Read Ebook {PDF EPUB} All Hopped Up and Ready to Go Music from the Streets of New York 1927-77 by Tony Fletcher All Hopped Up and Ready to Go: Music from the Streets of New York 1927-77 (eBook, ePUB) Bitte loggen Sie sich zunächst in Ihr Kundenkonto ein oder registrieren Sie sich bei bücher.de, um das eBook-Abo tolino select nutzen zu können. Bitte loggen Sie sich zunächst in Ihr Kundenkonto ein oder registrieren Sie sich bei bücher.de, um das eBook-Abo tolino select nutzen zu können. A penetrating and entertaining exploration of New York's music scene from Cubop through folk, punk, and hip-hop. From Tony Fletcher, the acclaimed biographer of Keith Moon, comes an incisive history of New York's seminal music scenes and their vast contributions to our culture. Fletcher paints a vibrant picture of mid-twentieth-century New York and the ways in which its indigenous art, theater, literature, and political movements converged to create such unique music. With great attention to the colorful characters behind the sounds, from trumpet player Dizzy Gillespie to Tito …mehr. Geräte: eReader mit Kopierschutz. A penetrating and entertaining exploration of New York's music scene from Cubop through folk, punk, and hip-hop. From Tony Fletcher, the acclaimed biographer of Keith Moon, comes an incisive history of New York's seminal music scenes and their vast contributions to our culture. Fletcher paints a vibrant picture of mid-twentieth-century New York and the ways in which its indigenous art, theater, literature, and political movements converged to create such unique music. With great attention to the colorful characters behind the sounds, from trumpet player Dizzy Gillespie to Tito Puente, Bob Dylan, and the Ramones, he takes us through bebop, the Latin music scene, the folk revival, glitter music, disco, punk, and hip-hop as they emerged from the neighborhood streets of Harlem, the East and West Village, Brooklyn, the Bronx, and Queens. All the while, Fletcher goes well beyond the history of the music to explain just what it was about these distinctive New York sounds that took the entire nation by storm. Dieser Download kann aus rechtlichen Gründen nur mit Rechnungsadresse in A, D ausgeliefert werden. All Hopped Up and Ready to Go: Music from the Streets of New York 1927-77. A penetrating and entertaining exploration of New York’s music scene from Cubop through folk, punk, and hip-hop. From Tony Fletcher, the acclaimed biographer of Keith Moon, comes an incisive history of New York’s seminal music scenes and their vast contributions to our culture. Fletcher paints a vibrant picture of mid-twentieth-century New York and the ways in which its indigenous art, theater, literature, and political movements converged to create such unique music. With great attention to the colorful characters behind the sounds, from trumpet player Dizzy Gillespie to Tito Puente, Bob Dylan, and the Ramones, he takes us through bebop, the Latin music scene, the folk revival, glitter music, disco, punk, and hip-hop as they emerged from the neighborhood streets of Harlem, the East and West Village, Brooklyn, the Bronx, and Queens. All the while, Fletcher goes well beyond the history of the music to explain just what it was about these distinctive New York sounds that took the entire nation by storm. Отзывы - Написать отзыв. ALL HOPPED UP AND READY TO GO: Music from the Streets of New York 1927-1977. Exhaustive historiography of New York City's role in shaping 20th-century American popular music.Music journalist Fletcher (The Clash: The Complete Guide to Their Music, 2005, etc.) offers a . Читать весь отзыв. THE WALLS OF THE CITY ARE GONNA SHAKE. To quote the long forgotten but still great Broadcasters from Nyack: THE WALLS OF THE CITY ARE GONNA SHAKE. and as Tony Fletcher vividly illustrated in ALL HOPPED UP AND READY TO GO, they . Читать весь отзыв. All Hopped Up and Ready to Go: Music from the Streets of New York 1927-77 by Tony Fletcher. Driving down to New York City in the evening: a different experience than taking the bus in to Port Authority during the day But the familiar New York lifestyle: one friend invites me to help him celebrate France’s unexpected win over Spain , another calls to flake out of joining me at The Streets show I join the one friend to help him celebrate, talk the other into catching a second wind End up bringing both to Webster Hall , where I’ve still got an ‘in’ thirteen years after giving up club promoting. It’s a while since I’ve just hung out in downtown New York of an early evening Not just months, but years Because when you live in New York, you’re always too busy to just kick back and be a tourist But now I no longer live in New York City, so tonight I play tourist At Toastie’s , A deli on Union Square West , with tables out front. That charges twice as much for a beer as any other