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Robert Kanigel - THE MAN WHO KNEW INFINITY: A Life of the Genius Ramanujan
Like all the best rock stars, Ric Ocasek seemed to be transported to our Earth from another dimension, one with sleeker, sexier sounds and a better sense of fashion. His self-styled alien moves, lanky profile, and laconic drawl made him a New Wave hero, but from the moment the Cars delivered their self-titled debut in , the Boston group found a home in mainstream rock.
Ocasek died this week at the age of Hooks and harmonies propel their biggest hits and deepest cuts, but these songs were distinguished by ideas that existed on the outer edges of the mainstream. Airless, tight rhythms, smeary synths, jarring shards of guitar, monotone speak-singing: each was pioneered in the underground and ushered into the mainstream by the Cars via Ocasek, who made weirdness seem fun and infectious but no less strange.
Those Who Knew
From one angle, they were at the vanguard of New Wave, creating the polished, provocative sound and quirky image that coded them as geeky outsiders. Like the Ramones, Ocasek fixated on old-fashioned pop songs, twisting shopworn themes and swiping song titles.
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Naturally, all of these lifts were deliberate, but the wondrous thing about the Cars is how they never wore their influences as a badge of honor. They poached the best parts of the past like a shrewd thrift-store picker: very specifically, with a clear understanding of how they would serve a forward-thinking ensemble.
A writer of cool efficiency and enormous wit, he honed his hooks so that they lodged into the subconscious upon first listen, but he kept the meaning elusive; the emotions were evident but the import was just beyond reach.