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Simon Reynolds

Bring the Noise

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Bring the Noise weaves together interviews, reviews, essays, and features to create a critical history of the last twenty years of pop culture, juxtaposing the voices of many of rock and hip hop’s most provocative artists—Morrissey, Public Enemy, The Beastie Boys, The Stone Roses, P.J. Harvey, Radiohead—with Reynolds’s own passionate analysis. With all the energy and insight you would expect from the author of Rip It Up and Start Again, Bring the Noise tracks the alternately fraught and fertile relationship between white bohemia and black street music. The selections transmit the immediacy of their moment while offering a running commentary on the broader enduring questions of race and resistance, multiculturalism, and division. From grunge to grime, from Madchester to the Dirty South, Bring the Noise chronicles hip hop and alternative rock’s competing claims to be the cutting edge of innovation and the voice of opposition in an era of conservative backlash. Alert to both the vivid detail and the big picture, Simon Reynolds has shaped a compelling narrative that cuts across a thrillingly turbulent two-decade period of pop music.
Ova knjiga je trenutno nedostupna
696 štampanih stranica
Prvi put objavljeno
2011
Godina izdavanja
2011
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Citati

  • Nickolay Ovchinnikovje citiraoпре 4 дана
    For the post-rock groups, Sonic Youth’s idea of ‘reinventing the guitar’ really means un-rocking the guitar; sometimes the next step is ditching the guitar altogether. Disco Inferno’s Iain Crause says he always wanted to make his guitar sound like ‘actual physical things’, such as waterfalls, but in DI’s early days (when the group sounded closer to Joy Division and The Durutti Column) he had to do it with masses of effects.
  • Nickolay Ovchinnikovje citiraoпре 4 дана
    And there’s none more rigorous than Joe Carducci’s Rock and the Pop Narcotic. Carducci may be a bit of a reactionary, but his theory of rock is grounded in a precise, materialist definition of it as music, rather than ‘attitude’, ‘spirit’, ‘rebellion’, or any other metaphysical notions. Rock’s essence, says Carducci, is the real-time interaction of drums, bass and rhythm guitar. A group should be a rhythmic engine creating kinetic energy; ‘breathing’ as an organic entity.
  • Nickolay Ovchinnikovje citiraoпре 4 дана
    Like a clapped-out stretch limo cranked in reverse, today’s ‘alternative rock’ is synonymous with a retreat to one of a number of period genres from rock history. For Primal Scream think Exile on Main Street-era Stones. For Suede think Ziggy-phase Bowie. In 1994, just six short years from a new millennium, this is where the money is at: in the musical equivalent of reproduction antiques.

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