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Warehouse 13 - Season 1 (DVD)
Eddie McClintock, Joanne Kelly, Saul Rubinek, Genelle Williams, Simon Reynolds, …
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All 12 episodes from the first season of the American sci-fi
mystery series in which two secret service agents - Pete Lattimer
(Eddie McClintock) and Myka Bering (Joanne Kelly) - are deployed in
a top-secret facility where the government has amassed a wealth of
mysterious items linked to the supernatural and occult. The duo is
assigned the unusual job of investigating rumours of new objects
and locating any that have gone missing. Episodes are: 'Pilot',
'Resonance', 'Magnetism', 'Claudia', 'Elements', 'Burnout',
'Implosion', 'Duped', 'Regrets', 'Breakdown', 'Nevermore' and
'MacPherson'.
Twenty-five years since acid house and Ecstasy revolutionized pop
culture, Simon Reynolds's landmark rave history Energy Flash has
been expanded and updated to cover twenty-first-century
developments like dubstep and EDM's recent takeover of America.
Author of the acclaimed postpunk history Rip It Up and Start Again,
Reynolds became a rave convert in the early nineties. He
experienced first-hand the scene's drug-fuelled rollercoaster of
euphoria and darkness. He danced at Castlemorton, the illegal 1992
mega-rave that sent spasms of anxiety through the Establishment and
resulted in the Criminal Justice and Public Order Bill. Mixing
personal reminiscence with interviews and ultra-vivid description
of the underground's ever-changing sounds as they mutated under the
influence of MDMA and other drugs, Energy Flash is the definitive
chronicle of electronic dance culture. From rave's origins in
Chicago house and Detroit techno, through Ibiza, Madchester and the
anarchic free-party scene, to the pirate-radio underworld of jungle
and UK garage, and then onto 2000s-shaping genres such as grime and
electro, Reynolds documents with authority, insight and infectious
enthusiasm the tracks, DJs, producers and promoters that
soundtracked a generation. A substantial final section, added for
this new Faber edition, brings the book right up to date, covering
dubstep's explosive rise to mass popularity and America's recent
but ardent embrace of rave. Packed with interviews with
participants and charismatic innovators like Derrick May, Goldie
and Aphex Twin, Energy Flash is an infinitely entertaining and
essential history of dance music.
In this, the first book to take a big-picture view of the entire
post punk period, acclaimed author and music journalist Simon
Reynolds recreates a time of tremendous urgency and idealism in pop
music. Full of anecdote and insight, and featuring the likes of Joy
Division, The Fall, Pere Ubu, PiL and Talking Heads, Rip It Up And
Start Again stands as one of the most inspired and inspiring books
on popular music ever written.
In Generation Ecstasy, Simon Reynolds takes the reader on a guided
tour of this end-of-the-millenium phenomenon, telling the story of
rave culture and techno music as an insider who has dosed up and
blissed out. A celebration of rave's quest for the perfect beat
definitive chronicle of rave culture and electronic dance music.
In Generation Ecstasy, Simon Reynolds takes the reader on a guided
tour of this end-of-the-millenium phenomenon, telling the story of
rave culture and techno music as an insider who has dosed up and
blissed out. A celebration of rave's quest for the perfect beat
definitive chronicle of rave culture and electronic dance music.
A Guardian, Sunday Times, Mojo, Daily Telegraph and Observer Book
of the Year Longlisted for the Penderyn Music Book Prize 2017 As
the sixties dream faded, a new flamboyant movement electrified the
world: GLAM! In Shock and Awe, Simon Reynolds explores this most
decadent of genres on both sides of the Atlantic. Bolan, Bowie,
Suzi Quatro, Alice Cooper, New York Dolls, Slade, Roxy Music, Iggy,
Lou Reed, Be Bop Deluxe, David Essex -- all are represented here.
Reynolds charts the retro future sounds, outrageous styles and
gender-fluid sexual politics that came to define the first half of
the seventies and brings it right up to date with a final chapter
on glam in hip hop, Lady Gaga, and the aftershocks of David Bowie's
death. Shock and Awe is a defining work and another classic in the
Faber Social rock n roll canon to stand alongside Rip it Up,
Electric Eden and Yeah Yeah Yeah.
From Morrissey and Nick Cave to The Streets and Kanye West, this is
the book that explores the links between hip-hop and rock. Reynolds
has focused on two strands: white alternative rock and black street
music. He's identified the strange dance of white bohemian rock and
black culture, how they come together at various points and then go
their own way. Through interviews he has carried out as a top music
journalist for the last twenty years, Reynolds is here able to tell
a story of musical rivalry which noone has told before. The
approach is similar to Rip It Up and Start Again: a cultural
history told through the music we love and the stars and movements
that have shaped the world we live in.
Totally Wired features 32 interviews with the post-punk era's most
innovative musicians and colourful personalities. From Ari Up, Jah
Wobble, David Byrne, Edwyn Collins, it also includes conversations
with the most influential of label bosses, managers, record
producers, DJs and journalists - such as John Peel and Paul Morley.
Crackling with argument and anecdote, these conversations bring a
rich human dimension post-punk's exceptional characters, from their
earliest days to their glorious and sometimes disastrous musical
adventures. Along with interviews, we get 'overviews': further
reflections by Simon Reynolds on key icons and crucial scenes,
including John Lydon and Public Image Ltd, Ian Curtis and Joy
Division, and the lineage of glam grotesquerie running from
Siouxsie & The Banshees to the New Romantics to Leigh Bowery.
Rip It Up and Start Again is the first book-length exploration
of the wildly adventurous music created in the years after punk.
