Roxy Musics Avalon
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| Author | : Simon A. Morrison |
| Publisher | : Bloomsbury Publishing USA |
| Total Pages | : 161 |
| Release | : 2021-05-06 |
| Genre | : Music |
| ISBN | : 1501355368 |
Having designed Roxy Music as an haute couture suit hand-stitched of punk and progressive music, Bryan Ferry redesigned it. He made Roxy Music ever dreamier and mellower-reaching back to sadly beautiful chivalric romances. Dadaist (punk) noise exited; a kind of ambient soft soul entered. Ferry parted ways with Eno, electric violinist Eddie Jobson, and drummer Paul Thompson, foreswearing the broken-sounding synthesizers played by kitchen utensils, the chance-based elements, and the maquillage of previous albums. The production and engineering imposed on Avalon confiscates emotion and replaces it with an acoustic simulacrum of courtliness, polished manners, and codes of etiquette. The seducer sings seductive music about seduction, but decorum is retained, as amour courtois insists. The backbeat cannot beat back nostalgia; it remains part of the architecture of Avalon, an album that creates an allusive sheen. Be nostalgic, by all means, but embrace that feeling's falseness, because nostalgia-whether inspired by medieval Arthuriana or 1940s film noir repartee or a 1980s drug-induced high-deceives. Nostalgia defines our fantasies and our (not Ferry's) essential artifice.
| Author | : Simon A. Morrison |
| Publisher | : Bloomsbury Publishing USA |
| Total Pages | : 160 |
| Release | : 2021-05-06 |
| Genre | : Music |
| ISBN | : 150135535X |
Having designed Roxy Music as an haute couture suit hand-stitched of punk and progressive music, Bryan Ferry redesigned it. He made Roxy Music ever dreamier and mellower-reaching back to sadly beautiful chivalric romances. Dadaist (punk) noise exited; a kind of ambient soft soul entered. Ferry parted ways with Eno, electric violinist Eddie Jobson, and drummer Paul Thompson, foreswearing the broken-sounding synthesizers played by kitchen utensils, the chance-based elements, and the maquillage of previous albums. The production and engineering imposed on Avalon confiscates emotion and replaces it with an acoustic simulacrum of courtliness, polished manners, and codes of etiquette. The seducer sings seductive music about seduction, but decorum is retained, as amour courtois insists. The backbeat cannot beat back nostalgia; it remains part of the architecture of Avalon, an album that creates an allusive sheen. Be nostalgic, by all means, but embrace that feeling's falseness, because nostalgia-whether inspired by medieval Arthuriana or 1940s film noir repartee or a 1980s drug-induced high-deceives. Nostalgia defines our fantasies and our (not Ferry's) essential artifice.
| Author | : Simon Alexander Morrison |
| Publisher | : |
| Total Pages | : 152 |
| Release | : 2021 |
| Genre | : Popular music |
| ISBN | : 9781501355370 |
"Having designed Roxy Music as an haute couture suit hand-stitched of punk and progressive music, Bryan Ferry redesigned it. He made Roxy Music ever dreamier and mellower-reaching back to sadly beautiful chivalric romances. Dadaist (punk) noise exited; a kind of ambient soft soul entered. Ferry parted ways with Eno, electric violinist Eddie Jobson, and drummer Paul Thompson, foreswearing the broken-sounding synthesizers played by kitchen utensils, the chance-based elements, and the maquillage of previous albums. The production and engineering imposed on Avalon confiscates emotion and replaces it with an acoustic simulacrum of courtliness, polished manners, and codes of etiquette. The seducer sings seductive music about seduction, but decorum is retained, as amour courtois insists. The backbeat cannot beat back nostalgia; it remains part of the architecture of Avalon, an album that creates an allusive sheen. Be nostalgic, by all means, but embrace that feeling's falseness, because nostalgia-whether inspired by medieval Arthuriana or 1940s film noir repartee or a 1980s drug-induced high-deceives. Nostalgia defines our fantasies and our (not Ferry's) essential artifice"--
| Author | : Tyler Sonnichsen |
| Publisher | : Springer |
| Total Pages | : 211 |
| Release | : 2019-04-09 |
| Genre | : Social Science |
| ISBN | : 9811359687 |
Capitals of Punk tells the story of Franco-American circulation of punk music, politics, and culture, focusing on the legendary Washington, DC hardcore punk scene and its less-heralded counterpart in Paris. This book tells the story of how the underground music scenes of two major world cities have influenced one another over the past fifty years. This book compiles exclusive accounts across multiple eras from a long list of iconic punk musicians, promoters, writers, and fans on both sides of the Atlantic. Through understanding how and why punk culture circulated, it tells a greater story of (sub)urban blight, the nature of counterculture, and the street-level dynamics of that centuries-old relationship between France and the United States.
