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From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.
A readable guide to the art of looking at art. There’s an art to viewing art. A sizable portion of the population regards art with varying degrees of reverence, bewilderment, suspicion, contempt, and intimidation. Most people aren’t sure what to do when standing before a work of art, besides gaze at it for what they hope is an acceptable amount of time, and even those who visit galleries and museums regularly aren’t always as well versed as they wish they could be. This book will help remedy that situation and answer many of the most frequently asked questions pertaining to the matter of art in general: When was the first art made? Who decides which art is “for the ages”? What is a...
From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.
It started with punk. Hip-hop, rave, graffiti, and gaming took it to another level, and now modern technology has made the ideas and innovations of youth culture increasingly intimate and increasingly global at the same time. In The Pirate's Dilemma, VICE magazine's Matt Mason -- poised to become the Malcolm Gladwell of the iPod Generation -- brings the exuberance of a passionate music fan and the technological savvy of an IT wizard to the task of sorting through the changes brought about by the interface of pop culture and innovation. He charts the rise of various youth movements -- from pirate radio to remix culture -- and tracks their ripple effect throughout larger society. Mason brings ...
"As a kid growing up in Manhattan, William Helmreich played a game with his father they called "Last Stop." They would pick a subway line and ride it to its final destination, and explore the neighborhood there. Decades later, Helmreich teaches university courses about New York, and his love for exploring the city is as strong as ever. Putting his feet to the test, he decided that the only way to truly understand New York was to walk virtually every block of all five boroughs--an astonishing 6,000 miles. His epic journey lasted four years and took him to every corner of Manhattan, Brooklyn, Queens, the Bronx, and Staten Island. Helmreich spoke with hundreds of New Yorkers from every part of ...
The first appearances of graffiti “tags” (signatures) on New York City subway trains in the early 1970s were discarded as incidents of vandalism or the rough, violent cries of the ignorant and impoverished. However, as the graffiti movement progressed and tags became more elaborate and ubiquitous, genuine artists emerged whose unique creativity and unconventional media captured the attention of the world. Featuring gallery and street works by several contributors to the graffiti scene, this book offers insight into the lives of urban artists, describes their relationship with the bourgeois art world, and discusses their artistic motivation with unprecedented sensitivity.
"Sich als Dummkopf dumm anzustellen, das war ja nichts Besonderes. Aber kein Dummkopf zu sein und trotzdem wie ein solcher durchs Leben zu stolpern, dazu gehörte schon ein großes Maß an fehlgeleiteter Energie." Ein merkwürdiger Mensch, dieser Gregor. Er sieht gut aus, ist jung, gebildet, kultiviert und höflich. Trotzdem hat er keinerlei näheren Kontakt mit dem weiblichen Geschlecht und arbeitet als subalterner Verkäufer in einem Berliner Kaufhaus. Denn aus Treue zu einem Toten hat er als Kind beschlossen, ein Versager zu werden, was ihm hervorragend gelungen zu sein scheint: Er hockt meistens in der Kneipe und wetteifert mit seinen einzigen beiden Freunden, wer von ihnen der größte ...
Debate has long raged over whether graffiti can be considered an art form. Its illegal nature has caused many people to denounce it, while others contend that a work does not have to be legal to be art. The heart of the question is, what defines art? Informative text discusses competing views on the issue, presenting all sides of the debate to help readers form their own opinions. Engaging sidebars spotlight graffiti artists such as the famous Banksy, while eye-catching photographs provide examples of some of the most original graffiti designs.
This book is about the contemporary city and those who live in it. It is thus also about the urban world of the era (extending roughly from the 1960s to the present) that we see as postmodern, and specifically about how the postmodern city is changing under the impact of globalization and new information and communication technologies. In particular, Geyh explores how the urban spaces of postmodernity (parks, plazas, streets, sidewalks) and postmodern urban subjectivities and communities respond to and create each other – how they become mutually constructing. While there is much in this book about what makes a city "postmodern," its primary focus is on how the postmodern city is experienced by its inhabitants, and in this respect the book is also a study of everyday life in the postmodern era. As such, it deals not only with the ways in which the postmodern city has developed out of economic, technological, political, and cultural structures that are different from those of the modern city, but also with how the postmodern city changes our ways of knowing and experiencing the world and ourselves as postmodern urban subjects, as citizens of postmodernity.