|
||||||||||||||||||||
|
||||||||||||||||||||
|
||||||||||||||||||||
よく一緒に購入されている商品
商品の説明
内容説明
The perfect follow-up to "CBGB & OMFUG", "No Wave" chronicles the 'post-punk' music scene from 1976-1981. An extension of punk rock and new wave and the avant garde art movement of the '70s and '80s, the "No Wave" scene consisted of such stars as Debbie Harry, The Talking Heads, Sonic Youth, Iggy Pop, Brian Eno of Roxy Music, John Cale of Velvet Underground, Jean-Michel Basquiat, Richard Prince and William Burroughs, as well as many important but less famous artists such as Lydia Lunch, Rhys Chatam, DNA, Teenage Jesus, James Chance and Glenn Branca.Many black and white photos and substantial text in the form of 'oral history' from numerous musicians and artists compiled by revered musician Thurston Moore of legendary band Sonic Youth and music writer Byron Coley. The book will also include a CD compiled by Thurston Moore and Byron Coley.
From Publishers Weekly
Art and music come together in this oral account of Manhattan's mid-1970s No Wave music scene. Moore, a founding member of the band Sonic Youth, and Coley, a music writer and editor, identify the likes of Teenage Jesus and the Jerks, DNA, Contortions and Mars as the "core bands" that built No Wave. Shedding light on the personal relationships of these close-knit bands, the surprisingly reserved volume-graced with exquisite black-and-white photos with occasional splashes of poster-art color-also looks at how the devastated state of the city influenced their sound and performances: "As everything's collapsing... the music became the rebellion," says Teenage Jesus's Lydia Lunch in her scowling, astute foreword. Music sometimes described as "a car crash" gets heartfelt and intelligent commentary from the likes of DNA's Ikue Mori: "it wasn't about technique; it was more about new ideas and inspiration." The authors' personal interviews with the movement's other pioneers elicit raw, honest hindsight; along with revealing photographs, this volume takes readers straight into the heart of this zeitgeist.
Copyright Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Copyright Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
登録情報
|
この商品を見た後に買っているのは？
この商品にタグをつける(詳細)タグは、商品との関連性が非常に強いキーワードまたはラベルのようなものです。
タグにより、すべてのお客様がお気に入りの商品の整理と確認を行うことができます。 ※タグは初期設定で公開になっています。詳しくはこちら |
カスタマーレビュー
Amazon.com で最も参考になったカスタマーレビュー (beta)
Amazon.com:
9件のカスタマーレビュー
11 人中、9人の方が、｢このレビューが参考になった｣と投票しています。
eye candy and history
2008/7/16
形式:ハードカバー
1970's New York, a time of polemic filth and fury with displaced art kids crashing head first into the detritus to form bands without which we would have no Rapture, Yeah Yeah Yeahs or (insert a hundred names here). Framed around this incredible gathering of black & whites are interviews (conducted by the Thurston Moore and writer/editor/et cetera Byron Coley) with artists deep in the thick of said scene (i.e. James Chance, Glen Branca, Ikue Mori, Robert Quine and the ever-verbose Lydia Lunch), club owners, iconic groupies and passers-by, including Brian Eno who gives his perspective on the immortal Eno "produced" No New York compilation. Having been active participants during this era, the authors do a spectacular job of detailing the tenuous camaraderie, insular tension and the seeds of No Wave's demise. Not simply for those who know the difference between "No Wave" and "New Wave", the eye candy and history lessons make for an illuminating, universally appealing document.
Lesgal...
2009/9/21
Amazonが確認した購入
Legal o livro... um pouco chato o lance de ter um monte de entrevistas no meio da narrativa. Vc está lendo no fluxo, de repente um sujeito comea a dar um depoimento e passam 2 ou 3 páginas de fotos (incríveis, por sinal)... aí vc já no sabe exatamente onde, quando, etc... E podia ter mais free jazz (esse rótulo é um lixo, mas da pra entender do que estou falando). No é o foco, mas as duas cenas estavam mais do que conectadas e isso é apenas mencionado.
Vale pelas fotos e o texto é lesgal... Se vc usar ele como "coffee table book" na sua sala de estar e uma menina chegar lá e no te achar um cara sensacional por vc ter ele ao invés de um do Matisse ou um de decorao de interiores é porque ela no vale a pena!!!
Vale pelas fotos e o texto é lesgal... Se vc usar ele como "coffee table book" na sua sala de estar e uma menina chegar lá e no te achar um cara sensacional por vc ter ele ao invés de um do Matisse ou um de decorao de interiores é porque ela no vale a pena!!!
5 人中、3人の方が、｢このレビューが参考になった｣と投票しています。
The scene that never was
2009/7/16
形式:ハードカバー
Basically if you were listening to music at the end of the 70's, beginning of the 80's, you had heard of all these people. Their records were available in most record stores world-wide, but nothing really became directly of it. This record documents this scene very well: we see a NY underground scene that intermingled with then and future celebrities (Iggy, Blondie, etc) but somehow did not connect. The whole scene centered finally on the Eno-produced No New York LP containing music by the more prominent acts in this book. While Eno seemingly had an eye on the future appraisal of the scene and merely wanted to document it (which shows as I wrote that EVERYBODY had heard of this scene, even my mom...). This book is surprising because while most of the rock books especially the ones covering this era tend to use mostly the same material and sources, this is fairly original stuff. It is based mostly (a little like PLease Kill Me) on personal recollections but without necessarily having a storyline. This does not matter since Moore and his collaborator get the vive of this underground scene beautifully. It is more a photo book with some essential anectdotes. Retrospectively a lot of intellectual bs has been put on the music that was really partly unlistenable and really hilarious stuff to annoy your parents or friends in the 70's who might like their rock music to be listenable. Mars and DNA is particularly atrocious as is some of the Lydia Lunch stuff (she was at the time the arhetypical indie queen and seems to have been a bad influence on everyone). Arto Lindsay ended up doing almost commercial stuff nowadays and Lizzy Mercier Descloux (God Bless her) had a huge afro-beat hit in France with "ou sont passees les gazelles". James Chance was more interesting and apparently still tours France. Anyway this is a splendid book, lovingly done by two people involved in a scene that existed while I was a teenager. I still have all these records and they are to be cherished because they really pushed some (not always artistic} boundaries by being simply too extreme. It was a scene that took itself way too seriously but which had some really very colourful characters. The book does indirectly explain on the one hand why they were extremely influential on the people who heard them, bought their records but failed to go beyond that for recognition. Anyway, it is also quite cheap for the work they have put into it and this kind of work must be supported.
これらのレビューは参考になりましたか？
ご意見はクチコミでお聞かせください。
リストマニア
関連商品を探す
- 洋書 > Entertainment > Music > History & Criticism
- 洋書 > Entertainment > Music > Musical Genres > Rock
- 洋書 > History
- 洋書 > Special Features > all foreign books
同じキーワードの商品を探す
フィードバック
- カタログ情報、または画像について報告
- 著者からのコメント
- 出版社からのコメント
|
