RETROMANIA ~ Pop Culture\'s Addiction to Its Own Past
Book review and technical detail RETROMANIA ~ Pop Culture\'s Addiction to Its Own Past Simon Reynolds
|Technical detail of RETROMANIA ~ Pop Culture\'s Addiction to Its Own Past|
|Title||RETROMANIA ~ Pop Culture\'s Addiction to Its Own Past|
|Category||Entertainment & Sports|
|Publisher||Farrar, Straus and Giroux|
|Publishing Date||1st January, 1970|
A arch British music analyzer argues that our allure with the contempo accomplished has aside addition and boldness in accepted culture. Noting that “there has never been a association in animal history so bedeviled with the cultural artifacts of its own actual past,” Reynolds (Bring the Noise: 20 Years of Writing About Hip Bedrock and Hip Hop, 2011, etc.) offers cogent examples of the “lame and shameful” retromania in pop music, including revivals, reissues, reunions, accolade albums, aureate age-old shows, boxed sets and music documentaries. Allotment of a broader civic attraction with nostalgia—e.g., remakes of blockbuster movies, iconic TV shows and best fashions—this connected use and corruption of the accomplished prevents the authoritative of groundbreaking music. New styles like hip hop and babble adeptness can no best emerge; instead, pop musicians of the 2000s abuse accustomed agreeable genres and arrest archives. Much of Reynolds’s absorbing, blithely accounting and circuitous book focuses on the change of pop nostalgia, alpha with the actualization of Sha Na Na, the ’50s awakening group, in 1969, and the consecutive acceleration of a rock-nostalgia industry that reunited Dion and the Belmonts, the Five Satins and added groups. By the ’80s, rock’s history was actuality archived at venues like the Bedrock and Roll Hall of Fame, area the ashes of acclaimed bedrock deejay jockey Alan Freed, the accouterment John Lennon wore back he was attempt and added memorabilia were displayed like “medieval angelic relics.” Disappointed by visits to such museums and to performances by adapted groups like the New York Dolls, Reynolds fears that our attraction with the contempo accomplished has become a structural allotment of bedrock music. Retromania is fabricated accessible by our accretion adeptness to admission and allotment cultural abstracts through new technologies. Important—and alarming—reading for pop-music aficionados.
One of The Telegraph's Best Music Books 2011 We live in a pop age gone loco for retro and crazy for commemoration. Band re-formations and reunion tours, expanded reissues of classic albums and outtake-crammed box sets, remakes and sequels, tribute albums and mash-ups . . . But what happens when we run out of past? Are we heading toward a sort of culturalecological catastrophe where the archival stream of pop history has been exhausted? Simon Reynolds, one of the finest music writers of his generation, argues that we have indeed reached a tipping point, and that although earlier eras had their own obsessions with antiquity―the Renaissance with its admiration for Roman and Greek classicism, the Gothic movement's invocations of medievalism―never has there been a society so obsessed with the cultural artifacts of its own immediate past. Retromania is the first book to examine the retro industry and ask the question: Is this retromania a death knell for any originality and distinctiveness of our own?
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