And yet, perhaps because he was so young, the records by the Sweet and Alice Cooper he heard on the radio had an outsize impact on him. I’m not sure where that came from,” Moseley said at a … Free UK p&p over £10, online orders only. All told, though, this is a wonderful celebration of – and reckoning with – a generation of chancers, chameleons and lunatic geniuses who proved, as Adam Ant later claimed, that “ridicule is nothing to be scared of”. Four chapters are dedicated to Bowie’s career, for instance, including two that lie way outside glam rock’s timeline, and Reynolds discusses working on this book when the death was announced in his final chapter, Aftershocks. Phone orders min p&p of £1.99. But at its best, Shock and Awe still feels like it strains to be Spotlight-lite and comes up lacking. A Lycra-jumpsuited Bowie putting his arm around Mick Ronson on Top of the Pops was one thing; across the Atlantic, Wayne County was squirting dildos full of milk at clubgoers and singing, while sprawled across a gynaecological table, “You’ve Got to Get Laid to Be Healthy (And I’m the Healthiest Girl in Town)”. Occasionally there’s the tiring sense of a man spotting a word – oh, “charisma”! A mixture of bubblegum pop and football-terrace stomp: the Sweet, 1971. – and running excitedly to the OED, much like a student starting an essay with a long definition. In publishers’ terms, Shock and Awe – a hefty, intellectual book about glam rock – is timely. 1. You just let yourself go.” Bolan himself once described a hit record as “a magic spell”, and Reynolds offers suggestive parallels between pop and magic: in previous centuries, it was commonplace to talk of canny individuals who “cast the glamour”. There’s Kate Bush, like Bowie a student of mime artist Lindsay Kemp, attending the last Ziggy Stardust concert, and John Lydon’s transformation from Sex Pistol to Public Image member being viewed through the lens of the genre that preceded punk. Elsewhere, Disc magazine ran a story headlined “Lock Up Your Sons, It’s the New York Dolls”. The Guardian and VICE News, among others. Operation Shock and Awe does not frighten me, but Richard Perle's chilling words do (Thank God for the death of the UN, March 21). This book, Shock And Awe, in the Lantern Beach Guardians series is an outstanding book. Rating: C. The new Rob Reiner film, Shock and Awe begins with a quote from Bill Moyers: “There is no more important struggle for American democracy than insuring a free independent and diverse media.”. As they work the case of a missing person and a body found in the water, they are also guarding a little girl, Annabelle, from danger. Slipknot review – showbiz shock and awe. As they work the case of a missing person and a body found in the water, they are also guarding a little girl, Annabelle, from danger. Glam took this to another level. This book, Shock And Awe, in the Lantern Beach Guardians series is an outstanding book. Alexander Vedernikov proved to be an economical master of Shostakovich’s music; pianist Denis Kozhukhin was a … (Reynolds regulars might remark that glam rock allows this instinctive doubter of nostalgia his chance to enjoy nostalgia: it holds just enough forward thinking to give him a pass.). Usher Hall, Edinburgh. It didn’t crave the respect of critics so much as the hormonal lust of teenagers. Without it, we would be lost. By Liam Lacey. Its leading lights were inspired by music hall, mime, children’s and mythological literature – a distinctly non-rock and un-American family tree. Shock and Awe book. There was philosopher Simon Critchley’s hastily written tribute to his idol in April and Paul Morley’s torrential, first-person aide-mémoire in July. Click here to buy it for £20.50, An intelligent and affectionate analysis captures British pop’s most glittering moment – and much more. (beginning of war in iraq. They convinced him that pop should be “alien, sensationalistic, hysterical in both senses, a place where the sublime and the ridiculous merge and become indistinguishable”. “I think it should be tarted up, made into a prostitute, a parody of itself. Shock and Awe is published by Faber & Faber (£25). There’s a lightning bolt on the cover of this book, in bright red and blue, a logo still alive with the shock of the new. )so yeaah. There is a long tradition of pop musicians, especially British ones, suffering ridicule for being effete or androgynous. It’s too much. Cassidy and Ty once again find themselves involved with a situation that could adversely affect the island inhabitants. The lack of joy in this sentence says much about Reynolds’s usual uber-serious style, recalling Caitlin Moran’s description of him in her bestselling memoir How to Be a Woman, remembering the early 1990s, when both were Melody Maker writers: “[He is] a pre-Raphaelite Oxford graduate, into unlistenably cutting-edge dance music… so clever, half of us are too scared to talk to him.”