 |
|
What people are saying - Write a reviewUser ratings
Review: Rip It Up and Start AgainUser Review - David Ball - GoodreadsI just lost my review of this book (not the first time) because the Goodreads website sort of sucks in terms of useabilty, but I'll try to re-create my thoughts: I thought I knew a lot about ... Read full review Review: Rip It Up and Start AgainUser Review - Schuyler - GoodreadsI came to this book after reading and enjoying (to varying degrees) two other books by Reynolds--"Blissed Out" and "Generation Ecstasy"--that managed to be both entertaining and intellectually ... Read full review Editorial Review - Reed Business Information (c) 2006 All 108 reviews »In the reactionary wake of 1970s punk rock came postpunk, a more complex, fragmented brand of music characterized by stark recordings, synthesizers and often cold, affected vocals. Postpunk stands as "a fair match for the Sixties," argues Reynolds, both in terms of the amount of great music created as well as the music's connection to the "social and political turbulence" of its era (the early 1980s). Seeking to address a gap in music and pop culture history, Reynolds (Generation Ecstasy) has penned an ambitious, cerebral effort to establish a high place in rock history for bands such as Joy Division, Devo, Talking Heads, Mission of Burma and, of course, Public Image Limited (PiL), fronted by former Sex Pistols singer John Lydon (Johnny Rotten). Reynolds, an energetic writer, especially captures the postpunk ethic in telling the story of PiL's short journey from record company darlings to utter oblivion. Unfortunately, by the time he gets to bands like Human League and Frankie Goes to Hollywood, his passion is undermined by his subject. Reynolds succeeds in depicting the icons and the richness of an era that clearly manifests itself as a primary influence among a new generation of musicians. (Mar.) Related books
Other editions - View all
Common terms and phrasesactually American Art of Noise artists audience band band's bass bassist beat became Bow Wow Wow British Byrne Cabaret Voltaire called CBGB charts Club culture dance debut album Devo Dexys disco drum drummer early Factrix feel Frankie fucking funk Gang of Four gigs girl going Green guitar guitarist Horn Human League idea industrial inspired instruments interviews Joy Division keyboards label Levene listen live look Love Lydia Lunch Lydon Marsh McLaren Mekons melody Morley movie musicians noise Oakey onstage Orange Juice P-Orridge Pere Ubu PiL's played Pop Group postpunk punk punk's radio recalls record reggae released rhythm rock rock's roll Rough Trade Roxy says scene Scritti seventies Sex Pistols singer single sixties solo songs sonic soul sound started studio Swell Maps synth Talking Heads tape Teenage Jesus thing tion tour track vocals wanted Wave who'd Wire York Popular passagesPage 219 - There's no loss of quality, so burn as many copies as you need to feel secure (remember, just because you're paranoid, doesn't mean they're not out to get you). Page 411 - Lautreamont's is probably the most famous surreal image: the chance meeting on a dissecting table of a sewing machine and an umbrella. Page 259 - SEE JUNGLE! SEE JUNGLE! Go JOIN YOUR GANG! YEAH, CITY ALL OVER! Go APE CRAZY! Page 53 - I shall not cease from mental fight Nor shall my sword sleep in my hand, Till we have built Jerusalem In England's green and pleasant land. Page 191 - Rather than listening to them I feel like I'm listening in on them. We're together in the same old house and I have to be completely still or they will hear me spying from above and, if I get caught — everything will be ruined because it's their thing. Page 51 - American interests and influence in the area, particularly in the wake of the Iranian revolution and the Soviet invasion of Afghanistan. Page 136 - I affirm that the fundamental, profoundest, and keenest penchant in man is incontestably to enchain his fellow creatures and to tyrannize them with all his might," declared de Sade via Saint-Fond. Page 47 - was no Jimi Hendrixette. She'd do the occasional bit of singlenote lead guitar, but mostly she was more like a female Steve Cropper from Booker T. and the MGs, doing all these great rhythm things. She was always very conscious of not wanting to play the guitar like a man, but actually trying to create a style of her own. References to this bookFrom other books
From Google ScholarDown Beats And Rolling Stones: An Historical Comparison OfAMERICAN JAZZ, ROCK JOURNALISM Do You Want Queer Theory (or Do You Want the Truth)? Intersections ...Tavia Nyong’o - Radical History Review Event Modelling For Policymakers & Valuation Analysts In ...Nine Inch Nails’ Trent Reznor, Triple J’s‘Hack’interview Bibliographic information
|