The Global Sixties in Sound and Vision: Media, by Timothy Scott Brown, Andrew Lison (eds.)
By Timothy Scott Brown, Andrew Lison (eds.)
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Extra resources for The Global Sixties in Sound and Vision: Media, Counterculture, Revolt
36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. M 27 13 (July 1970): 14. W. Norton, 2001), 327. Philippe Koechlin, “Enquête sur une musique accablée de soupçons,” Rock & Folk 48 (January 1971): 63. Hervé Hamon and Patrick Rotman, Génération (Paris: Seuil, 1987), 261. Vive la Revolution: Journal de Marxiste-Leniniste-Maoiste 6 (June 5, 1970): 2. Paul Alessandrini, “Nouvelles de l’underground,” Rock & Folk 48 (January 1971): 19. This was by no means an isolated case, as many rock concerts and festivals encountered resistance from municipal authorities during the early 1970s, leading many French musicians to choose to participate in concerts outside of France.
19 He outlined a series of general tendencies and dispositions that characterized the Brazilian avant-garde, beginning with what he called the “general constructive will” (vontade construtiva geral)—an abiding commitment to constructivist projects in visual arts, poetry, and architecture in modern Brazil. Other principles included the negation of painting, spectator participation, engagement with social, political, and ethical problems, collective projects, and finally, the revival of “anti-art” along the lines first proposed by Duchamp in the early twentieth century.
Louis, MO, March 2009). 20. Red Noise, “Caka Slow,” Sarcelles-Lochères Future Red 1 (1970), LP. 21. Philippe Parginaux, “Disques,” Rock & Folk 50 (March 1971): 91. 22. “Red Noise: Sarcelles-Lochères,” Actuel 8 (May 1971): 63. 23. Macan, Rocking the Classics, 81. 24. Bruce Johnson and Martin Cloonan, The Dark Side of the Tune: Popular Music and Violence (Burlington, VT: Ashgate, 2008), 95; and Philippe Aubert, “L’agit pop,” Actuel A Red Noise 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38.