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Pin-Ups 1972: Third Generation Rock ’n’ Roll de Peter Stanfield

Pin-Ups 1972: Third Generation Rock ’n’ Roll

Autor Peter Stanfield
en Limba Engleză Hardback – 17 mai 2022
A sleazy, neon- and grease-stuffed chronicle of London’s rock scene during the pivotal year of 1972—from Marc Bolan to the New York Dolls.
 
Elvis, Eddie, Chuck, Gene, Buddy, and Little Richard were the original rockers. Dylan, the Beatles, the Stones, and the Who formed rock’s second coming. As the 1960s turned into the 1970s, the crucial question was who would lead rock ’n’ roll’s third generation?
 
Pin-Ups 1972 tracks the London music scene during this pivotal year, all Soho sleaze, neon, grease, and leather. It begins with the dissolution of the underground and the chart success of Marc Bolan. T. Rextasy formed the backdrop to Lou Reed and Iggy Pop’s British exile and their collaborations with David Bowie. This was the year Bowie became a star and redefined the teenage wasteland. In his wake followed Roxy Music and the New York Dolls, future-tense rock ’n’ roll revivalists. Bowie, Bolan, Iggy, Lou, Roxy, and the Dolls—pin-ups for a new generation.
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Specificații

ISBN-13: 9781789145656
ISBN-10: 1789145651
Pagini: 344
Ilustrații: 30 color plates
Dimensiuni: 140 x 216 x 33 mm
Greutate: 0.59 kg
Editura: REAKTION BOOKS
Colecția Reaktion Books

Notă biografică

Peter Stanfield’s books include Maximum Movies: Pulp Fictions, Hoodlum Movies, and A Band with Built-In Hate: The Who from Pop Art to Punk, the last also published by Reaktion Books. Music is integral to his work, be it the blue yodel of a singing cowboy or the chug ’n’ churn of a biker soundtrack.

Recenzii

"Bringing together meticulously researched material from the media of the time the book covers the rise and demise of Marc Bolan, the culture shock of the Stooges, and the all-pervading influence of the Velvet Underground and Bowie among an abundance of other interrelated artists. . . . The unpredictability of success is underlined whilst future punks stand ready, absorbing their influences, in this fascinating and thoughtful look at a turbulent period in popular music."

“Looks at a year that saw the emergence of a vibrant new generation of rock and rollers—spearheaded by David Bowie, T Rex, and Roxy Music.”

"An engaging, detailed writer, Stanfield anoints Roxy Music as purveyors of suburban glamour, while featuring Mick Farren, who couldn't sell a record, and Marc Bolan, who (briefly) couldn't stop selling them. He tells us of Lou Reed living in Wimbledon, and Iggy Pop conceiving Search & Destroy while strolling in Kensington Gardens. . . . And a reminder that nobody noticed when the New York Dolls first came to town in—hurrah!—1972. . . . The journey is . . . riveting. . . . Splendid stuff.”

"The pre-punk bloodline—from the Velvet Underground and MC5 to the Stooges to New York Dolls and Roxy Music—is the one Stanfield's Pin-Ups 1972 focuses on. . .. His research on the period is incredibly thorough. . .. [His] deep dive into the media coverage . . . illuminates the molding of several stars’ images over the space of a few years—in particular Bowie, Roxy, and T. Rex’s Marc Bolan."

"Momentous new book... Opposing views of authenticity, the underground’s clash with the mainstream and art’s clash with artifice and commerce, these are things that went into shaping the music, and Stanfield explores them with an addictive enthusiasm... Pin-Ups 1972 will leave you breathless from the number of different ways it comes at the music and reeling from the sheer number of points it makes."

“Stanfield has scavenged the ruins—foxed paperbacks, illegible underground press layouts, yellowed national newspaper cuttings, tatty pages from Disc and NME, and creased copies of curious sex magazines (including Curious)—to join the dots between art and artifice, from avant-garde interiors and anti-fashion boutiques to wayward rockers, glam-Mods, and anachronistic Teds. Pin-Ups 1972 is an exhilarating ride through postmodern popular culture at its peak.”

“This intensely researched, vividly detailed book plunges you into the electric moment of 1972—a year as revolutionary in rock history as 1967 or 1977.”

“A fabulous new book. . . . What you don’t get is recycled anecdotes, biography, or even too much in the way of music criticism—although the reappraisal of Bowie’s Pin-Ups is magnificent. Stanfield is more interested in the wider culture, with rock being as much about performance and publicity and fandom as it is about chords and melodies. Which for the writers and musicians of 1972, it almost certainly was.”