KotiRyhmätKeskusteluLisääAjan henki
Etsi sivustolta
Tämä sivusto käyttää evästeitä palvelujen toimittamiseen, toiminnan parantamiseen, analytiikkaan ja (jos et ole kirjautunut sisään) mainostamiseen. Käyttämällä LibraryThingiä ilmaiset, että olet lukenut ja ymmärtänyt käyttöehdot ja yksityisyydensuojakäytännöt. Sivujen ja palveluiden käytön tulee olla näiden ehtojen ja käytäntöjen mukaista.
Hide this

Tulokset Google Booksista

Pikkukuvaa napsauttamalla pääset Google Booksiin.

Rip It Up and Start Again: Postpunk…
Ladataan...

Rip It Up and Start Again: Postpunk 1978-1984 (alkuperäinen julkaisuvuosi 2005; vuoden 2006 painos)

– tekijä: Simon Reynolds

JäseniäKirja-arvostelujaSuosituimmuussijaKeskimääräinen arvioMaininnat
8841318,152 (4.13)17
A new edition as part of the Faber Greatest Hits - books that have taken writing about music in new and exciting directions for the twenty-first century. In this, the first book to take a big-picture view of the entire post punk period, acclaimed author and music journalist Simon Reynolds recreates a time of tremendous urgency and idealism in pop music. Full of anecdote and insight, and featuring the likes of Joy Division, The Fall, Pere Ubu, PiL and Talking Heads, Rip It Up And Start Again stands as one of the most inspired and inspiring books on popular music ever written.… (lisätietoja)
Jäsen:kayaoakes
Teoksen nimi:Rip It Up and Start Again: Postpunk 1978-1984
Kirjailijat:Simon Reynolds
Info:Penguin (Non-Classics) (2006), Paperback, 432 pages
Kokoelmat:Oma kirjasto
Arvio (tähdet):****
Avainsanoja:music, punk

Teoksen tarkat tiedot

Rip It Up and Start Again: Postpunk 1978-1984 (tekijä: Simon Reynolds) (2005)

-
Ladataan...

Kirjaudu LibraryThingiin, niin näet, pidätkö tästä kirjasta vai et.

Ei tämänhetkisiä Keskustelu-viestiketjuja tästä kirjasta.

» Katso myös 17 mainintaa

englanti (12)  italia (1)  Kaikki kielet (13)
Näyttää 1-5 (yhteensä 13) (seuraava | näytä kaikki)
Non l'ultima stagione punk, quanto un suo ribaltamento. Il punk come premessa che azzerando i rapporti di forza tra industria ed artisti, ha consentito a questi ultimi di riconnettersi alle avanguardie storiche, della prima e della seconda ondata. Il post punk non come rifiuto della storia del rock dagli anni cinquanta al progressive, bensì al contrario come una stagione che si riconnette senza debito, del punk conserva solo l'energia, riporta il rock a quella condizione miracolosa e spiazzante dei suoi momenti storici più magici. Il post punk (1978 - 1984) ne è per ora l'ultimo, speriamo non per sempre.

N.B. La prima edizione in Italia è del 2006 per i tipi della casa editrice ISBN. Questa nuova edizione non presenta alcuna differenza per testi e traduzione. ( )
  anamorfo | Jan 26, 2019 |
This highly entertaining survey of the period in question basically breaks down into two parts. One, starting with the implosion of the Sex Pistols, there's coverage of such classic post-punk outfits such as Gang of Four, Talking Heads, Joy Division and other groups that expanded the musical possibilities that were opened to bands. What Reynolds does particularly well is to give the flavor of the cities and communities that these acts came out of.

The second half of the book is mostly devoted to New Pop, which covers a multitude of high-concept bands that sought to lighten the tone of rock in the early Eighties. Many of these bands were the so-called "New Romantics," which I certainly had little use for as a twenty-something at the time (my heroes were most notably Elvis Costello, David Byrne and Robyn Hitchcock). For Reynolds, the climax and implosion of this period was ZTT Records (mostly the brainchild of Trevor Horne (of Buggles fame)) and their effort to make Frankie Goes to Hollywood the next big thing; another failure due to the artists gagging on being turned into the lab rats for the benefit of schemes they wanted no part of.

