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Roxy Music and Art-Rock Glamour is a detailed exploration of the origins of the glam scene in the early seventies. Fronted by the deeply charismatic Bryan Ferry - equal parts fifties crooner and stylish spaceman - and with the visionary Brian Eno on keyboards, Roxy Music melded high-art intentions with commercial savvy to redefine what we understand pop culture to mean, and in the course of so doing created some of the twentieth century's most adventurous music.
NPR Great Read of 2016 From the acclaimed author of Rip It Upand Start Again and Retromania—“the foremost popular music critic of this era (Times Literary Supplement)—comes the definitive cultural history of glam and glitter rock, celebrating its outlandish fashion and outrageous stars, including David Bowie and Alice Cooper, and tracking its vibrant legacy in contemporary pop. Spearheaded by David Bowie, Alice Cooper, T. Rex, and Roxy Music, glam rock reveled in artifice and spectacle. Reacting against the hairy, denim-clad rock bands of the late Sixties, glam was the first true teenage rampage of the new decade. In Shock and Awe, Simon Reynolds takes you on a wild cultural tour through the early Seventies, a period packed with glitzy costumes and alien make-up, thrilling music and larger-than-life personas. Shock and Awe offers a fresh, in-depth look at the glam and glitter phenomenon, placing it the wider Seventies context of social upheaval and political disillusion. It explores how artists like Lou Reed, New York Dolls, and Queen broke with the hippie generation, celebrating illusion and artifice over truth and authenticity. Probing the genre’s major themes—stardom, androgyny, image, decadence, fandom, apocalypse—Reynolds tracks glam’s legacy as it unfolded in subsequent decades, from Eighties art-pop icons like Kate Bush through to twenty-first century idols of outrage such as Lady Gaga. Shock and Awe shows how the original glam artists’ obsessions with fame, extreme fashion, and theatrical excess continue to reverberate through contemporary pop culture.
Explores the many ways glam rock paved the way for new explorations of identity in terms of gender, sexuality, and performance
Gathers paintings and collages that interpret songs by Brian Eno and describes the working methods of both artist and composer
In 1972 an English rock band released its first album to instant critical acclaim: Roxy Music. Here was a group that looked as though it came not only from another era, but also from another planet-a band in which art, fashion, and music would combine to create, in Bryan Ferry's words, “above all, a state of mind.” Written with the assistance, for the first time, of all those involved, including Bryan Ferry, Brian Eno, Andy Mackay, and Phil Manzanera, Re-Make/Re-Model tells how Pop Art, the 1960s underground, and Swinging London were transformed into a unique sound and look-theatrical, arch, literate, clever, sexy, thrilling. In the tradition of Jean Stein and George Plimpton's Edie, Re-Make/Re-Model is the story of extraordinary individuals and exceptional creativity-and nothing less than the history of an era in music and pop culture.
At lunchtime on a bitterly cold January day in 1969, the strains of guitar chords could be heard in the streets surrounding London’s Savile Row. Crowds gathered – At ground level and above. People climbed onto roofs and postboxes, skipped lunch to gather and listen: For the first time in more than two years, The Beatles were playing live. Ringing from the rooftops, disturbing the well-to-do ears of the tailors below, they upset the establishment and bewildered the police. It was filmed by director Michael Lindsay-Hogg, who hoped the footage would act as the finale to a celebratory TV special. When it finally surfaced, it was in the bleak, tumultuous documentary Let It Be. And The Beatles would never play live again. Tony Barrell examines the concert within the context of its time. He speaks to those who were there: the fans, film-makers, roadies, Apple Corps staff and police. He explores the politics of 1968, when peace gave way to protest, and how music promotion began to collide with cinéma vérité and reality TV. The Beatles on the Roof makes essential reading for anyone interested in the band’s reinventions and relationships, revealing why the rooftop concert happened at all, why it happened the way that it did, and why it would never happen again.
Now in an updated fourth edition, this popular A-Z student handbook provides a comprehensive survey of key ideas and concepts in popular music culture. With new and expanded entries on genres and subgenres, the text comprehensively examines the social and cultural aspects of popular music, taking into account the digital music revolution and changes in the way that music is manufactured, marketed and delivered. New and updated entries include: Age and youth Black music Digital music culture K-Pop Mash-ups Philadelphia Soul Pub music Religion and spirituality Remix Southern Soul Streaming Vinyl With further reading and listening included throughout, Popular Music: The Key Concepts is an essential reference text for all students studying the social and cultural dimensions of popular music.
Until recently, glam rock has been a mere footnote in popular music history: a style-over-substance lark in an otherwise serious industry. Glam Rock: Music in Sound and Vision reveals the true story of how glam carved out a place as a diverse musical style and how it related to the artistic, political, economic, emotional, sexual, and commercial scenes of the late twentieth century. Committed to spectacle but also to musical ingenuity, glam delivered an exhilarating burst of color that offered a joyful reboot for pop culture—“a total blam blam!” Glam swept through Britain to North America in the early 1970s with the foundational stardom of T Rex and David Bowie, offering an alternative to the established rock and pop styles that had started to bore a segment of young listeners. As Alice Cooper and KISS filled concert arenas, British acts as diverse as the Rolling Stones, Elton John, and Queen consciously adopted glam’s flair for drama. Refreshing and reinvigorating, glam influenced later musical movements and moments from glitterfunk to punk, from new wave to new romanticism, and from hair metal to the synth-pop of self-conscious changelings like Marilyn Manson and Lady Gaga. In Simon Philo’s engaging history, glam finally gets the spotlight it deserves. As an essential force in the history of popular music, glam offers a prism through which to explore ’70s pop culture in all its glitter and charm.
The New Music Journalism is legendary music journalist Nick Kent's memoir of 1973 and 1974, two years that saw him go from aspiring, suburban scribe to celebrity journalist and companion to the likes of Led Zeppelin and the Rolling Stones. From hanging out with Lester Bangs in the States to dating Chrissie Hynde, Kent recalls an astonishing cast of seventies figures. But as his fame grew, so did his dependency upon narcotics, and these two years recount also the manic highs and strung-out lows such an appetite can bring.
Britpop and the English Music Tradition is the first study devoted exclusively to the Britpop phenomenon and its contexts. The genre of Britpop, with its assertion of Englishness, evolved at the same time that devolution was striking deep into the hegemonic claims of English culture to represent Britain. It is usually argued that Britpop, with its strident declarations of Englishness, was a response to the dominance of grunge. The contributors in this volume take a different point of view: that Britpop celebrated Englishness at a time when British culture, with its English hegemonic core, was being challenged and dismantled. It is now timely to look back on Britpop as a cultural phenomenon of the 1990s that can be set into the political context of its time, and into the cultural context of the last fifty years - a time of fundamental revision of what it means to be British and English. The book examines issues such as the historical antecedents of Britpop, the subjectivities governing the performative conventions of Britpop, the cultural context within which Britpop unfolded, and its influence on the post-Britpop music scene in the UK. While Britpop is central to the volume, discussion of this phenomenon is used as an opportunity to examine the particularities of English popular music since the turn of the twentieth century.