Download e-book for iPad: Bring the Noise: 20 Years of Writing About Hip Rock and Hip by Simon Reynolds

By Simon Reynolds

Bring the Noise weaves jointly interviews, studies, essays, and contours to create a serious heritage of the final 20 years of popular culture, juxtaposing the voices of lots of rock and hip hop’s so much provocative artists—Morrissey, Public Enemy, The Beastie Boys, The Stone Roses, P.J. Harvey, Radiohead—with Reynolds’s personal passionate research.

With the entire strength and perception you will anticipate from the writer of Rip It Up and begin Again, Bring the Noise tracks the alternately fraught and fertile courting among white bohemia and black highway tune. the decisions transmit the immediacy in their second whereas delivering a working remark at the broader enduring questions of race and resistance, multiculturalism, and department. From grunge to dust, from Madchester to the soiled South, Bring the Noise chronicles hip hop and substitute rock’s competing claims to be the leading edge of innovation and the voice of competition in an period of conservative backlash.

Alert to either the bright aspect and the large photograph, Simon Reynolds has formed a compelling narrative that cuts throughout a thrillingly turbulent two-decade interval of dad tune.

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Additional info for Bring the Noise: 20 Years of Writing About Hip Rock and Hip Hop

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The commercial world thus seemed to offer expanded opportunities and greater freedoms. For boys, too, cards might offer new opportunities—but these are more often noted as entrepreneurial springboards. 67 Such small presses could also add retailers' letterpress messages to stock trade cards. And as we have seen, children seem to have resisted suggestions that they play with the cards in a child-appropriate way by using them to illustrate nursery rhymes, thus severing them from their commercial association.

As I will discuss, the identicalness of the trade cards was itself often a valued attribute for collectors. Trade cards were only one of several kinds of chromolithographed pictures. High-art oil paintings and watercolors were reproduced by the same process. "15 Even before the 1880s, chromolithography's cheapness and liberal use of color, along with its free distribution in trade cards and as premiums, had made chromolithographed reproduction both a medium and an entire genre that was sneered at by adherents of high art standards.

Trade cards and scrapbooks appeared to expand the opportunities for play: the materials the compiler cut, arranged, and pasted were not precious, or even usable for something else, as scraps of cloth might be, but were obtained for free. She could cut them up and cut figures or scenes out of them without seeking adult permission, and without bowing to adult opinions as to what kind of play with them would be appropriate. The commercial world thus seemed to offer expanded opportunities and greater freedoms.

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Bring the Noise: 20 Years of Writing About Hip Rock and Hip Hop by Simon Reynolds

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