Simon Reynolds (1) (1963–)
Forfatter af Rip it Up and Start Again: Postpunk 1978-1984
For andre forfattere med navnet Simon Reynolds, se skeln forfatterne siden.
Værker af Simon Reynolds
Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-first Century (2016) 111 eksemplarer
Después del Rock. Psicodelia, Postpunk, Electrónica y otras Revoluciones Inconclusas (2011) 7 eksemplarer
Beijar o céu 2 eksemplarer
The Songs of Now Sound a Lot Like Then 1 eksemplar
Associated Works
Satte nøgleord på
Almen Viden
- Fødselsdato
- 1963-06-19
- Køn
- male
- Nationalitet
- UK
- Fødested
- London, England, UK
- Bopæl
- Manchester, England, UK
New York, New York, USA
London, England, UK
Los Angeles, California, USA - Uddannelse
- Oxford University
- Erhverv
- music critic
- Relationer
- Press, Joy (wife)
- Organisationer
- Melody Maker
Medlemmer
Anmeldelser
Lister
Hæderspriser
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Associated Authors
Statistikker
- Værker
- 14
- Also by
- 2
- Medlemmer
- 2,182
- Popularitet
- #11,743
- Vurdering
- 4.0
- Anmeldelser
- 34
- ISBN
- 87
- Sprog
- 6
- Udvalgt
- 5
The second thing that stands out is also not that original, but it's a discussion that doesn't happen in music circles enough. Reynolds' points out that this obsession with reappropriating or outright ripping off the past is not unique to pop music, and in fact pop music is late to the game compared to other artforms and even Western culture at large. He begins the book discussing archive-mania, how academic and governmental agencies have become obsessed with documenting and preserving every last scrap of information, and how digital media has accelerated that impulse. Later he notes the '80s art world went through the kind of interest in the past and lack of concern for originality that pop music has been going through the last decade or so.
Interesting topics and an interesting book, but I'm not sure Reynolds is the guy who should have written it. He's obviously knowledgeable and scholarly, but he seems to rely too much on accepted knowledge and conventional wisdom. He assumes a lot about "listeners" and makes sweeping generalizations, things that are hard to avoid when taking on a topic this large, maybe, but he does it to excess. And like most music writers of today, he seems enamored of/suspicious of the elusive, hard-to-define hipster, which he at least goes to the trouble of positioning in the upper middle class (he is English, after all), which seems rather limiting. And his editor really should have caught him using the term "ultra-hip" three times in three pages, especially when he referred to Matador Records as such. I may accept an argument for Matador as hip, but ultra-hip? Not even in the '90s.
Unfair maybe to critique a book when only halfway through, but maybe the best thing it has going for it is its very topic, which stirs up all sorts of ideas and opinions, whether you agree with Reynolds or not. It's a quick read, but I'm making myself slow down to stay with it a while longer.… (mere)