For Reynolds, apart from representing the period when he became acutely aware of music, he regards this as a unique expression of future-oriented efforts to reinvent pop music and also a certain golden age of music journalism. One certainly gets the impression that the author has little use for the "grumpy rockists" of the time (it's been years since I've heard the term "Rockist") and certainly evinces some disappointment over the Roots Rock revival that came in the mid-Eighties. Reynolds' most astute observation is that the person who really ran with the notion of pop as high concept was a certain Ms. Ciccone. Certainly a book that I should have read years ago. ( )
  Shrike58 | Apr 13, 2015 |
Highly readable account of the (mostly British) post-punk music scene from 78-84. He does a great job of putting the music in context of the social/political climate of the time (the backlash of punk, Thatcher and Reagan's rise to power, the return of the right wing) and exploring the different sub-sects of post-punk. From arty (Talking Heads, Gang of Four) to No Wave (Suicide, Teenage Jesus & The Jerks) to industrial (Throbbing Gristle, Cabaret Voltaire) to new wave (Devo, etc) to gothic (Bauhaus, Siouxsie) to synth pop (Human League, Gary Numan). Best of all, this book proves that it's possible to write an engaging account of an entire movement of music that is entertaining as well as informative. Now, if only someone would write an account of death metal like this! ( )
1 ääni ncnsstnt | Apr 10, 2011 |
This is a great read, but definitely meant only for those with previous knowledge of or respect for this era of music history. Newcomers to this genre will most likely be put off by the sheer amount of obscure information that Reynolds includes, while post-punk nerds such as myself will revel in it.

However, it should be noted that the US version is highly censored and cut by almost 200 pages, and does not include the original photos of the UK release. Take some time to seek out the original UK publication and, of course, actually listen to the music that it's describing! It makes the whole experience of reading this book so much more enjoyable, you won't regret it! ( )
1 ääni wodehousegirl | Jun 30, 2009 |
http://www.tangents.co.uk/tangents/main/2005/june/lastpost.html

“There is hope in honest error, none in the icy perfections of the mere stylist.”
- Charles Rennie Mackintosh, before he became rhythm guitarist for Crispy Ambulance.

I remember the first time I saw the word ‘postmodern’ and I remember just not understanding it. Because modern was, like, NOW, right? “This is the modern world”, opined St Paul not “was” or “will be”. Postmodern seemed to be, by definition, something that had yet to happen, art oozing through wormholes in time. Several years later, years of state-subsidised chin-stroking to the happy, happy sound of Rushdie and Nabokov and a professor who looked disturbingly like Roland Barthes, I kind of got the joke, but by that time postmodernism came free with every packet of cornflakes. The new Doctor Who is just one great big huggy Yeti of intertextual metanarrative, with lashings of extra homoeroticism, and kids in the playground can deconstruct like Derrida on crack (but they call it happy slapping).

So, yeah. This ‘post’ thing. After. Which immediately implies that it’s happening once something is dead and gone. So, Postpunk 1978-1984 safety-pins the shroud of punk at around the time the Pistols were disintegrating in San Francisco, despite the fact that at that point The Clash still hadn’t released London Calling. It’s official: the stumbling, stinky diehards who kept the flame burning throughout the following decades, like The Exploited or Peter and the Test Tube Babies - not to mention the new heads on the block like Nirvana, Green Day and, uh, Busted were, in fact, like Bruce Willis in The Sixth Sense-, dead without knowing it. That was your punk and two veg, that was. Now for afters.

And this is where the problem starts for Simon Reynolds, as he bravely attempts to create some kind of coherence the brief period of grace between Rotten’s “Ever get the feeling you’ve been cheated?” and Geldof’s “Give us your fookin’ money!” Punk was a cohesive reaction against specific phenomena, from the Queen’s Silver Jubilee to Rod Stewart going disco. Postpunk was, well, stuff that happened after punk. Its motivations were many and various. There was, of course, music that followed on directly from punk in the sense that its instigators had been at the heart of punk for example, Public Image Limited and Magazine. And there were some acts, such as Joy Division, that clearly owed much to punk, but benefited from not having jumped on the original bandwagon, and had time to develop free from the clichés of flob and bondage.

Postpunk, in retrospect (and certainly from the perspective of alleged postpunk revivalists such as Franz Ferdinand and Interpol) is wrong-angled guitars and throbby bass the names to check nowadays are Gang of Four and A Certain Ratio and Wire. Funk for maths postgrads. But in Reynolds’ world, it’s really anything that happened in these six years that he quite liked.

Was punk really the big motivator for the likes of the Human League and Cabaret Voltaire, or was it cheap synths and Kraftwerk? What pushed the development of 2-Tone was surely the post-war demographics of the West Midlands: immigration + collapse of manufacturing sector_ Þ racism = ska revival. And what exactly links these musics with Scritti Politti and Devo and Eurythmics and Was (Not Was) and The Waterboys and ESG and Psychic TV and Art of Noise and Duran Duran and The Residents and Big Country and Bauhaus and Nurse With Wound except for chronological coincidence and, in some cases, a tendency to sing a bit like Peter Cook? If they were all postpunk, then either postpunk means nothing, or it means everything. If they were all postpunk, then so were Joe Dolce and the St Winifred’s School Choir.