| Author | : Johnny Rogan |
| Publisher | : |
| Total Pages | : 219 |
| Release | : 1982 |
| Genre | : Rock groups |
| ISBN | : 9780352310767 |
| Author | : David Buckley |
| Publisher | : Chicago Review Press |
| Total Pages | : 428 |
| Release | : 2005 |
| Genre | : Biography & Autobiography |
| ISBN | : |
Following the formation and development of Roxy Music, one of the first and best art-rock bands of the 1970s, this account tells how the band, led by London's hippest working-class man, Bryan Ferry, rebelled against the denim-clad anonymity of the early 1970s and turned the decade into a decadent glam-rock party. Included are accounts of Ferry's affair with supermodel Jerry Hall and its public end when she left him for Mick Jagger, the band's various splits and regroupings, and the recent.
| Author | : Scott Timberg |
| Publisher | : Yale University Press |
| Total Pages | : 320 |
| Release | : 2015-01-01 |
| Genre | : Social Science |
| ISBN | : 0300195885 |
Argues that United States' creative class is fighting for survival and explains why this should matter to all Americans.
| Author | : Brian Eno |
| Publisher | : Faber & Faber |
| Total Pages | : 144 |
| Release | : 1986-01-01 |
| Genre | : Music |
| ISBN | : 9780571138104 |
Gathers paintings and collages that interpret songs by Brian Eno and describes the working methods of both artist and composer
| Author | : Annie Zaleski |
| Publisher | : Bloomsbury Publishing USA |
| Total Pages | : 184 |
| Release | : 2021-05-06 |
| Genre | : Music |
| ISBN | : 1501355201 |
In the '80s, the Birmingham, England, band Duran Duran became closely associated with new wave, an idiosyncratic genre that dominated the decade's music and culture. No album represented this rip-it-up-and-start-again movement better than the act's breakthrough 1982 LP, Rio. A cohesive album with a retro-futuristic sound-influences include danceable disco, tangy funk, swaggering glam, and Roxy Music's art-rock-the full-length sold millions and spawned smashes such as "Hungry Like the Wolf" and the title track. However, Rio wasn't a success everywhere at first; in fact, the LP had to be buffed-up with remixes and reissued before it found an audience in America. The album was further buoyed by colorful music videos, which established Duran Duran as leaders of an MTV-driven second British Invasion, and the group's cutting-edge visual aesthetic. Via extensive new interviews with band members and other figures who helped Rio succeed, this book explores how and why Rio became a landmark pop-rock album, and examines how the LP was both a musical inspiration-and a reflection of a musical, cultural, and technology zeitgeist.
| Author | : Simon Morrison |
| Publisher | : Liveright Publishing |
| Total Pages | : 512 |
| Release | : 2016-10-11 |
| Genre | : Performing Arts |
| ISBN | : 0871408309 |
In this “incredibly rich” (New York Times) definitive history of the Bolshoi Ballet, visionary performances onstage compete with political machinations backstage. A critical triumph, Simon Morrison’s “sweeping and authoritative” (Guardian) work, Bolshoi Confidential, details the Bolshoi Ballet’s magnificent history from its earliest tumults to recent scandals. On January 17, 2013, a hooded assailant hurled acid into the face of the artistic director, making international headlines. A lead soloist, enraged by institutional power struggles, later confessed to masterminding the crime. Morrison gives the shocking violence context, describing the ballet as a crucible of art and politics beginning with the disreputable inception of the theater in 1776, through the era of imperial rule, the chaos of revolution, the oppressive Soviet years, and the Bolshoi’s recent $680 million renovation. With vibrant detail including “sex scandals, double-suicide pacts, bribery, arson, executions, prostitution rings, embezzlement, starving orphans, [and] dead cats in lieu of flowers” (New Republic), Morrison makes clear that the history of the Bolshoi Ballet mirrors that of Russia itself.
