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by Jon Savage
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  • Author:
    Jon Savage
  • ISBN:
    081667292X
  • ISBN13:
    978-0816672929
  • Genre:
  • Publisher:
    Univ Of Minnesota Press; 1 edition (August 4, 2010)
  • Pages:
    752 pages
  • Subcategory:
    Music
  • Language:
  • FB2 format
    1787 kb
  • ePUB format
    1472 kb
  • DJVU format
    1988 kb
  • Rating:
    4.9
  • Votes:
    256
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The England's Dreaming Tapes book.

The England's Dreaming Tapes book.

Widely imitated but never equaled, it remains that rare work of music history that appeals to music fans, critics, and scholars alike.

Jon Savage (born Jonathan Malcolm Sage; 2 September 1953 in Paddington, London) is an English writer, broadcaster and music journalist, best known for his history of the Sex Pistols and punk music, England's Dreaming, published in 1991

Jon Savage (born Jonathan Malcolm Sage; 2 September 1953 in Paddington, London) is an English writer, broadcaster and music journalist, best known for his history of the Sex Pistols and punk music, England's Dreaming, published in 1991. Savage read Classics at Magdalene College, Cambridge, graduating in 1975. Becoming a music journalist at the dawn of British punk, he wrote articles on all of the major punk acts, publishing a fanzine called London's Outrage in 1976

Eighteen years after the publication of England's Dreaming, Jon Savage's exhaustive history of British punk, comes this selection of the interviews that provided the raw material for the book.

Eighteen years after the publication of England's Dreaming, Jon Savage's exhaustive history of British punk, comes this selection of the interviews that provided the raw material for the book.

"The England's Dreaming Tapes" is undoubtedly the best interview-based book on British punk published thus far. It's an indispensable documentary resource that offers panoramic insight into UK punk's most innovative and influential stage; it manages to immerse the reader in th. .

-Wilson Neate, "Blurt".

item 1 The England's Dreaming Tapes, Savage, Jon, Good Condition Book, ISBN 97805712093 -The . Jon Savage is the author of England's Dreaming: Sex pistols and Punk Rock and Teenage: The Creation of Youth, 1875-1945

item 1 The England's Dreaming Tapes, Savage, Jon, Good Condition Book, ISBN 97805712093 -The England's Dreaming Tapes, Savage, Jon, Good Condition Book, ISBN 97805712093. Jon Savage is the author of England's Dreaming: Sex pistols and Punk Rock and Teenage: The Creation of Youth, 1875-1945. He has written sleeve notes for Wire, St. Etienne and the Pet Shop Boys, among others, and his compilations include: Meridian 1970 (Heavenly/EMI 2005); Queer Noises: From the Closest to the Charts 1961-1976 (Trikont 2006); and Dreams Come True: Classic Electro 1982-87 (Domino 2008).

Download book The England's dreaming tapes, Jon Savage.

University of Minnesota Press, (c)2010. Download book The England's dreaming tapes, Jon Savage.

The England's Dreaming Tapes by Jon Savage is the full, uncut retelling of the sensational story . Jon Savage is the author of England's Dreaming: Sex Pistols and Punk Rock and Teenage: The Creation of Youth, 1875 - 1945.

The England's Dreaming Tapes by Jon Savage is the full, uncut retelling of the sensational story behind the cultural moment that was punk and its defining band, the Sex Pistols. He has written sleevesnotes for Wire, St. Etienne and the Pet Shop Boys, among others, and his compilations include: Meridian 1970 (Heavenly/EMI 2005); Queer Noises: From the Closest to the Charts 1961 - 1976 (Trikont 2006); and Dreams Come True: Classic Electro 1982-87.

Widely imitated but never equaled.