Renowned music journalist Simon Reynolds celebrates the futurist
spirit of such bands as Joy Division, Gang of Four, Talking Heads,
and Devo, which resulted in endless innovations in music, lyrics,
performance, and style and continued into the early eighties with
the video-savvy synth-pop of groups such as Human League, Depeche
Mode, and Soft Cell, whose success coincided with the rise of MTV.
Full of insight and anecdotes and populated by charismatic
characters, Rip It Up and Start Again re-creates the idealism,
urgency, and excitement of one of the most important and
challenging periods in the history of popular music.
This compelling book offers an important insight into the way
organizations implement policies and procedures to prevent future
disasters occurring. The third edition includes an introductory
chapter which demonstrates on a theoretical and practical level a
number of reasons why individuals and groups of people fail to
learn from disasters in the first place. Based on thorough
research, Learning from Disasters is essential reading for all
those involved in risk management, disaster planning and security
and safety management.
The first book to make sense of 21st Century pop, Retromania
explores rock's nostalgia industry of revivals, reissues, reunions
and remakes, and argues that there has never before been a culture
so obsessed with its own immediate past. Pulling together parallel
threads from music, fashion, art, and new media, Simon Reynolds
confronts a central paradox of our era: from iPods to YouTube,
we're empowered by mind-blowing technology, but too often it's used
as a time machine or as a tool to shuffle and rearrange music from
yesterday.We live in the digital future but we're mesmerized by our
analogue past.
Ecstasy did for house music what LSD did for psychedelic rock. Now,
in "Energy Flash," journalist Simon Reynolds offers a revved-up and
passionate inside chronicle of how MDMA ("ecstasy") and MIDI (the
basis for electronica) together spawned the unique rave culture of
the 1990s.
England, Germany, and Holland began tinkering with imported Detroit
techno and Chicago house music in the late 1980s, and when ecstasy
was added to the mix in British clubs, a new music subculture was
born. A longtime writer on the music beat, Reynolds started
watching--and partaking in--the rave scene early on, observing
firsthand ecstasy's sense-heightening and serotonin-surging effects
on the music and the scene. In telling the story, Reynolds goes way
beyond straight music history, mixing social history, interviews
with participants and scene-makers, and his own analysis of the
sounds with the names of key places, tracks, groups, scenes, and
artists. He delves deep into the panoply of rave-worthy drugs and
proper rave attitude and etiquette, exposing a nuanced musical
phenomenon.
Read on, and learn why is nitrous oxide is called "hippy crack."
With a foreword by Simon Reynolds, Neon Screams explores the
plethora of new street genres that have emerged at the turn of the
2020s. Neon Screams is a manifesto, a rallying cry for the new
musical futurism. Taking street music's embrace of Auto-Tune in the
late 2000s as his starting point, Kit Mackintosh launches you
through a whirlwind tour of the last decade of cutting-edge music,
championing the modern genres still uncovering the sonic
impossible, from mumble rap to drill to Afrobeats, bashment and
beyond. Beginning where most future music chronicles end,
Mackintosh establishes a new pantheon of pioneers and innovators.
Offering dizzying insights into the likes of Future, Young Thug,
Migos and Vybz Kartel, Neon Screams is conceptual weaponry to use
against all those who say music isn't what it used to be. Part
polemic, part synesthetic possession, Neon Screams is essential
reading for everyone eager to uncover the new frontiers of future
music.
There is a growing (if not urgent) need for those being trained for
ordained (and lay) ministry to be provided with a more solid
grounding in liturgical principles, and Simon Reynolds seeks to
address this by demonstrating how good liturgical leadership can be
the foundation from which all other theological, historical,
pastoral and missiological issues arise. Table Manners attempts to
avoid being a 'party' book and will consciously avoid issues of
churchmanship (except in pointing to what is positive in the
various Christian traditions). Rather, it is written from the
conviction that (i) a proper understanding of the Eucharist, and a
theologically-informed approach to celebrating it (even if this
manifests itself in many different styles), should mean that
worshippers can go to churches of an unfamiliar tradition and yet
still be caught up in the action, because what is essential and
enlarging about good liturgical celebration would be recognisable;
and (ii) that the success of presidency also demands the liturgical
education of the whole people of God, because until they know what
to ask for, their expectations will remain constrained.
Over the course of the past 25 years, a quiet but persistent
revolution has been taking place in English cathedrals, in some
larger churches in major towns and cities, as well as the chapels
of university colleges. The numbers of people drawn by the
distinctive musical character of their worship has risen
significantly, with Choral Evensong becoming the locus of this
persistent growth in the numbers of worshippers. A significant
number of these people are under 40 years of age; and many others
have, until now, lived their lives on the edges of the Church - if
not completely beyond it. Simon Reynolds believes Evensong is
providing a place of sanctuary for people seeking space for
reflection in a frenetic world. It is becoming a significant part
of the Church of England’s mission. Lighten Our Darkness provides
the definitive guide to Choral Evensong, and will be a fascinating
introduction for newcomers to this historic form of worship, and
for clergy and students wishing to explore its roots.
One of "The Telegraph"'s Best Music Books 2011 We live in a pop age
gone loco for retro and crazy for commemoration. Band re-formations
and reunion tours, expanded reissues of classic albums and
outtake-crammed box sets, remakes and sequels, tribute albums and
mash-ups . . . But what happens when we run out of past? Are we
heading toward a sort of culturalecological catastrophe where the
archival stream of pop history has been exhausted?
Simon Reynolds, one of the finest music writers of his
generation, argues that we have indeed reached a tipping point, and
that although earlier eras had their own obsessions with
antiquity--the Renaissance with its admiration for Roman and Greek
classicism, the Gothic movement's invocations of medievalism--never
has there been a society so obsessed with the cultural artifacts of
its own immediate past. "Retromania "is the first book to examine
the retro industry and ask the question: Is this retromania a death
knell for any originality and distinctiveness of our own?
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