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Generation Ecstasy: Into the World of Techno and Rave Culture par [Reynolds, Simon]
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Generation Ecstasy: Into the World of Techno and Rave Culture 1 , Format Kindle

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Longueur : 480 pages Composition améliorée: Activé Page Flip: Activé
Langue : Anglais

Description du produit

From Publishers Weekly

"I finally grasped viscerally why the music was made the way it was; how certain tingly textures goosepimpled your skin and particular oscillator riffs triggered the E-rush.... Finally, I understood ecstasy as a sonic science. And it became even clearer that the audience was the star." British-born Spin magazine senior editor Reynolds (Blissed Out; coauthor, The Sex Revolts) offers a revved-up, detailed and passionate history and analysis of the throbbing transcontinental set of musics and cultures known as rave, covering its brightly morphing family tree from Detroit techno and Chicago house to Britain's 1988 "summer of love," on through London jungle and the German avant-garde to the current warehouse parties and turntables of Europe and America. One chapter explains, cogently, the pleasures and effects of the drug Ecstasy (MDMA, or "E"), without which rave would never have evolved; others describe the roles of the DJ, the remix and pirate radio, the "trance" and "ambient" trends of the early 1990s, the rise and fall of would-be stars, the impact of other drugs and the proliferation of current club "subsubgenres." Assuming no prior knowledge in his readers, Reynolds mixes social history, interviews with participants and scene-makers and his own analyses of the sounds, saturating his prose with the names of key places, tracks, groups, scenes and artists. Reynolds prefers and champions the less intellectual, more anonymous and dance-crazed parts of the rave galaxy, "from the most machinic forms of house... through... bleep-and-bass, breakbeat house, Belgian hardcore, jungle, gabba, street garage and big beat." If you don't know what those terms mean, here's how to find out. Two eight-page b&w photo inserts and a discography.
Copyright 1998 Reed Business Information, Inc.

The Washington Post Book World, Mary Ishimoto Morris

While disappointed that Reynolds doesn't mention the unofficial raver credo of PLUR (peace, love, unity, respect), I appreciate that Generation Ecstasy is a labor of love.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 29907 KB
  • Nombre de pages de l'édition imprimée : 480 pages
  • Utilisation simultanée de l'appareil : Jusqu'à 4 appareils simultanés, selon les limites de l'éditeur
  • Editeur : Routledge; Édition : 1 (19 juin 2013)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B00DL1R5OE
  • Synthèse vocale : Activée
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  • Word Wise: Non activé
  • Lecteur d’écran : Pris en charge
  • Composition améliorée: Activé
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Commentaires client les plus utiles sur (beta) (Peut contenir des commentaires issus du programme Early Reviewer Rewards) 3.7 étoiles sur 5 32 commentaires
5.0 étoiles sur 5 Excellent book for those interested in the origins of electronic ... 27 juillet 2016
Par M - Publié sur
Format: Relié Achat vérifié
Excellent book for those interested in the origins of electronic dance music. Simon Reynolds, unlike many scholarly authors, writes in an engaging and personal way. He tells anecdotes from his own experiences in the dance music scene but also brings in an enormous amount of research and knowledge. There is so much good information in this book that it definitely deserves more than one reading.
6 internautes sur 8 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Informative, but misses the audience 9 juillet 2004
Par S. Adams - Publié sur
Format: Broché Achat vérifié
Most depictions of the Rave scene tend to preach from an extreme. They either present a picture of modern-day-Sodom, or will extol the discovery of Nirvana-on-Earth. Reynolds has the ability to [beautifully] describe both faces of the scene with an impartial voice.

Unfortunately, that is the end of what he has done well. Simon will take one paragraph to state that in years past the focus was simply the event, and no one bothered to learn the names of DJ's, let alone the name of individual tracks. After which he will begin a 10-page meandering description about specific track titles released in a 6-month period.

That example highlights Simon's shortcomings: no one involved in the scene at that time can recall every DJ or specific song names. Worse yet, those names are going to be meaningless to everyone reading the book in an attempt to learn about the scene.

Scenesters of the day aren't seeking a book that provides a blow-by-blow account of Simon's search for an illegal party on a particular night, they're looking to be reminded of a bygone time, feeling, and vibe they recall from those days. And people reading the book to learn about the history of "rave" are seeking to understand the human experience of the time, and not the name of a producer living in Germany who released a top-40 track at the end of the 80's.

In truth, Simon does cover enough information from front cover to back cover that the reader will indubitably have gained a clear understanding of the history of raves. Unfortunately, the reader will have to winnow through 90% fluff to reach that goal.
3 internautes sur 3 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Good book 29 septembre 2005
Par Michelle S - Publié sur
Format: Relié Achat vérifié
It can be a little in-depth sometimes, almost to the point of being inane, but the author carries the story so well, you find yourself being swept up in the madness, almost as if you were standing in the middle of the rave culture yourself.

It sheds an important light on a rarely-reported but highly relevant side of music history; a must-have for any true fan of the art.
0 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Caleidoscopic Vision of EDM 28 octobre 2009
Par Miguel Arturo Rivero Lopez - Publié sur
Format: Broché Achat vérifié
This is so far the best book I've read on Electronic Dance Music, due to it's multiple perspectives (technological, historical, sociological, musical, cultural, chemical) on the phenomenon. I just think it deserves a proper and updated re-edition that and I hope Reynolds considers doing it!
14 internautes sur 14 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Respectful and Ambitious 25 août 2006
Par Tunnelpet - Publié sur
Format: Broché
If you told me in 1992 that in 2006 I would be reading a book about "Rave" culture in the local public library I don't think I would have believed you. I am.

AT the time of this writing it has already been at least 8 years since this book was published and I think we can see how the author's takes on the phenomenon has held up.

Good points:

The author has a great understanding of the esthetic strengths of the genre,i.e. what makes these songs and their various presentations work.

He has a good knowledge of the artists, events and venues that helped to shape it (leaning mostly from a UK perspective, while very relevant, isn't the whole story).

He has a great understanding of the techincial aspects of the music and how cheap and malfunctioning gear is sometimes used and how these songs really often take a good degree of skill and effort to produce despite popular public misconceptions to the contrary.

I particulary loved his observation that a tepid corporate pop production like Celine Dion uses much much more expensive state of the art equipment than your techno record.

The author also has a great understanding of the, in my opinion, wonderous and vibrant philosophical concepts that went into this music and scene, and emerged through and because of this music and scene both expected, intended and unexpected and unintended. I would love to go on about them but I will spare Amazon this forum.

Bad Points:

I am sad that this author thinks that ecstacy and many other drugs were so important to this movement. I found this element to make for more boring music and conversation. It was also a cause for tragedy.

I am disappointed that this author dismisses so much of the more "avant garde" elements that came out of this scene. He even, very wrongly, suggests that this side was not somehow as legitimatly rooted in the scene as a whole. This is complete nonsense.

In fact, 8 years after this book was published..when I bump into people I remember from this scene I get the following:

The big druggies are dead or crippled.

The main scene is declared "dead".

And..the avant garde is alive and blissfully unaware of their own reinvention in progress.
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