Jon Savage's 1991 book, England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond, was hailed by the New York Times Book Review as "the definitive history of the English punk movement." Widely imitated but never equaled, it remains that rare work of music history that appeals to music fans, critics, and scholars alike. In researching England's Dreaming, Savage conducted hundreds of hours of interviews of which only a fraction made it into the finished book. Now, in The England's Dreaming Tapes, Savage makes available for the first time the full, uncut, sensational story behind the cultural moment that was punk.Here is the story of a generation that changed the world in just a few months in 1976, as told by the scene's major figures: all four original Sex Pistols as well as Joe Strummer, Chrissie Hynde, Jordan, Siouxsie Sioux, Viv Albertine, Adam Ant, Lee Black Childers, Howard Devoto, Pete Shelley, Syl Sylvain, Debbie Wilson, Tony Wilson, Jah Wobble, and many others. Together, they offer a sweeping history of the late 1960s and the 1970s-not just the era's music, but also its radical politics, social issues, fashion, and culture.An invaluable source of information about a movement that has become obscured by myth, these vivid, unvarnished interviews were conducted when punk was only a decade old. In many cases, this was the first time that the subjects had talked about the period. The interviews describe the founding of the Sex Pistols; 430 King's Road, site of the legendary boutique Sex, which helped establish the punk aesthetic; punk rock New York; the cultural landscapes of London and its suburbs; the writers who covered punk; and the Manchester music scene centered around Factory Records.With The England's Dreaming Tapes, Savage gives us the first and final word on the music, fashion, and attitude that defined this influential and incendiary era.

Tinavio
After reading "England's Dreaming" (see my review), I had to go for the full monty w/ this oral biography. I was swayed by the strong reviews here, but have to say I was let down somewhat. There's a couple of issues w/ this book that pose a problem. First, quite a few contributors are completely unknown to us punk fans stateside. There's always been music that doesn't translate from England to the States, so I suppose this is no surprise. But since author Jon Savage chose to include unfamiliar voices, how about a photograph at least showing us who's doing the talking? Or better yet, include a photographic representative for each and every contributor?

At the heart of this book is the back story of English punk band par excellence, The Sex Pistols. Music has never been more pungent than theirs, and the level of their audience antagonism rates right up there w/ Iggy Pop. What true punk fan would want it any other way? You hear from them all: Malcolm, at the helm, John Lydon, bassist Glen Matlock (writer of "Pretty Vacant" and "God Save the Queen"), Steve Jones, lead guitar and drummer Paul Cook. Anyone seriously into The Pistols, this here is the inside dope on the band that re-wrote rock and roll history. Go ahead and check out the oh so-fun portrayal of Steve Jones. Tangents include: Steve the sex machine and Steve the thief. Aside from being a fabulous guitarist in the Johnny Thunders' tradition, Steve Jones proudly admits to regularly nicking other bands' equipment, most notably post-Barrett Pink Floyd's! The post-Barrett distinction must be noted because while Pink Floyd, the corporate machine, was famously depised by the English punk movement (hence the famous "I hate Pink Floyd" t-shirt), Syd Barrett was actually sought out as producer by both The Sex Pistols and The Damned. It should go w/o saying that this never happened.

Other interesting Brits included: Malcolm McLaren, Jordan (whose outrageous attire and hardcore attitude made her famous), Siouxsie Sioux, Captain Sensible (The Damned) and Pete Shelly (The Buzzcocks).

Without much effort, the publisher could amp this up a notch and give this the treatment it deserves. Otherwise, an excellent oral history of the British punk scene with serious inside flavor.
Aedem
As advertised. Great seller.
Kigabar
An incredible insight, written and compiled when Punk was out of vogue and many were trying to distance them selves from it. Essential.
Drelajurus
I admired "England's Dreaming," the essential study of punk's birth from music critic Jon Savage, who watched. For me, it's the best account of its rapid rise and, post-Grundy interview with the Sex Pistols, fall as the small vehicle of artists, intellectuals, students, toilers at dead-end jobs if they were "lucky," and I suppose even a few bonafide working class kids turned into a media-hyped bandwagon where many leaped on, eager to cash in on by what after that TV appearance by the Pistols and pals the end of '76 transformed into a cynical case study in capitalism harnessing an "alternative" subculture. Not that some who were there, alongside Savage, resisted the lure to sign with big labels and reach wider audiences, but this conflicted among purists with the art-school, hermetic, and countercultural (often reflexively anti-hippie, but many older punks had dodgy pedigrees in other bands, in the days of flared trousers: "sub-heavy metal played badly" in Pete Shelley's phrase shows up along a love for Iggy, Bowie, and Roxy) suspicion of selling out.

