- Copertina flessibile: 660 pagine
- Editore: Ecco Pr (5 aprile 2011)
- Lingua: Inglese
- ISBN-10: 0061670154
- ISBN-13: 978-0061670152
- Peso di spedizione: 771 g
- Posizione nella classifica Bestseller di Amazon:
33 Revolutions Per Minute: A History of Protest Songs, from Billie Holiday to Green Day (Inglese) Copertina flessibile – 5 apr 2011
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Chi ha acquistato questo articolo ha acquistato anche
“This book is impressive in scope.” (New Yorker)
“A longtime music critic, Lynskey presents up-close details to ballast the book’s larger historical sweep.” (Los Angeles Times)
“Lynskey has a strong command of the music and its makers.” (Wall Street Journal)
“lovely writing…Let’s praise the agile, many-tentacled writer Mr. Lynskey can often be, because I loved bits of this book; you can pluck out the many tasty things like seeds from a pomegranate.” (New York Times)
“British music critic Dorian Lynskey offers a completely absorbing look at 33 songs, spanning seven decades and haling from five continents...Comprehensive and beautifully written.” (Booklist (starred review))
“[A] provocative, absorbing book” (Cleveland Plain Dealer)
“A must-read for militant-music lovers.” (The Root)
Dalla quarta di copertina
From one of the United Kingdom’s most prominent music critics, a page-turning and wonderfully researched history of 33 songs that have transformed the world through the twentieth century and beyond.
When pop music meets politics, the results are often thrilling, sometimes life-changing, and never simple. The protest songs of such great artists as Woody Guthrie, Bob Dylan, Stevie Wonder, U2, Public Enemy, Fela Kuti, R.E.M., Rage Against the Machine, and the Clash represent pop music at its most charged and relevant, providing the soundtrack and informing social change since the 1930s. They capture the attention and passions of listeners, force their way into the news, and make their presence felt from the streets to the corridors of power.
33 Revolutions Per Minute is a history of protest music embodied in 33 songs that span seven decades and four continents, from Billie Holiday crooning "Strange Fruit" before a shocked audience to Crosby, Stills, Nash, and Young paying tribute to the Vietnam protesters killed at Kent State in "Ohio," to Green Day railing against President Bush and twenty-first-century media in "American Idiot." With the aid of exclusive new interviews, Dorian Lynskey explores the individuals, ideas, and events behind each song. This expansive survey examines how music has engaged with racial unrest, nuclear paranoia, apartheid, war, poverty, and oppression, offering hope, stirring anger, inciting action, and producing songs that continue to resonate years down the line, sometimes at great cost to the musicians involved.
For the audience who embraced Alex Ross's The Rest Is Noise, Bob Dylan's Chronicles, or Simon Reynolds's Rip It Up and Start Again, 33 Revolutions Per Minute is an absorbing and moving account of 33 songs that made history.Visualizza tutta la Descrizione prodotto
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Le recensioni clienti più utili su Amazon.com (beta)
At its best, the book is informative. Even if you hate a particular song and/or artist, the author manages to keeps one's interest in reading about it/them. In part this is due to his scatter-shot approach, encompassing eras and genres. It is also well-researched.
Where it fails is in the balance of history. There are far too many relatively recent songs included. That Phil Ochs wasn't granted a chapter, while Frankie Goes To Hollywood was, is criminal. Broadside magazine is hardly even mentioned, while the author goes out of his way to include an obscure disco song, as well as U#2's "Pride (In The Name of Love)," which isn't even a protest song but, rather, a song of celebration. So why include it? I suspect it's for the same reason that the book is so laden with relatively recent songs, that the main concern was the bottom line. Most people will want to read about songs that they're familiar with.
So the blues, a form of music that, by it's very nature, is a protest, is totally ignored. Part of this is probably due to the author's definition of protest music, which he links to politics. There are, of course, other forms of revolution, such as cultural and social, but the author chooses to put blinders on concerning them. Still, I'd much rather have read something about the "Bourgeois Blues" than "Two Tribes."
Even among the modern music the author does highlight, there is some head-scratching on my part. Does Dorian Lynskey honestly believe that Huggy Bear is more representative of Riot Grrrl than Bikini Kill? Does he not believe that Patti Smith's song "People Have The Power" is even worth mentioning? Doesn't he see the implicit revolutionary aspect of the entire DIY culture / "indie scene," in which the "workers" have seized the means of production?
This is still a worthwhile book. I learned quite a bit about such artists as Crass, Linton Kwesi Johnson, Victor Jara and Feli Kuti. While I would not say that it is at all definitive, it is a good start.