THE SHOCK OF THE OLD: Past, Present and Future in the First Decade of the Twenty-First Century 403Īcknowledgements 429 Bibliography 431 Index 441įor footnotes and additional material related to the book, go to the blog Retromania- The Footnotes at http:/ // Re-enactments 3 TOTAL RECALL: Music and Memory in the Time of YouTube 55 3 LOST IN THE SHUFFLE: Record Collecting and the Twilight of Music as an Object 86 4 GOOD CITATIONS: The Rise of the Rock Curator 129 5 TURNING JAPANESE: The Empire of Retro and the Hipster International 162 2įashion, Retro and Vintage 183 TURN BACK TIME: Revival Cults and Time-Warp Tribes 202 NO FUTURE: Punk's Reactionary Roots and Retro Aftermath 240 9 ROCK ON ( AND ON ) ( AND ON ) : The Never-Ending Fifties Revival 276 STRANGE CHANGES:įrontiers 362 The Retroscape (Slight Return) 399 12 The 'Re' Decade/The Retroscape ix Don't Look Back: Nostalgia and Retro xxv And with love to my surviving brothers Jez and Hugo. Mouth: detail from album cover of God by Michael Ochs I Getty Images
#Blondie discography tpb torrents archive#
Button of Elvis Presley: photograph of Elvis Presley © GAB Archive I Redferns I Getty Images. I Artists Rights Society (ARS), New York repro duction courtesy of The Andy Warhol Foundation, Inc.
First American edition, 2011 Library of Congress Control Number: 2011930771 ISBN:978-o8 - 64 5 7-994-4 10 9 87Ĭover art: Right eye: detail of Debbie Harry by Andy Warhol 2011 ©įoundation for the Visual Arts, Inc. Published in the United States by Faber and Faber, Inc. Printed in the United States of America Originally published in 2011
An affiliate of Farrar, Straus and Giroux 18 West18th Street, New York10011 Copyright 2011 ©Īll rights reserved Distributed in Canada by D&M Publishers, Inc. An affiliate of Farrar, Straus and Giroux New Yorkįaber and Faber, Inc. RETROMANIA Pop Culture's Addiction to Its Own Pastįi Faber and Faber, Inc. Totally Wired: Post-punk Interviews and Overviews Years of Writing About Hip Rock and Hip' Hop Born in London, Reynolds now lives in Los Angeles.īlissed Out: The Raptures of Rock The Sex Revolts: Gender, Rebellion and Rock 'n' RollĮnergy Flash: A Journey Through Rave Music and Dance Culture Rip It Up and Start Again: Postpunk 1978-1984 Bring the Noise: Though they were at the height of their fame, internal tensions caused the band to splinter apart in 1984, with Sting picking up the majority of the band’s audience to become an international superstar.Publications. All the while, the band’s tight delivery and mastery of the pop single kept their audience increasing, and by 1983, they were the most popular rock & roll band in the world. As their career progressed, the Police grew considerably more adventurous, experimenting with jazz and various world musics. While they weren’t punk, the Police certainly demonstrated that the punk spirit could have a future in pop music. And Sting, with his high, keening voice, was capable of constructing infectiously catchy pop songs. Stewart Copeland could play polyrhythms effortlessly. Andy Summers had a precise guitar attack that created dense, interlocking waves of sounds and effects. All three members were considerably more technically proficient than the average punk or new wave band. The trio’s nervous, reggae-injected pop/rock was punky, but it wasn’t necessarily punk. Nominally, the Police were punk rock, but that’s only in the loosest sense of the term.
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