deli, but that’s still only half as much as the poncy Coffee Shop bar next door The view, of course, is the same That of the streets Which on a hot, humid, summer New York night Are filled with beautiful people Especially the women Who move en masse into model mode when summer kicks in But the women probably think the same about the men Many of whom are wearing national colors in honor of a certain football tournament New York is one of the greatest cities in which to follow the World Cup A haven for immigrants from every nation A place where people can wave their flags with pride While still declaring themselves committed New Yorkers There’s a bar for every game And everyone can claim their roots – even the natural-born Americans Though it’s amazing how many citizens suddenly declare themselves Brazilian Then again New Yorkers (moving en masse into model mode for summer), instinctively know how to sport a fashion trend. Union Square itself is jammed, with hundreds of people doing nothing more than hanging out When I first lived round these parts, all the parks were filled with junkies Now they’re crammed with tourists New York feels so damn safe that I leave my overnight bags and my laptop in my parked car Do you remember the days when every resident had to put a sign in his car window that read: “Nothing worth taking: everything stolen” And would routinely suffer a broken window just for a junkie’s just-in-case? I do, and though I miss that old sense of danger in the air Now I’m older and wiser, and drive a car and own a laptop, I’m glad they’re behind us. I leave the Streets of New York behind to watch The Streets in New York A long sold-out ticket at Webster Hall No surprise at that: Mike Skinner ’s cockney rhymes translate perfectly to Manhattan cool And The Streets’ indie rock appeal ensures that Skinner is not consigned to Limey rapper status I’d like to have seen fellow countrywoman Lady Sovereign open Her ‘Ch-Ching’ single is a masterpiece: ongoing confirmation that the most innovative sounds always seems to come out of hip-hop (Or that British mish-mash of hip-hop, garage and house, of which The Streets and Lady Sovereign represent) But anyway, I didn’t drive down to town in time And besides, one lady and her DJ Doesn’t do it for me Whereas The Streets, I recall from experience Is a proper band (if your editor is American)/ Are a proper band (if your editor is British) With a proper live show. The five-piece Streets with Leo on bass, Webster Hall, June 27. Which is just as well Because the new album is a major step back The Hardest Way To Earn An Easy Living Is a typically clever title An apt summary of the 24/7 focus needed to be a successful musicain But as an artistic statement of such Mike Skinner takes the easy way out Offering a compilation of lyrical clichés that, worse of all, admit to being clichés but can’t be arsed to search for alternatives Along with half-baked vocals that laugh at their own lack of melody Hoping that this will excuse themselves for reviving rock’s most self-indulgent theme: The pain of the pop star And even a song that takes task with my favorite subject, our ‘Two Nations’ (divided by a common language) Makes its initial point with the boring old “fags” joke As if we’ve never heard that one before While the beats and textures don’t move things forward from Original Pirate Material Which is now all of four years old And this is all the more disappointing given that 2004’s A Grand Don’t Come For Free Not only avoided the usual Sophomore Slump (What do you call a sophomore slump in a country that doesn’t have sophomores?) But told a streetwise story that played like a movie Yet also stood alone as three-minute vignettes Whereas The Hardest Way To Earn An Easy Living Sounds like merely the germination of a good album that was rushed to release Before it could be properly thought through Though, then again, in Mike Skinners’ verbal hall of mirrors, he could maybe justify all this as speaking truth to justice Or something like that. For let’s be honest, Skinner raps of doing crack And of the fine art of ‘Hotel Expressionism’ And of drinking ‘Too Much Brandy,’ And past songs have been filled with tales of E But the highlight of his current American tour has been acceptance into this November’s New York Marathon (Did you know Mike Skinner lived in Manhattan for most of last year? Nor did I Though I know that almost every British musician lives in New York City for at least one year of their life, so I am not surprised) And Skinner is setting a new standard for tour non-debauchery By running in almost every city Depite the heat and humidity Three hours in Little Rock, boasts his tour diary (and even I’m impressed by that) So when you see this skinny geezer on stage, his figure is no longer the result of the raver’s lifestyle But that of the runner’s