Punk offered an example, a sign that the proles had the means of production at their disposal, but surely the most significant development here was Geoff Travis setting up Rough Trade. And, as Reynolds points out, Travis was nowt but an old hippy. Indeed, the most significant operators, it would seem from the narrative on offer, were the non-musicians. Malcolm McLaren hovers over the narrative like a malevolent pagan godlet his seedy manipulation of Bow Wow Wow, and his fascination (entirely theoretical, it seems) with paedophilia, made me feel retrospectively guilty over my adolescent crush on Annabella Lwin (and she’s older than me, for Christ’s sake). The initial success of Postcard and the Scottish New Pop is ascribed to the need for hacks Paul Morley and Dave McCullough to find something a bit more cheerful to think about after Ian Curtis killed himself, and from there it was but a step to Martin Fry’s gold suit. Incidentally, it’s a shame that, despite the blurb describing the author as “this country’s finest and most intellectually engaging journalist”, the best stylistic tropes that Reynolds can summon up are the work of others: Morley labelling David Sylvian as “too fragile to fuck”; Ian Penman’s image of Scritti’s Green Gartside, “disapproving of things, like an unwashed Pope”. In Reynolds’ bibliography, Lipstick Traces, Greil Marcus’s bold, flawed attempt to put John Lydon’s cackle in historical and aesthetic context, is conspicuous by its absence. It might not be so informative, if you’re revising for a GCSE in Punk And After, but Marcus’s is a better book.

Although, in a way, the facts-first, tinsel-free reportage style that Reynolds employs is appropriate. This is what happened. Make of it what you will, reader. Because postpunk didn’t rip it up. It took a scalpel, and calmly sliced up small pieces of yesterday’s media to create a neat collage but not enough to cause a fatal loss of blood. It was just a slightly more challenging task than that set by Sniffin’ Glue magazine (“here are three chords, now form a band”). For Orange Juice, the Four Tops and the Buzzcocks alike were just there for the borrowing. The funny thing is, it’s the Four Tops and the Buzzcocks, albeit each in a somewhat mutated form, that are still plying their wares, in an era that must now be postpostpostpostpunk, and then some. ( )
1 ääni TimFootman | Nov 9, 2008 |
Näyttää 1-5 (yhteensä 13) (seuraava | näytä kaikki)
ei arvosteluja | lisää arvostelu

Kuuluu näihin kustantajien sarjoihin

Sinun täytyy kirjautua sisään voidaksesi muokata Yhteistä tietoa
Katso lisäohjeita Common Knowledge -sivuilta (englanniksi).
Kanoninen teoksen nimi
Alkuteoksen nimi
Teoksen muut nimet
Alkuperäinen julkaisuvuosi
Henkilöt/hahmot
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Tärkeät paikat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Tärkeät tapahtumat
Kirjaan liittyvät elokuvat
Palkinnot ja kunnianosoitukset
Epigrafi (motto tai mietelause kirjan alussa)
Omistuskirjoitus
Ensimmäiset sanat
Sitaatit
Viimeiset sanat
Erotteluhuomautus
Julkaisutoimittajat
Kirjan kehujat
Alkuteoksen kieli
Tiedot italiankielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Canonical DDC/MDS
A new edition as part of the Faber Greatest Hits - books that have taken writing about music in new and exciting directions for the twenty-first century. In this, the first book to take a big-picture view of the entire post punk period, acclaimed author and music journalist Simon Reynolds recreates a time of tremendous urgency and idealism in pop music. Full of anecdote and insight, and featuring the likes of Joy Division, The Fall, Pere Ubu, PiL and Talking Heads, Rip It Up And Start Again stands as one of the most inspired and inspiring books on popular music ever written.

No library descriptions found.

Kirjan kuvailu
Yhteenveto haiku-muodossa

Pikalinkit

Suosituimmat kansikuvat

Arvio (tähdet)

Keskiarvo: (4.13)
0.5
1
1.5
2 8
2.5 2
3 19
3.5 8
4 70
4.5 6
5 62

Oletko sinä tämä henkilö?

Tule LibraryThing-kirjailijaksi.

 

Lisätietoja | Ota yhteyttä | LibraryThing.com | Yksityisyyden suoja / Käyttöehdot | Apua/FAQ | Blogi | Kauppa | APIs | TinyCat | Perintökirjastot | Varhaiset kirja-arvostelijat | Yleistieto | 159,183,555 kirjaa! | Yläpalkki: Aina näkyvissä