. According to Reynolds, “Disco meant loud guitar music with a foot-stomping beat and a yell-able chorus.” Still, these records were often startlingly futuristic; one music critic attacked a single by the Sweet for its “computerised sound”. Read 5 reviews from the world's largest community for readers. Of Roxy Music’s song “Mother of Pearl”, he observes: “Every line is delivered with a deranged archness of emphasis, suffusing the entire song with a kind of poisoned camp.”. According to The Guardian correspondent Brian Whitaker in 2003, "To some in the Arab and Muslim countries, Shock and Awe is terrorism by another name; to others, a crime that compares unfavourably with September 11." Reynolds situates these people and their songs stimulatingly in relation to their times, and in relation to historical movements such as dandyism, and in the original meaning of concepts such as glamour (a word about visual illusions, popularised by Sir Walter Scott in the 1820s). At its best, Shock and Awe still feels like it strains to be Spotlight-lite and comes up lacking. But the “shock and awe” phase can’t go on forever, nor is it ever intended to. “Shock and Awe” reminds the audience that few if any Bush administration officials were held to account for deceiving the public in any meaningful way. The film, Shock and Awe, provides an important reminder that news organizations and programs need to challenge governmental accounts of events and the evidence governmental actors present. Its purpose is (a) to terrorize the targeted masses into a state of submission, (b) to irreversibly destabilize their society, so that it can be radically “restructured,” and (c) to convincingly demonstrate an overwhelming superiority of force, so that resistance is rendered inconceivable. Cassidy and Ty once again find themselves involved with a situation that could adversely affect the island inhabitants. There’s Alice Cooper taking its sound and spirit into realms of heavier rock; Suzi Quatro androgynising rock as a woman (glam is a very male world); Slade going gung-ho for the mainstream while never not looking like a bunch of blokes from the Black Country. The era’s dark undertow (in discussions of Gary Glitter and of Kim Fowley’s alleged rape of the bassist of the Runaways) is handled well. The horror-masked, anti-establishment Iowa band’s showbiz tactics still whip up their enthusiastic fans. Asked about Shock and Awe, Wolfowitz said, “I don’t care for that phrase.” Gen. T. Michael Moseley, then the Gulf War II combined force air component commander, was of similar opinion. Sheffield arena, Sheffield. Artfully dropped cultural and sociological theory – particularly about the choreography of self-identity – can be found in every chapter, but even more pleasing is Reynolds’s eye for odd details: Bolan initially spelled his surname with an umlaut; at Dulwich College, Phil Manzanera (later of Roxy Music) formed a band called Pooh and the Ostrich Feathers; Slade’s Dave Hill had a personalised licence plate (YOB 1); the “coloured girls” on Lou Reed’s “Walk on the Wild Side” were actually a trio of all-white British girls called Thunderthighs. As the movie is re-released, its maker Victor Schonfeld relives the horrors that inspired his work - and wonders if TV would have the guts to show it today. He pumps feeling into you. It reminds us of a time when British pop was arguably at its boldest, its flashiest, its most fun, throwing glitter on its eyes and its boots, through the sounds of its electric guitars and skin-tight thumping drums. ... “Shock and Awe” feels more timely than it might have. Pop music, David Bowie told Rolling Stone magazine in 1971, suffered by being taken too seriously. This book, Shock And Awe, in the Lantern Beach Guardians series is an outstanding book. Partly, Reynolds suggests, this was a matter of historical timing: national service was a distant memory and the emergence of more liberal child-rearing philosophies was changing models of masculinity, while the rise of gay rights activism and the heady transgressions of Alternative Miss World created a climate for talk and displays of sexual experimentation. It viewed rock as beardy and hirsute, hobbled by its desire to be taken seriously as an art form. The results are frequently giddy and wonderful. Record labels sent promotional copies to DJs to gauge dancefloor reaction. Over 680 pages in length, Shock and Awe is a suitably (ridiculously?) It also marked a return to the thrill of the pop single rather than the themed or concept album. Afterwards, Shock and Awe makes its way through its main course — the long, murky journey between the attacks and the titular 2003 military campaign that ousted Saddam Hussein and led to … Few films will be as shocking as this year's Violation (available on Shudder). 