And if this makes some of the show somewhat deceptive It’s also evidence that The Hardest Way To Earn An Easy Living represents, for all its faults, the mark of a man growing up. Mike and Leo take the Limelight at Webster Hall. But tonight the show is about getting down Getting down low Skinner asks the crowd to trust him To place faith in the wide boy come pop star (As if you’d trust him in a bar While he was trying to con you ) And the crowd does trust him Because that’s why they pay their money: to trust an entertainer So when, late in the set, he tells them to go down low They do Until the whole hall is in Animal House toga party floor-crawling mode And when the drummer jumps up off his stool The crowd jumps back on its feet And pumps the air like it just don’t care Mike and his verbal sparring partner Leo have clearly got the power It’s impressive And infectious And so impossible not to enjoy That they pull the move off twice more before show’s end And somehow I can’t get a picture of it on either occasion Because I’m too busy wondering if I’m the only person left standing. The show is not as raw as back at Mercury Lounge in 2002, When Skinner and his band were hung over and in trouble for breaking equipment the previous night And drinking heavily on stage and starting the whole process over again It was clear we were dealing with something special back then Something unpredictable Whereas now… Well. We still are dealing with something special But the show is tight, the jokes rehearsed And though the quick snippets of covers are cool – ‘I Bet That You Look Good On The Dancefloor,’ ‘Don’t You Wish Your Boy friend Was Hot Like Me,’ ‘Music Sounds Better With You,’ all of them directed at one girl near the front row – they’re clearly rehearsed and obviously used every night It works. But it’s not spontaneous. Plus, the sound is muddy and you can’t hear the words Which is a shame given that The Streets’ music is almost all about the words It’s not just the PA: Mike is merely mumbling while his stage-front partner Leo is letting his lungs rip with twice the clarity and velocity Proving that the tunelessness on record is harder to achieve than they make out Just as I noted with former sparring partner Kevin Trail at the Mercury Lounge Yet for all this, and even though I preferred the old mod bass player And it looked more like a band on a smaller stage Where as now it looks more like a couple of rappers with backing hands It’s still a great show. Mike Skinner back at The Mercury Lounge in 2002: “Totally drunk” Several geezers in front of me get through several pints each And one of them sends a text on his cell That says “I’m at Webster Hall, watching The Streets, getting fully baked” And I figure that Mike Skinner would appreciate that Given that his songs are often about getting baked – or pranged – and sending text messages in the process And my mate is still somewhere up in the VIP lounge, celebrating France’s victory, He accuses The Streets of not being proper Brits for touring during the World Cup Though Skinner did open his set by asking the crowd, “Did you watch the football?” And his web site tour diary is full of comments about watching the games in strange time zones Besides, it makes sense to tour the States during the World Cup (You’d hardly tour Europe) Which is why so many British bands are doing just that right now And we should sympathize: It’s hard to make an easy living, after all. The set list is perfectly paced: opening with ‘Prangin Out,’ following up with ‘Don’t Mug Yourself,’ hitting hard in the middle with ‘When You Wasn’t Famous,’ ‘Never Went To Church,’ ‘War Of The Sexes’ and ‘Two Nations’ from the new album, and closing strong with ‘Has It Come To This,’ ‘Weak Become Heroes,’ and the last album’s “sad song” anthem ‘Dry Your Eyes,’ which has a few in the crowd lifting their lighters. The encore is then exactly what you’d expect: the Blur-like American hit crossover ‘Fit But You Know It,’ for which Mike and Leo strip off their shirts (two of the group follow suit), and Skinner chants “I Love Rock’n’Roll” before crowd-surfing his way to the night’s conclusion. In doing so he proves that trust is a two-way street…. …And that while you can indeed con an honest john by issuing a dud third album, a great live show will earn you respect, forgiveness, a loyal following – and the ongoing right to run your life as hard as you want, just as you know fit. All Hopped Up and Ready to Go: Music from the Streets of New York 1927-77 by Tony Fletcher. ALL HOPPED UP AND READY TO GO: MUSIC FROM THE STREETS OF NEW YORK 1927-77, is available through the following online retailers: amazon.com amazon.co.uk barnesandnoble.com and all good book stores. READINGS ETC. Tony Fletcher will be reading from, discussing, and signing copies of All Hopped Up and Ready To Go as follows: