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Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Punk's raw power rejuvenated rock, but by the summer of the movement had become a parody of itself. The post-punk groups were fervent modernists; w Punk's raw power rejuvenated rock, but by the summer of the movement had become a parody of itself.
The post-punk groups were fervent modernists; whether experimenting with electronics and machine rhythm or adapting ideas from dub reggae and disco, they were totally confident they could invent a whole new future for music. Get A Copy. Hardcover , First Edition , pages. More Details Original Title. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Rip it Up and Start Again , please sign up.
Be the first to ask a question about Rip it Up and Start Again. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Start your review of Rip it Up and Start Again. Feb 18, Brandon rated it really liked it Recommends it for: listmakers, review-heads.
Here is a band. They put out a great record. Here's why it was great. Then they became less great and broke up. Here is another band. They put out Here is a band.
Those bands were amazing. There have been no good bands since. View all 7 comments. Nov 11, David rated it really liked it. Punk is the honest, authentic voice of political and aesthetic revolution, while New Wave is the watered down, corrupted, commercialized version of that impulse. Basically it layered a new set of attitudes and fashion statements over an already well-established musical form. Not only that, in a lot of ways it was simply updating and recycling traditional rock poses—macho cock rockers, the rock musician as revolutionary, with the model for revolution being the armed guerilla or street fighter.
Consequently musical innovation and experimentation were suspect. Reynolds takes postpunk out of the shadow of punk rock and presents it as a genre in its own right, distinct it from both punk and New Wave. Postpunk was a much less ideologically hidebound, much more sonically adventurous musical form than the punk rock that preceded it. About all it inherited from punk was attitude and energy. Reynolds dates postpunk from , and the book is divided into two parts.
The first part, from roughly ish, recounts the emergence of postpunk, and focuses on the dour, arty, experimental, socially conscious bands that most music nerds associate with postpunk—Gang of Four, The Fall, early Scritti Politti, PIL, Cabaret Voltaire, Pere Ubu etc. Reynolds does a fine job of connecting the music to the larger cultural, intellectual and political contexts from which it emerged.
Postpunk was born along with Thatcherism in the UK. It also coincided with the rise of postmodernism and critical theory in the universities. It likewise coexisted, in the UK, with a strong tradition of communist and socialist-friendly left-wing politics.
And while most pop artists certainly try to manage their careers, and think hard about their self-presentation, the art school refugees and brainy autodidacts who made up the first wave of postpunk were a particularly self-reflective bunch. But as Reynolds shows this is certainly not the case with postpunk. He convincingly makes the case that, despite the preeminent place punk has occupied in rock-crit mythology, postpunk was by far a more interesting and influential movement—sonically, intellectually and politically.
He never loses sight of the fact that the end product, even of the more uncompromising or abrasive variants—like Gang of Four, Throbbing Gristle, Crass, The Minutemen etc. Reynolds, shows how the world shaped the music, but thankfully stops short of arguing that the music changed the world. View all 3 comments. Jan 26, Paul rated it it was amazing. Warning: do not read this book unless you have ready access to Spotify or some other music subscription service that allows you to listen to entire albums without purchasing them, or else you will go bankrupt trying to catch up with the Fall, James Chance and the Contortions, the Associates and a hundred other bands with which you were vaguely familiar but suddenly find fascinating thanks to Simon Reynolds' writing.
This is the best work of music history, and one of the best history books, I hav Warning: do not read this book unless you have ready access to Spotify or some other music subscription service that allows you to listen to entire albums without purchasing them, or else you will go bankrupt trying to catch up with the Fall, James Chance and the Contortions, the Associates and a hundred other bands with which you were vaguely familiar but suddenly find fascinating thanks to Simon Reynolds' writing.
This is the best work of music history, and one of the best history books, I have ever read. Reynolds is more critic than fan but more fan than sycophant, which makes his examination of what we now call "alternative" music from both exuberant and objective. He also does an excellent job of evoking the milieus in which various postpunk genres arose -- now I know exactly why Manchester has so much to answer for.
Reynolds takes his job as a historian seriously, so when he writes about a band, he describes both its intent and its impact, noting the occasional chasm between the two. His biographical sketches of the artists whom he covers are detailed but brisk and just gossipy enough to be amusing if not horrifying I'm now convinced that Malcolm McLaren should have been arrested and tried in the Hague for crimes against humanity. If the book has any flaw, it's that Reynolds occasionally overstuffs his chapters with too many references and anecdotes, leaving the reader more interested than informed, and towards the end of the book, he covers some yawn-inducingly familiar territory like the rise of MTV, but even then he's insightful and doesn't lapse into standard cultural critiques even as he quotes people who do.
If you care about any late 70s or early 80s music beyond Styx or the Commodores, this book is a must. View 2 comments. Jan 30, Tracy Reilly rated it it was amazing. So, this book probably was written for me.