I write this review the day manufactured publicity rolls out for the Queen's Diamond Jubilee, and I reflect on how little protest occurs compared to the punks the summer of the Silver one in '77. The final section of these conversations deals with the post-Jubilee Pistols, the major labels, the drugs, the tours, the fatigue, and it makes dispiriting if necessary reading after earlier idealism. Savage in this compendium provides perhaps a fans-only companion to his own narrative, but the tapes-- transcribed here from his interviews edited with those featured in the original "England's Dreaming"-- convey nuance and offer necessary testimony on what I find are three reiterated, key issues.

First, the Grundy interview: this marks a before-and-after moment for the fledgling punks. Marco Pirroni sums it up with Sham 69 as "an excuse to be stupid" (359); Steve Jones separates the music before the publicity with the media; Paul Cook charges Malcolm McLaren's manipulation of the band's tensions that sapped its musical energies. As many repeat, after Glen Matlock was sacked, the Pistols only wrote four songs in their Sid Vicious stage. Matlock himself explains how the earlier band emphasized a slower power, not a Ramones speed. The Who and Small Faces influences gave the trio of musicians a less strident, but forceful foundation for Johnny Rotten's sneering vocals.

Second, this leads into how well the Pistols could play, and why that mattered--or not. Jordan notes how Rotten developed the authority "to sing with conviction, those sorts of powerful words every night, words that were black and white, not clouds and rolling hills." (51) But, she thinks he lost that "need"; John Lydon regarded himself in Malcolm McLaren's hands as "Jack-in-the-Box" figure who could be wound up and taken out for an onlooker's shock or a staged surprise--unlike Cook and Jones, Lydon resented this pose. To be fair, Lydon acknowledges his own faults in furthering this pose, but he does not dismiss the culpability of many others in what became extended legal battles and personal betrayals of trust. He increasingly rebelled against his public image, limited.

McLaren's partner Vivienne Westwood questions the shock value of another symbol, the swastika. Many mention its presence in early punk iconography, and it's disturbing for me that some interviewed still take its presence in their own stance so lightly; Westwood notes the strain of supposedly devaluing the crooked cross to take out its rigor, aggression, and puritanical associations, and how the principles of punk were challenged by contradictions of feminism as well. Captain Sensible takes another view: punk meant neither a thing nor a sound, but an attitude. For some, this act could be constricting, and the compassion underneath the exaggerated despair or cartoonish anger might unsettle those next to them, as the desire to upend expectations took its emotional toll on punks. Those who could project their voices, talents, or music adapted, but others gave up and/or conserved their energies for what they yearned to find as more expansive approaches for fulfillment.

Siouxsie says the brandishing early on of such a potent symbol as the swastika might be one way to express this frustration with identity and meaning among a new generation. Those coming after the hippies sought a platform or a voice. Putting on an armband, for her, was getting back at the values unthinkingly clung to by an older, postwar generation. Poly Styrene counters that a "lack of vision" led punk into a dead-end, without a "positive solution" to the "hellish planet" it delighted in peddling. Steve Walsh agrees that punk's futility overshadowed idealism. Nils Stevenson has a last word on the Pistols and their role as the vanguard as their prowess proved anyone could not imitate them, and that the Pistols were not the same but better than the rest. (The Clash, The Damned, and The Jam by the way all come off the worse for wear among many interviewed from within the sympathetic Pistols contingent.) McLaren has his say, before sixty-one others, and none here might think that unearned!

