Greil Marcus, author of Mystery Train, widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols that scandalous antimusical group, invented in London in 1975 and dead within two years, which sparked the emergence of the culture called punk I am an antichrist shouted singer Johnny Rotten where in the world of pop music did that come from Looking for an answer, with a high sense of the drama of the journey, Marcus takes us down the dark paths of counterhistory, a route of blasphemy, adventure, and surprise This is no mere search for cultural antecedents Instead, what Marcus so brilliantly shows is that various kinds of angry, absolute demands demands on society, art, and all the governing structures of everyday life seem to be coded in phrases, images, and actions passed on invisibly, but inevitably, by people quite unaware of each other Marcus lets us hear strange yet familiar voices of such heretics as the Brethren of the Free Spirit in medieval Europe and the Ranters in seventeenth century England the dadaists in Zurich in 1916 and Berlin in 1918, wearing death masks, chanting glossolalia one Michel Mourre, who in 1950 took over Easter Mass at Notre Dame to proclaim the death of God the Lettrist International and the Situationist International, small groups of Paris based artists and writers surrounding Guy Debord, who produced blank screen films, prophetic graffiti, and perhaps the most provocative social criticism of the 1950s and 60s the rioting students and workers of May 68, scrawling cryptic slogans on city walls and bringing France to a halt the Sex Pistols in London, recording the savage Anarchy in the U.K and God Save the Queen Although the Sex Pistols shape the beginning and the end of the story, Lipstick Traces is not a book about music it is about a common voice, discovered and transmitted in many forms Working from scores of previously unexamined and untranslated essays, manifestos, and filmscripts, from old photographs, dada sound poetry, punk songs, collages, and classic texts from Marx to Henri Lefebvre, Marcus takes us deep behind the acknowledged events of our era, into a hidden tradition of moments that would seem imaginary except for the fact that they are real a tradition of shared utopias, solitary refusals, impossible demands, and unexplained disappearances Written with grace and force, humor and an insistent sense of tragedy and danger, Lipstick Traces tells a story as disruptive and compelling as the century itself....
|Title||:||Lipstick Traces: A Secret History of the Twentieth Century|
|Publisher||:||Harvard University Press September 1, 1990|
|Number of Pages||:||512 pages|
|File Size||:||798 KB|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Lipstick Traces: A Secret History of the Twentieth Century Reviews
Think non-linear. Think connective. This book isn't exactly art history or criticism, it isn't a manual on how to start an artistic revolution, it isn't sociological theory - but it touches on all these.
Terrific, indescribable, indispensable contribution to cultural history. If you're at all interested in where "today" came from, check out this fabulous item.
Greil's book a gem and gives the very best description of the Dada movement that I've ever read and I'm an artist, and taught on the university level for 25 years.
brilliant. ihave add. :)
Buy this, read it. Now. A compendium of history (cultural studies?) spanning Benjamin and Horkheimer, Debord and the LI/Situationists, to proto punk and Malcolm McClaren and the Sex Pistols.
Really don't care for the writer's style.
I'm still wondering what it is about 'Lipstick Traces' that has so polarised Amazon's readers. I don't consider it a great bit of writing/journalism, and I agree, with the benefit of 20/20 rear vision, that the author who wrote this tract in the early 80s might well reconsider the emphasis he'd placed on Johnny Rotten as a perveyor of Dadaist angsty pranks.In the epilogue, he makes clear that the story was very much a personalised view,(stemming from his student days at Berkley in the early 60s) rather than a serious rewrite of history, which gives him some leeway about the provisionality of his own opinion. I enjoyed the stuff on Huelsenbeck, on Debord, on Hugo Ball. I liked the graphic layout and the photos of main suspects & reproductions of 50s & 60s Situationist texts. I feel a more judicious editorial hand might have produced a less repetitive text, though the side alleys were fantastic, nevertheless. Marcus has written tighter, tougher stuff than this & his breathy, blow by blow accounts of Dylan and his sources are wonderful.For more on art visi>rodmoss.com
LIPSTICK TRACES is a tremendous brain expander. We talk sometimes of "expanding one's consciousness," and of no book is that more appropriate than this one. Marcus is not merely brilliant in what he writes; he is brilliant in the artists and writers and works of art he points you towards. You will find yourself scurrying off to buy copies of THE SOCIETY OF THE SPECTACLE, bootleg CDs of the Sex Pistols, and hard-to-find copies of movies like 20 MILLION YEARS TO EARTH, and will find yourself enriched by the process.