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Generation Ecstasy: Into the World of Techno and Rave Culture (Englisch) Taschenbuch – 1. August 1999

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Produktinformation

Produktbeschreibungen

Pressestimmen

"Worthy. As a straightforward timeline account of rave culture-the DJs, the drugs, the choons, the clubs, the clobber-"Generation Ecstasy succeeds. Tracing the music. Reynolds shows that he certainly knows his stuff.."
-"Now, Toronto
"For anyone who has been to a rave or bought a techno CD, this book is an excellent complement. Reynolds does a great job throughout, even making this book readable for those who know littel or nothing about techno and rave culture."
-"Dead Trees Review
"Invaluable."
-"Toronto Star
"The single best book about rave culture."
-"The Roverfront Times
"A classic chronicle of the Nineties rave movement."
-James Hunter, "Rolling Stone

Synopsis

Explores the popularity of electronic dance music and the culture surrounding it, focusing on the fad of midnight-to-dawn revels, known as "raves," which offers a Dionysian world of dance, drugs, and debauchery. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

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Format: Taschenbuch
First off, the title is a bit misleading - this book is about the history of rave culture (primarily in England), and has very little to do with psychedelic/ecstasy culture and its philosophy.
The historical aspect of the book is a good overview, but extremely biased towards the hardcore and related genres of techno. In particular I was offended by the author's suggestion that 'Intelligent Dance Music' was virtually racist because it avoided the use of black hip hop beats while those beats were getting a lot of play in clubs and at raves. The author presents himself as an outsider at the beginning of the book, but he was clearly part of and influenced by the hardcore scene. That isn't bad in of itself, but in this author's case it means that ever other niche is compared to the original hardcore scene (as well as its closely related genres) in a negative light; the author insinuates that the other genres simply don't get the point. Frankly, I think the author is the one who is unable to get any of the other genres.
All of this aside, I give this book four starts because it is a truly excellent resource for techno music fans, as well as anyone who is interested in learning more about the different genres of techno. Each section of the book presents (biased) descriptions of leading artists in each genre, and there is an excellent list in the appendix of tens of genres of technos with several album recommendations for each genre. This makes it an excellent reference for anyone interested in learning more about the different genres of techno.
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Format: Taschenbuch
One would expect "Generation Ecstasy" to chronicle how Ecstasy and similar drugs affected the lives of a generation of people. It does not. Instead, the author provides a very detailed history of rave events and of rave and techno music. The author discusses entrepreneurs, musicians, and DJs, but does not discuss the people attending weekend rave events.
Mr. Reynolds is English, and much of his discussion is centered in England. The author describes how rave events evolved from small club events to major outdoor events to clandestine events hidden to avoid closure by local authorities. Mr. Reynolds discusses rave and techno music and DJ mixing techniques. He provides an extensive bibliography and discography. Mr. Reynolds discusses drug (over)use at rave events. He discusses the growth and death of the belief that drugs like Ecstasy would promote world peace. Mr. Reynolds' discussions are interesting, but they do not describe Ecstasy's effect on peoples' daily lives.
One seeking a history of techno and rave culture will enjoy this book. One seeking to understand the lives and goals of "Generation Ecstasy" will find it disappointing.
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Format: Gebundene Ausgabe
I agree with the leading review; the notion that reynolds is comparing everything to his beloved hardcore is very tight here. Reading this book, it becomes quite plausible that reynolds thoroughly enjoyed a few years in there, with a certain style of music, and holds it dear to his heart, comparing/shunning the rest. I admittedly was interested throughout the entire book, mostly because this is one of few books (around here) of its kind. A more obvious example of reynolds letting his hardcore bias in is his thrashing of FSOL; how they use too many sounds (I consider an extremely ridiculous idea), and how simplicity is best....and of course, hardcore is so simple that it is beautiful blah blah blah. He is clearly quite knowledgeable but needs to learn (discover) that each of the other genres he discusses have entire histories and cultures of their own, and that hardcore is, although a vital part of the uk rave scene, not the epicentre of electronic music. Thus the title including 'techno' culture was a bit lacking in the entire spectrum of techno (although the coverage of detroit was tight and necessary).
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Format: Gebundene Ausgabe
Having just worked my way through the UK publication of this book, alternitavely titled "Energy Flash", I must say that I have been given a decent working history of movement that has become a dominant part of youth culture over the last ten years. But as the author remains a fan (one might even say preacher for) of one particular sub genre of these varied strains of music, his analysis and interpretation often fails to deliver the goods. If Mr. Reynolds were not desperately searching for a modern day incarnation of the late 60's hippy attempt to redefine society through a common musical affinity, he might be willing to accept genres such as ambient, prog. House and the like as valid artistic fields. But since all music must satisfy his need for underground consciousness raising revolt(in this case through a culture that drops out of the mainstream completely a la expressionists of the nineteen twenties)he finds it difficult to accept a music that is merely intended to entice and provide pleasure or rediefne the way we think of musicality. The resulting rejections and arrogant denials of alternatives to the dance till you lose yourself 'ardkore ultimately remain self indulgent and tainted by his wishful myth formation. The further inability to critically question the prescribed goals of this 'ardkore also leaves a strong desire for more discussion. However this is where the text is also the most intriguing. Reynolds with his solid knowledge of the genre manages to pique interest and in my case have led to a renewed desire to search out a truly intelligent discourse on the movement and its consequences. On a final note the obsessive UK-centric approach to the music also wears thin, denying foreign countries their due until they begin to affect the UK scene.
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