By Simon Reynolds
Bring the Noise weaves jointly interviews, studies, essays, and contours to create a severe heritage of the final two decades of popular culture, juxtaposing the voices of a lot of rock and hip hop’s such a lot provocative artists—Morrissey, Public Enemy, The Beastie Boys, The Stone Roses, P.J. Harvey, Radiohead—with Reynolds’s personal passionate research.
With the entire strength and perception you are going to count on from the writer of Rip It Up and begin Again, Bring the Noise tracks the alternately fraught and fertile courting among white bohemia and black highway track. the choices transmit the immediacy in their second whereas delivering a operating remark at the broader enduring questions of race and resistance, multiculturalism, and department. From grunge to dirt, from Madchester to the soiled South, Bring the Noise chronicles hip hop and replacement rock’s competing claims to be the leading edge of innovation and the voice of competition in an period of conservative backlash.
Alert to either the bright element and the large photo, Simon Reynolds has formed a compelling narrative that cuts throughout a thrillingly turbulent two-decade interval of dad song.
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Extra resources for Bring the Noise: 20 Years of Writing About Hip Rock and Hip Hop
I am saying that, beyond the manifest and declared objective of technological rationalisation, which is to extend the scope of visual experience, we should be concerned with other, obscure and deep-seated drives, which have sought to neutralise the visual relation to the world and escape the consequences of visual encounter. I want to 23 THE TOUCH OF THE UNKNOWN consider the nature and significance of our investment in technological developments in terms of the possibilities that are inhibited and foreclosed.
We are involved and implicated in the reciprocity of contact. And in this we cannot be the sole initiators—we cannot escape from being touched by the Other. We are also exposed to being touched by the Other in our emotional and moral senses. Emmanuel Levinas describes such openness and receptivity to the Other in terms of ‘caress’: The caress is a mode of the subject’s being, where the subject who is in contact with another goes beyond this contact. Contact as sensation is part of the world of light.
Human cultures project their fears onto what is outside and unknown, and then set to work to protect themselves from the threat that is imagined to be ‘out there’. This primacy of fear—presenting itself as a fear of what is beyond, though, more fundamentally, it is a fear of reality itself—is central to my arguments concerning psychic investment in technologies and technoculture. Returning now to this substantive issue, I want to consider how technologies, and specifically image and vision technologies, are mobilised in protection against the (imagined and real) fearfulness of existence in this world.
Bring the Noise: 20 Years of Writing About Hip Rock and Hip Hop by Simon Reynolds