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Lipstick Traces: A Secret History of the…
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Lipstick Traces: A Secret History of the Twentieth Century, Twentieth… (original 1989; edição 2009)

por Greil Marcus

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1,0771114,259 (3.96)12
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.… (mais)
Membro:JerryGarcia
Título:Lipstick Traces: A Secret History of the Twentieth Century, Twentieth Anniversary Edition
Autores:Greil Marcus
Informação:Belknap Press of Harvard University Press (2009), Edition: 20 Anv, Paperback, 496 pages
Colecções:A sua biblioteca
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Lipstick Traces: A Secret History of the Twentieth Century por Greil Marcus (1989)

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> Lipstick Traces. Une histoire secrète du vingtième siècle, de Greil Marcus
Se reporter au compte rendu de Benjamin CARACO
In: Revue Esprit (Octobre 2018)… ; (en ligne),
URL : https://esprit.presse.fr/actualite-des-livres/benjamin-caraco/lipstick-traces-un...
Critique pour Rolling Stone, l’Américain Greil Marcus est également un historien de la culture populaire américaine. Auteur de plusieurs livres sur Bob Dylan, dont La République invisible : Bob Dylan et l’Amérique clandestine (Denoël, 2001), il s’est fait remarquer en 1989 pour son Lipstick Traces, littéralement « traces de rouge à lèvres », que les éditions Allia republient dans une luxueuse édition revue et augmentée à l’occasion du vingtième anniversaire de sa traduction française. Les Sex Pistols, groupe anglais de musique punk, à l’origine d’une révolution dans le monde du rock’n’roll et porteur d’un refus intransigeant du monde tel qu’il est, sont à la fois au cœur et à l’origine du récit. G. Marcus souligne ainsi l’ambition du groupe de changer non seulement la musique de leur époque mais la vie tout entière. Par ailleurs, si les « Sex Pistols [ont ouvert] une brèche dans le monde du rock et de la chanson, dans l’écran des certitudes qui sont censées régir l’offre et la demande en matière de goût », ils s’inscrivent dans une histoire plus large, que G. Marcus propose d’envisager comme « le résultat de moments qui semblent ne rien laisser derrière eux, rien, excepté le mystère de connexions spectrales entre des gens très éloignés dans l’espace et dans le temps, mais parlant, en quelque sorte, le même langage ». Autrement dit, pour le critique, une influence directe, voire une simple connaissance, n’est pas indispensable à différents acteurs éloignés dans le temps pour que leur démarche les rapproche. Au centre de la démarche en question se retrouve un « désir de changer le monde ». L’enquête de G. Marcus porte ainsi sur la genèse et les liens existant entre différents courants artistiques réunis autour de cette même idée. Le récit progresse alors à rebours et par détours : des situationnistes de Guy Debord, du lettrisme d’Isidore Isou, des sur­réalistes d’André Breton, des Dada du café Voltaire à Zurich, en remontant jusqu’au jeune Karl Marx, au révolutionnaire Saint-Just, à quelques hérétiques du Moyen Âge et aux chevaliers de la Table ronde. « C’était avant tout un jeu, ou une plaie qui démangeait : la poursuite d’une vraie histoire, ou d’une histoire sans suite pour le plaisir que seule une histoire sans suite peut apporter. » Ce faisant, il contribue parfois à construire une histoire de toutes pièces, ou plutôt, comme il l’écrit lui-même, à mettre en lumière une forme de potlatch, de dons et de contre-dons, entre des artistes et des penseurs d’époques différentes. De cette quête résulte un palimpseste tourbillonnant : un collage de récits et d’extraits de livres, de chansons, de photographies, de coupures de presse, de bandes dessinées détournées, où se croisent Johnny Rotten et ses plagiaires par anticipation. G. Marcus met en musique, avec style, l’histoire de quelques-unes des avant-gardes les plus en vue du XXe siècle, mais aussi leurs inachèvements et leurs échecs. Avec pour refrain les derniers mots, sûrement apocryphes, prononcés par Rashid al-Din Sinan, chef des Assassins du Levant à la fin du XIIe siècle, à son successeur : « Rien n’est vrai ; tout est permis. »
  Joop-le-philosophe | Jan 8, 2021 |
$2000 mxn
  BIBLIOTECATLACUILO | Dec 17, 2020 |
What a bastard! [a:Greil Marcus|33221|Greil Marcus|http://www.goodreads.com/images/nophoto/nophoto-M-50x66.jpg] sucked me in with 70s punk trivia and turned out to be an introductory text on Dadaism, Situationist International and the May '68 riots that shaped contemporary France.

But, if this book as anything to say, it shaped punk too. By bookending philosophy with punk histories it convinced me that listening to protest music was not enough; it uncovered a philosophy that demonstrates the true danger and disruptive joy that should have informed the instruments and ears of everyone under the punk tag. Assuming, of course, that all punks were academic at heart.

The book is definitely rewarding but, given its spirit, tends to gleefully confound the reader just as its focus organization once did.

The question is: being not a punk but mere punk listener 20 years too late, how do I take my new understanding of SI, '68 and continue their good work in business casual and the grocery? ( )
  NaleagDeco | Dec 13, 2020 |
A silly pseudo-profound rant by a music journalist. This is a secret history in the sense that it is not actually a history. For real history, look elsewhere.

What was Harvard University Press thinking? ( )
  johnclaydon | May 30, 2019 |
Trouver une grandeur à la provocation est un exercice parfois futile, mais G. Marcus est décidément un critique d'exception, dont la vision est si construite et nourrie qu'elle mérite le respect... Même si, au final, bien sur... ( )
  Nikoz | Sep 29, 2014 |
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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.

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