Those are my years, this is my music. I was a bit surprised at how differently this was written from the usual rock journalism stuff,usually full of that overly cute jargon, with the writer's personality in flamboyant display. Well in a monthly, vying for the short attention span of the audience, this is perhaps a necessary evil. This book, however, is presented in a less frenzied, leisurely pace.
It tends to look at niches of time and place, So, this book probably was written for me. There were a lot of squats and communes. But he also has lots of good thoughts about American schools of postpunk--although he does avoid some of the more well-known scenes like Boston, D. Because the inevitability is always the ultimate failure, whether they had a moment at the Top of the Pops, or avoided it out of a sense of purity. It's kind of fascinating how many different ideas and styles got mashed up in these days--one thread that seems to permeate the post-punk era is this one decision--to guitar or no??
Because electric music was a big part of this era of music, of course. I learned a lot. Got me excited about music again. Bands I never heard of, bands I had heard of but never invested in mentally. I had missed a lot, whoo boy. I think my Big Learn here was recognizing the difference in experience for the American Music consumer me of that era and the British consumer not me.
The main difference, as I see it, was musicologists like John Peel, whose name appears again and again in this book. Forget Clapton is Godor John Stabb. John Peel was the Lord and Savior of all latter-twentieth century odd and creative music.
America didn't have him, and that's a big empty for us. That's why Americans with unusual music taste had to dig deeper, search longer, and ultimately feel both alienated and special. We did not have a John Peel with a national microphone to spread the news.
This is what happened: I bought the US edition of this book back when it was released, read it, loved it. Six months or so later, I learned that the original UK edition had been cut all to hell for its US release. Something like pages had been removed in order to pare the US edition down to its page final length. I was shocked and appalled, but never knew quite how to get myself a copy of the UK edition, short of doing an international order through Amazon UK, which I told myself would b This is what happened: I bought the US edition of this book back when it was released, read it, loved it.
А теперь уходите! - Он повернулся к Бринкерхоффу, с побледневшим лицом стоявшему возле двери. - Вы оба. - При всем моем уважении к вам, сэр, - сказала Мидж, - я бы порекомендовала послать в шифровалку бригаду службы безопасности - просто чтобы убедиться… - Ничего подобного мы делать не будем. На этом Мидж капитулировала: - Хорошо. Доброй ночи. - Она двинулась к двери. Когда Мидж проходила мимо, Бринкерхофф по выражению ее глаз понял, что она и не думает сдаваться: чутье не позволит ей бездействовать.
Я было подумал, что это номер гостиницы, где тот человек остановился, и хотел отдать ему паспорт. Но вышла ошибка. Я, пожалуй, занесу его в полицейский участок по пути в… - Perdon, - прервал его Ролдан, занервничав. - Я мог бы предложить вам более привлекательную идею. - Ролдан был человек осторожный, а визит в полицию мог превратить его клиентов в бывших клиентов. - Подумайте, - предложил. - Раз у человека в паспорте был наш номер, то скорее всего он наш клиент.
Все произойдет, как булавочный укол, - заверила его Сьюзан. - В тот момент, когда обнаружится его счет, маяк самоуничтожится. Танкадо даже не узнает, что мы побывали у него в гостях. - Спасибо, - устало кивнул коммандер. Сьюзан ответила ему теплой улыбкой. Ее всегда поражало, что даже в преддверии катастрофы Стратмор умел сохранять выдержку и спокойствие.
Rip It Up and Start Again: Postpunk by Simon Reynolds. Rip It Up and Start Again is the first book-length exploration of the wildly adventurous music.
Этих слов я и ждала от. Он пожал плечами: - Как только мы получим ключ, я проинформирую директора. Сьюзан не могла не поразить идея глобального прорыва в области разведки, который нельзя было себе даже представить. И он попытался сделать это в одиночку.
Вздор! - крикнул Хейл. - Лифт подключен к энергоснабжению главного здания. Я видел схему. - Да мы уже пробовали, - задыхаясь, сказала Сьюзан, пытаясь хоть чем-то помочь шефу.
И в первую очередь я сожалею о Дэвиде Беккере. Простите. Я был ослеплен своими амбициями. Стоя над Хейлом и стараясь унять дрожь, Сьюзан услышала приближающиеся шаги и медленно обернулась.
Он хотел крикнуть, но в легких не было воздуха, с губ срывалось лишь невнятное мычание. - Нет! - закашлявшись, исторгнул он из груди. Но звук так и не сорвался с его губ. Беккер понимал, что, как только дверь за Меган закроется, она исчезнет навсегда.
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Simon Reynolds looks into not only the developments of bands and sub-genres, but labels, zines, and local scenes to give a complete picture of the patchwork of the industry in a pre-digital era.