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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.
Эта книга сейчас недоступна
696 бумажных страниц
Дата публикации оригинала
2011
Год выхода издания
2011
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Цитаты

  • Nickolay Ovchinnikovцитирует2 года назад
    It seemed like the sort of information that really ought to cause hip hop to implode through its own contradictions.
  • Nickolay Ovchinnikovцитирует2 года назад
    It’s also possible that white fans prefer it that way, too, that it’s part of the fantasy of real-ness they’re buying into, that doublewhammy of exoticism and authenticity.
  • Nickolay Ovchinnikovцитирует3 года назад
    When he was invited to produce U2 (a group that Carducci reviles as the very model of non-rocking fraudulence) Eno warned Bono: ‘I’m not interested in records as a document of a rock band playing on stage. I’m more interested in painting pictures. I want to create a landscape within which this music happens.’ As it turned out, this subordination of the aural to the visual was perfect for Bono’s ‘visionary’ vocals, The Edge’s stratospheric guitar and the inert rhythm section.

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