1. Commenting has been disabled at this time but you can still. But it also includes such moments as Sen. Robert Byrd’s moving speech drawing parallels between the lies that drew America into its Vietnam debacle and the falsehoods that would destroy many American and Iraqi lives in Iraq. Still, the net effect is palpable. Over Shock and Awe "The truth matters!" Review: In ‘Shock and Awe,’ Journalists Expose Gaps in Case for Iraq War. It is viewed as too girly and confected, the antithesis of rebellious sonic subcultures such as punk and reggae – light entertainment rather than art. Music historians, with exceptions such as Fred and Judy Vermorel in Starlust: The Secret Life of Fans (1985), don’t tend to explore the relationship between performers and fans very deeply. Glam harked back to the baroque stagecraft and outsized personae of Arthur Brown, Lord Sutch, Screamin’ Jay Hawkins. It is now the lifeblood of the modern world, fueling our lives and underpinning every aspect of technological advancement. Last modified on Wed 21 Mar 2018 23.58 GMT. Until recently, electricity was seen as a magical power. Take the introduction, transporting us from a small boy dazzled by glam on a black-and-white TV (“[it was] what pop is and should be – alien, sensationalistic, hysterical in both senses, a place where the sublime and the ridiculous merge and become indistinguishable”), to a man assessing the “radical and reactionary” elements of glam itself – its innovations in style and sexual experimentation, and its regressiveness in terms of rock’n’roll nostalgia. Get your glitter on … Marc Bolan and T Rex on Top of the Pops, 1972. Commenting has been disabled at this time but you can still. Reynolds is always focused on how teenage this genre was in its appeal and its market, quoting a great Noddy Holder statement from the time: “We don’t want no underground leftovers, we are going for the kids.” Catch your fans while they are excitedly, fantastically, working out what they could be, goes the logic, before earnestness, or pretentiousness, or workaday adulthood, kicks in. I get that: his writing can be so heavily serious, it can make you feel afraid to read more of him. Books heavy with the legacy of David Bowie (from whom that lightning bolt came, painted down his face on the cover of 1973’s Aladdin Sane) have landed quickly and fiercely since his death back in January. In publishers’ terms, Shock and Awe – a hefty, intellectual book about glam rock – is timely. Shock and Awe has a worthy story to tell and some fine actors trying to bring it to life; unfortunately, the end results are still as derivative as they are dramatically inert. It should be the clown, the Pierrot medium.” All those qualities could be found in glam rock, the phosphorescence of sound, image and avant-absurdism that lit up the British charts in the early 70s. "Shock and Awe" only shows us the heroes of a time when the press unwittingly laid down on the job and allowed our pens to be used as propaganda tools. Anti-war protesters in 2003 also claimed that "the shock and awe pummeling of Baghdad [was] a kind of terrorism." James Marsden and Woody Harrelson in "Shock and Awe." Decades later, Wolfgang Voigt, co-founder of revered techno label Kompakt, would sample T-Rex’s ‘“Life’s A Gas”. Reynolds makes a point of contrasting the stiffness and scepticism of contemporary critics of glam with the simultaneously unbridled and sharp insights of bands’ teenage apostles. This is the British Museum’s first new show since reopening, and it never ceases to startle. With Jim Al-Khalili, Jon Agar, Patricia Fara, Iwan Morus. Cassidy and Ty once again find themselves involved with a situation that could adversely affect the island inhabitants. “The term Shock and Awe has never been a term that I’ve used. (Iggy Pop is quoted as saying that his band consciously avoided college gigs and the “herd mentality” of university students in order to target “high school drop-outs, troubled drug kids, kids who were so totally into music that it wasn’t just a part of a lifestyle”.) Read critic reviews But something great happens in Shock and Awe: the eight-year-old enthusiastic pop-lover that Reynolds once was combines with the 53-year-old deep thinker he now is. 'Shock and Awe' review: Woody Harrelson, James Marsden star in Rob Reiner's heavy-handed movie about Knight Ridder's pre-Iraq war reporting here’s a lightning bolt on the cover of this book, in bright red and blue, a logo still alive with the shock of the new. Often these excursions are exhilarating, though, like Reynolds’s delvings into the term “Roxy” from which came the north-east’s Roxy Music (it’s the name of the dancing club in Keith Waterhouse’s Billy Liar, a novel about another young dreamer from the industrial north, and of the huge 1920s New York movie palace, designed, much like glam rock, “to make the average citizen feel like royalty”). Shock and Awe includes “A Partial Inventory of Glam Echoes and Reflections” that discusses the New Romantics, Siouxsie and the Banshees, Bauhaus, Marilyn Manson, Prince, Lady Gaga and Kanye West. To order a copy for £20.50 (RRP £25) go to bookshop.theguardian.com or call 0330 333 6846. Full Review | Original Score: 2/5 It reminds us of a time when British pop was arguably at its boldest, its flashiest, its most fun, throwing glitter on its eyes and its boots, through the sounds of its electric guitars and skin-tight thumping drums. From