Third, the debate over art vs. commerce, finding a wider audience to play to and to sell to. As one who heard delayed this nearly "unheard music" 6000 miles away, from pricy import vinyl and scant airplay even in L.A., I had to glean what I found intriguing from hints in reviews in the mainstream press or the emerging fanzines I read at record shops before I risked my pocket money as a teenager on the "Punk-New Wave" section often found tucked away at the back of the store. So, unless bands found distributors able to place their product, and get stores to stock it, great music languished.

Certainly, the struggles, as Howard Devoto and Pete Shelley tell from their Mancunian predicament, left punks away from the London scene more at odds in how to make if not a living than a few pounds playing in places that were repulsed, confused, or ignorant of the new music trickling out from the capital northward. These regional differences, first in Manchester, spawned small indie scenes. It's intriguing to hear of Morrissey and Ian Curtis slowly joining in to find their own niche.

Journalist Jonh Ingram stresses the loss of the artistic and the easy indulgence as punk turned a fad. Buzzcocks manager Richard Boon agrees but acclaims as does Shelley the media's pioneering role (Ingram and Caroline Coon notably) in popularizing punk beyond its cult, as Linder and Devoto addressed in their "The Secret Public" art-pamphlet. Devoto in typically aphoristic form observes: "Pretentiousness is interesting. Your ambition has to outstrip your ability at some point." (525)

The ambitions often were fueling egos enticed by what, for once, the Americans had done first. While as the title promises, most of this book recounts the English leaders, their New York predecessors are also heard from. Politics, perhaps perversely or tellingly here, gains little attention and anarchism no index entry. John Holmstrom equates punk with an "old" sound, and Legs McNeil defines it as failure. He finds Manhattan's version filled with humor and satire vs. the British political anger. Mary Harron links her Warhol-era bohemianism to mid-70s boredom by a celebration of junk culture that ignited the proto-punks, eager to find an escape from American complacency even as they revelled in its consumerism and trashy 50s and 60s t.v. shows, comics, films, diversions, and marketed poses.

A few of the interviews flagged by comparison, but this is inevitable over more than 700 pages. It's a sign of how skillful Savage's editing and direction is that so few were less interesting. The regional tilt's telling, as the provinces get less attention, but they (as with Simon Reynolds' books on post-punk--he like Savage has a study "Rip It Up and Start Again: 1979-1984" and a later interview anthology, "Totally Wired" also reviewed by me) took time for the initial impact of New York and then London to echo northward and westward, the next few years, across Britain and then beyond.

A helpful appendix, similar to the discography that makes the original text so engrossing (yet here the photos are scarce and smallish), gives brief "where are they now?" wrap-ups and often links to websites (although I fear they may be outdated as some are MySpace--one sign of again how no media is secure in this changing era....). Cheap speed appears to increase, while thrashing wears players out--see The Adverts as cautionary tale. Music mellows or simmers, as the years progress those interviewed make less music, or inevitably music that endures. Wire appear late on herein, exception to this rule: Graham Lewis locates the "desire to be in the future rather than in the place where people were" as punk's spirit. (621). A thorough index eases fact-checking and topic-hunting, and enhances the value of this as a "director's cut" of the shorter narrative history from nearly two decades ago that remains the standard source on punk. (P.S. See also my July 2012 review of John Robb's "Punk Rock: An Oral History.")
Vetitc
"The England's Dreaming Tapes will surely become the final word..." as the blurb round the back cover says. A bold claim when p. 721 states that "Joe Strummer died in 1992." Picking the nit aside, the book's a hell of a lot of fun to wade through [if not hernia-inducing].
Gietadia
dont be fooled again by the who on some cvu programme get seriuos and eat the jelly fish before the whaLES WELSH PLUGG SEZ SO BEEARTCH STARCH AND THE REST CON