Invisible Republic: White Rabbit Deep Cuts
Autor Greil Marcusen Limba Engleză Paperback – 24 iun 2027
It was 1967 - the Summer of Love. Bob Dylan and five other musicians (later known as The Band) met in a bungalow in Woodstock, New York, and wrote and produced music that ignored the psychedelic sounds of the time, songs that would eventually become known simply as "The Basement Tapes." The group mined the history of American music and their own talents to produce legendary tracks that were bootleg issues before appearing in official release.
That is the alchemy that was practiced in the Basement Tapes laboratory, and "in that alchemy," Marcus writes, "is an undiscovered country, like the purloined letter hiding in plain sight." Marcus explores this music and the cauldron of the American experience in which it was formed in a book that illuminates America, then and now.
Din seria White Rabbit Deep Cuts
- 24%
Preț: 94.44 lei - 23%
Preț: 84.78 lei - 23%
Preț: 96.64 lei - 26%
Preț: 68.58 lei - 24%
Preț: 94.03 lei - 27%
Preț: 77.80 lei - 24%
Preț: 95.10 lei - 25%
Preț: 174.66 lei - 27%
Preț: 68.13 lei - 25%
Preț: 81.68 lei - 26%
Preț: 69.33 lei - 27%
Preț: 77.64 lei - 24%
Preț: 94.14 lei - 25%
Preț: 69.90 lei - nou
Preț: 81.47 lei
Preț: 89.77 lei
Precomandă
Puncte Express: 135
Carte nepublicată încă
Livrare prin curier în România Precomanda se expediază când titlul devine disponibil.
Transport gratuit de la 400.00 lei Plată online sau ramburs, în funcție de opțiunile comenzii.
Retur gratuit în 14 zile Comandă securizată și suport în română.
Doresc să fiu notificat când acest titlu va fi disponibil:
Se trimite...
Specificații
ISBN-13: 9781399649339
ISBN-10: 1399649337
Pagini: 304
Dimensiuni: 129 x 198 mm
Editura: Orion Publishing Group
Colecția White Rabbit
Seria White Rabbit Deep Cuts
Locul publicării:London, United Kingdom
ISBN-10: 1399649337
Pagini: 304
Dimensiuni: 129 x 198 mm
Editura: Orion Publishing Group
Colecția White Rabbit
Seria White Rabbit Deep Cuts
Locul publicării:London, United Kingdom
Recenzii
This book is a terminal, goes deeply into the subconscious and plows through that period of time like a rake. Greil Marcus has done it again
Marcus's writing works much like music: it flies by in a comet tail
It is the speculative intelligence with which Marcus chases the spectres and wraiths of this country's musical past that emerges as the exhilarating feat of Invisible Republic . . . No previous writer has so transportingly or authoritatively revealed Mr Dylan against the receding vistas of American music and culture
Nearly everyone will be dazed at one point or another along the mystery trip that Marcus leads, because his desire is not to settle your notions but to vaporise them . . . Marcus knows where Dylan is at all times, in his absence as well as his presence. On the haunted back roads of the Invisible Republic, these two elusive old masters, tricksters both, have finally met their match
The years best work of criticism, hands down . . . Marcus draws bold freehand loops around Dylan's music, loops so wide and loose that they take in not just the breadth of American folk music, but huge chunks of American history as well. This is the best kind of history book, one that acknowledges that mythology is sometimes the truest kind of fact
Marcus's contention is that there can be found in American folk a community as deep, as electric, as perverse and as conflicted as all America, and that the songs Dylan recorded out of the public eye, in a basement in Woodstock, are where that community as a whole gets to speak
Marcus has always been set on discovering how much a performer can bring to his or her material, and how much a critic can bring to bear on those performances . . . He offers his readers a breathtaking sense of freedom
Dylan once famously described folk music as 'nothing but a mystery'. Here the mystery is thoroughly explored and gloriously deepened
Will stand as one of the classics of American criticism
Reads like a thriller
[Marcus's] work is very likely the most imaginative criticism being done, but it's more than that: it's a light in dark times
The wisest, funniest book about rock since Marcus's own 1975 Mystery Train
A poetic encounter with the latent stories of America's manifest dreams. Non-fiction novel of the year
In many ways, [Marcus's] most subtle book. Marcus's love of gnostic self-creation, of infinite possibility, is tempered here by a profound awareness of the power of tradition, of the way in which the new makes sense only because of, not despite, the old
One heaven of a book . . . What Marcus brings to these songs is a variety of good things: fierce fervour, social convictions, a loving discrimination, never a touch of envy and an extraordinary ability to evoke in words the very feel (throaty, threatening, thorough, thick with thought) of a man's voice, of this man's voice
Marcus finds in the Basement Tapes an unfinished synthesis of free speech and the shaggy-dog story, two obsessions of Marcus's writing and perhaps finally of American history
The country mapped in this book is not Woody Guthrie's land made for you and me . . . It's what Marcus calls 'the old, weird America'
Marcus's writing works much like music: it flies by in a comet tail
It is the speculative intelligence with which Marcus chases the spectres and wraiths of this country's musical past that emerges as the exhilarating feat of Invisible Republic . . . No previous writer has so transportingly or authoritatively revealed Mr Dylan against the receding vistas of American music and culture
Nearly everyone will be dazed at one point or another along the mystery trip that Marcus leads, because his desire is not to settle your notions but to vaporise them . . . Marcus knows where Dylan is at all times, in his absence as well as his presence. On the haunted back roads of the Invisible Republic, these two elusive old masters, tricksters both, have finally met their match
The years best work of criticism, hands down . . . Marcus draws bold freehand loops around Dylan's music, loops so wide and loose that they take in not just the breadth of American folk music, but huge chunks of American history as well. This is the best kind of history book, one that acknowledges that mythology is sometimes the truest kind of fact
Marcus's contention is that there can be found in American folk a community as deep, as electric, as perverse and as conflicted as all America, and that the songs Dylan recorded out of the public eye, in a basement in Woodstock, are where that community as a whole gets to speak
Marcus has always been set on discovering how much a performer can bring to his or her material, and how much a critic can bring to bear on those performances . . . He offers his readers a breathtaking sense of freedom
Dylan once famously described folk music as 'nothing but a mystery'. Here the mystery is thoroughly explored and gloriously deepened
Will stand as one of the classics of American criticism
Reads like a thriller
[Marcus's] work is very likely the most imaginative criticism being done, but it's more than that: it's a light in dark times
The wisest, funniest book about rock since Marcus's own 1975 Mystery Train
A poetic encounter with the latent stories of America's manifest dreams. Non-fiction novel of the year
In many ways, [Marcus's] most subtle book. Marcus's love of gnostic self-creation, of infinite possibility, is tempered here by a profound awareness of the power of tradition, of the way in which the new makes sense only because of, not despite, the old
One heaven of a book . . . What Marcus brings to these songs is a variety of good things: fierce fervour, social convictions, a loving discrimination, never a touch of envy and an extraordinary ability to evoke in words the very feel (throaty, threatening, thorough, thick with thought) of a man's voice, of this man's voice
Marcus finds in the Basement Tapes an unfinished synthesis of free speech and the shaggy-dog story, two obsessions of Marcus's writing and perhaps finally of American history
The country mapped in this book is not Woody Guthrie's land made for you and me . . . It's what Marcus calls 'the old, weird America'