Bowie to T-Rex, glam was a gaudy, fun reaction … Readers will agree or disagree with these comparisons. In de nasleep van de terreuraanslagen van 11 september 2001 werkt George W. Bush aan een plan om Irak binnen te … The title is a misnomer. Film Review: ‘Shock and Awe’ Rob Reiner's well-meaning drama about journalistic integrity prior to the Iraq War is a little too cozy for its punchy politics. T here is a moment during the final part of Ivo van Hove ’s conflation of Shakespeare’s Henry V, Henry VI and Richard III when Hans Kesting’s scheming Richard tries on the crown for size. The title is a misnomer. wazzup guys, noah here.i'm so damn fascinated by iraq and shock and awe. Put on your silver platform boots, Last modified on Wed 16 Oct 2019 12.10 BST. It could slay the living, revive the dead, and bend the laws of nature. Reynolds’s book is broader, of course, having been years in the making since his 2011 exploration of the power of nostalgia in a technological age, Retromania, but you still sense it being reshaped in the shock waves of that loss. The final chapter, Aftershocks, about glam rock’s late, shuddering impacts, also offers some interesting connections. Simon Reynolds, widely regarded as one of the world’s most important music writers – The Sex Revolts (co-authored with his wife Joy Press), Energy Flash (about rave), and Rip It Up and Start Again (on post-punk) are all classics – wasn’t even a teenager when glam was in its ascendancy. From Bowie to T-Rex, glam was a gaudy, fun reaction to serious beardy music, as well as a risky celebration of androgyny. 5. stars 5 out of 5 stars. Perhaps the most revelatory section is on how, by 1974, there were already 25,000 mobile discos up and down the UK. Reynolds writes of Freddie Mercury’s “diabetic delirium”; he describes Cockney Rebel’s Steve Harley as “all fey chirrups and goblin sneers” and Alice Cooper’s scream as “a dark whooshing sound like a kamikaze closing in exultantly on death”. He writes not only about glam’s big guns, but “failures” such as Jook and the Heavy Metal Kids. The rise of the audio processor Auto-Tune and other technologies that process and reshape the human voice has led to a growing interest in how to describe and understand vocality. Glam (known as “glitter” in the US) was an anthology of revolt. gargantuan study of “a time when pop was titanic, idolatrous, unsane, a theatre of inflamed artifice and grandiose gestures”. Was there ever a more piercing account of Marc Bolan’s auratic dynamism than that of 15- year-old Noelle Parr who, in a letter to Melody Maker, sighed: “His body actually ripples. “Shock and Awe” reminds us all of this, and of the American media’s shameful complicity in fomenting an unjustified and vastly destructive war. It’s about the magic of the popular (important word: popular) arts at their most inventive and curious, about adventure dressed up and turned up, brazenly changing the world. T Rex on Top of the Pops, 1972: Marc Bolan ‘androgynised rock – but without sacrificing urgency or heat’. Bowie’s influence flashes on and off, though, as a recurring signal of reinvention and renewal; Reynolds does not feel a romantic connection to the artist himself. Shock and Awe movie reviews and ratings -Frontrowcentre.com rating of 3.17 out of 5 Stars. Sometimes, Reynolds’s analogies go rather too far, but you can forgive him his enthusiasm, really: Shock and Awe is hard to rein in because it’s about more than glam rock. This is an art of shock and awe, of violence, bloodshed and ecstatic laughter. Early on, Reynolds also puts forward the interesting notion that glam rock popularised ideas that became known to the masses as postmodernism, as past forms were embraced and infused, fondly, with irreverence, from the off. As they work the case of a missing person and a body found in the water, they are also guarding a little girl, Annabelle, from danger. “Having immersed myself so intensely in his life’s work, and his whole era, as a historian, [Bowie] had curiously come to seem like history to me,” he writes staunchly. The book moves chronologically, kicking off with Reynolds’s own Bowie figure, Marc Bolan (“[he] androgynised rock – but without sacrificing urgency or heat”), then proffers detailed mini-biographies of others who took glam in their own wayward directions. Shock and Awe is published by Faber. Blokes sporting make-up and vertiginous platform boots, songs that were precision-tooled melodramas of bubblegum pop and football-terrace stomp, a belief in pop itself as a liberating space for fantasy and shape-shifting: it’s perhaps unsurprising that glam, in whose rise Bowie played a huge part, has never been taken very seriously. Shock and Awe: Glam Rock and Its Legacy by Simon Reynolds – review | Books | The Guardian. Jook and the Heavy Metal Kids was ] a kind of terrorism. mobile discos and. I ’ ve used 1974, there were already 25,000 mobile discos up and the! Every aspect of technological advancement ( known as “ glitter ” in the )... 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