Friday November 6 Oblong Books, Montgomery Row, Rhinebeck, 7:30pm. Saturday November 7 The Golden Notebook/Kleinert Arts Center Tinker Street, Woodstock, 5pm-7pm. Launch party and panel discussion, to include Tommy Ramone, Fred Smith, Elda Gentile, and Eric Weissberg. Refreshments will be served. Friday November 13 Barnes & Noble, Lincoln Triangle, 1972 Broadway, Manhattan, 7:30pm. Panel discussion with Arlene Smith (The Chantels), Peter Stampfel (Holy Modal Rounders) and Seymour Stein (Sire Records). Wednesday November 18 Strand Books, 828 Broadway, Manhattan, 7pm. (Discussion hosted by Jim Fouratt) MUSIC AND MAPS. ALL HOPPED UP AND READY TO GO appendices, with MP3 playlists and Google Maps to accompany each chapter, are being uploaded every Wednesday. Chapter 1 : Mario Gets Dizzy in New York is here Chapter 2 : Cubop City and All That Jazz is here Chapter 3 : The Harlem Hit Parade is here. ALL HOPPED UP: AN EXCERPT. I was halfway through my first two-hour interview with the guitarist, producer, songwriter, journalist, and author Lenny Kaye, about as educated and enthusiastic a student and participant of the New York City music scene as anyone could ask to meet. Ostensibly, we had reached the point in our conversation where we were talking about the New York Dolls and why, despite their considerable influence over both the short and the long term, they had imploded so quickly, barely making it through two albums. “New York is a city that’s not going to tell you no,” said Kaye, which I thought to be perhaps the most perceptive—and oddly poetic—single sentence I heard during thousands of hours spent discussing my subject matter over a five-year period. “It’s only you who can tell you when you have to go home and go to bed. So unless you have a great sense of personal responsibility, you can get lost here.” He was only partly alluding to the various problems that brought the New York Dolls to their knees, which is why he went on, “It’s not just the usual sex and drugs, etc. You can be so swamped by the amount of cultural material. Where does your art end? How do you define this? Are you going off on some wacky side road? All of these things come into play.” Indeed they do. When I set off on the idea of writing a musical history of New York City, I envisioned a book that would start with the vaudeville impresario Tony Pastor and trace the birth of the American music business to the back rooms of the German and Irish beer halls along the lower Bowery—home of the original b-boys—in the years directly after the Civil War. By the time I had sold the idea to a publisher, half my initial research appeared to have been thrown out the window, and we had settled on a book that would begin eighty years later, after World War II, and end at the present day—in a New York City whose music scene, I felt then (and still believe now), had been rejuvenated by a fresh influx of musicians and entrepreneurs in the aftermath of that great New York tragedy, 9/11. REVIEWS. “In his richly detailed study of 50 years of the city’s most important music history, music journalist Fletcher vividly recreates the birth and evolution of jazz, folk, pop, punk and hip-hop as the strains of these musical styles emerged from the urban cacophony of New York… Fletcher’s terrific music history captures the teeming life of New York’s thriving music scene.” – Publisher’s Weekly . (Full review here.) “Fletcher’s commentary melds very different cultures to shows interrelationships and how new genres built upon the foundations of predecessors. This makes for an ambitious agenda whose demands Fletcher meets magnificently. Anyone interested in popular music and the rich cultural heritage of New York—indeed, of all of the U.S.—should read this book.” – Booklist. “Fletcher provides compelling and convincing evidence on why New York and its unique cultural mix were essential to all of these scenes. He studies in detail how music that developed on the streets became important commercial genres and examines the intersections of all the styles over the 50-year period he discusses.” – Library Journal. “Fletcher… is that rare music scholar whose purview extends beyond the beat. In chronicling the birth of doo-wop, Afro-Cuban jazz, folk-rock, punk, disco, and hip-hop, Fletcher examines developments through a variety of prisms: sociological, ethnic, cultural, financial, religious, geographical—even pharmacological. Fletcher’s multi-faceted command of his material recalls Ann Douglas’s towering Terrible Honesty: Mongrel Manhattan in the 1920s.” – Chronogram. (Read full review here.) All Hopped Up and Ready to Go:: Music from the Streets of New York 1927 - 1977 by Tony Fletcher (Paperback, 2010) The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging (where packaging is applicable). 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