, as one knows, in a rather pompous fashion ... It is the complete expression of an incomplete intelligence; effort and pretension are everywhere; nowhere is there found a spark of the natural."[135]

According to Ingres' student Paul Chenavard, later in their careers, Ingres and Delacroix accidentally met on the steps of the French Institute; Ingres put his hand out, and the two shook amicably.[136]
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Corpsey

Corpsey

bandz ahoy
Yes. The lads in my primary school (who must have been all of 8/9 years old) liked East 17.

I assume nowadays (grumble grumble) primary school boys are listening to drill songs about stabbing so Easy 17 wouldn't appear the bastions of urban masculinity that they did to me and the ladz back in 1994
 
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