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20-465: C81 or C-81 may refer to : C81 (album) (1981) C-81 (Michigan county highway) C-81 Reliant , a 1933 military aircraft Campbell Airport 's FAA LID code Hodgkin's lymphoma 's ICD-10 code NGC 6352 's Caldwell catalog number Ruy Lopez 's Encyclopaedia of Chess Openings code [REDACTED] Topics referred to by the same term This disambiguation page lists articles associated with

40-1146: A critical investigation into what he perceives as the current situation of chronic retrogression in pop music, with a focus on the effects of the internet and digital culture on music consumption and musical creativity. Reynolds's eighth book, a history of the glam rock era, Shock and Awe: Glam Rock and Its Legacy , was published in October 2016. In addition to writing books, Reynolds has continued freelancing for magazines, giving lectures, writing liner notes, and appearing in music documentaries. He resides in Los Angeles . Reynolds' writing has blended cultural criticism with music journalism. He has written extensively on gender , class , race , and sexuality in relation to music and culture. Early in his career, Reynolds often made use of critical theory and philosophy in his analysis of music, deriving particular influence from thinkers such as Roland Barthes , Georges Bataille , Julia Kristeva , Michel Foucault , and Gilles Deleuze and Félix Guattari . He has on occasion used

60-456: The C81 Owner's Manual , a 32-page booklet of lyrics and artwork that readers would assemble themselves by cutting up and folding a page from the tabloid sized magazine. This consisted of 16 small double sided panels, and was designed to be slipped into the cassette case. A running joke throughout the booklet was the comparison of a number of acts on the tape to various periods in the history of

80-511: The Marxist concepts of commodity fetishism and false consciousness to describe attitudes prevalent in hip hop music . In discussing the relationship between class and music, Reynolds coined the term liminal class , defined as the upper- working class and lower- middle-class , a group he credits with "a lot of music energy". Reynolds has also written about drug culture and its relationship to various musical developments and movements. In

100-500: The 2000s, in tandem with fellow critic and blogger Mark Fisher , Reynolds made use of Jacques Derrida 's concept of hauntology to describe a strain of music and popular art preoccupied with the disjointed temporality and "lost futures" of contemporary culture. Reynolds has voted in a number of year-end critics' polls, most often for The Wire ' s Rewind and for The Village Voice ' s Pazz & Jop . Since 2011, when The Wire renamed its year-end poll from Records of

120-644: The March 1994 issue of Mojo magazine. In late 1994, Reynolds moved to the East Village in Manhattan . In 1995, with his wife, Joy Press , Reynolds co-authored The Sex Revolts: Gender, Rebellion and Rock 'n' Roll , a critical analysis of gender in rock. In 1998 Reynolds became a senior editor at Spin magazine in the US. In 1999, he returned to freelance work. In 2013, a second expanded update of Energy Flash

140-510: The UK, and became a writer on the development of what he would later conceptualise as the " hardcore continuum" along with its surrounding culture such as pirate radio. Much of this writing was later published in Energy Flash: a Journey Through Rave Music and Dance Culture (1998), a history of the breakbeat , house , techno and later rave genres like jungle music and gabber . The book

160-674: The Velvet Underground . When C81 went on general sale in May 1981, Chrysalis Records refused to re-licence the tracks by the Specials and Linx , and these were then replaced by Panther Burns and Television Personalities . Publishing a tape was an acknowledgment of the flourishing self-published cassette culture of the time that the NME had been supporting during its short-lived Garageland column. An alternative view, however,

180-522: The coupon offer, which represented a "big commercial success" according to Carr. The tape contained a set of 25 diverse tracks ranging from post-punk ( Red Crayola , Essential Logic , D.A.F. , the Raincoats ), jazz ( James Blood Ulmer ), poetry ( John Cooper Clarke ), ska ( the Beat ), electronic ( Cabaret Voltaire ) to veteran ' Canterbury scene ' performer Robert Wyatt . It was accompanied by

200-524: The early 1980s, he attended Brasenose College, Oxford University . After graduating, in 1984 he co-founded the Oxford-based pop culture journal Monitor with his friends and future Melody Maker colleagues Paul Oldfield and David Stubbs along with Hilary Little and Chris Scott. In 1986, Reynolds joined the staff of Melody Maker , where his writing was marked by enthusiasm for a wave of neo-psychedelic rock and hip hop artists that emerged in

220-525: The emerging new pop tendency of bands such as Linx and Scritti Politti , and that NME stopped publishing the Garageland column in the very same month that C81 went on general sale, an acknowledgement that the DIY cassette culture movement was on the wane. Simon Reynolds Simon Reynolds (born 19 June 1963) is an English music journalist and author who began his career at Melody Maker in

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240-497: The mid-1980s (including A.R. Kane , My Bloody Valentine , Public Enemy , Throwing Muses and the Young Gods ). During this period, Reynolds and his Melody Maker colleagues set themselves in opposition to what they characterized as the conservative humanism of the era's indie rock , soul , and pop music , as well as the unadventurous style and approach of most music criticism. Pieces from this late Eighties era would form

260-566: The mid-1980s. He subsequently worked as a freelancer and published a number of books on music and popular culture. Reynolds has contributed to Spin , Rolling Stone , The New York Times , The Village Voice , The Guardian , The Wire , Pitchfork and others. Reynolds was born in London in 1963 and grew up in Berkhamsted . Inspired by his younger brother Tim, he became interested in rock and specifically punk in 1978. In

280-483: The relationship between white bohemian rock and black street music. In 2008, an updated edition of Energy Flash was published, with new chapters on the decade of dance music following the appearance of the first edition. In 2009, a companion volume to Rip It Up and Start Again was published, Totally Wired: Postpunk Interviews and Overviews , containing interview transcripts and new essays. In 2011, Reynolds published Retromania: Pop Culture's Addiction to Its Own Past ,

300-401: The remixed collection Blissed Out: The Raptures of Rock , published in 1990. In 1990, Reynolds left the staff of Melody Maker (although he would continue to contribute to the magazine until 1996) and became a freelance writer, splitting his time between London and New York. In the early 1990s, he became involved in rave culture and the electronic dance music scene, particularly that of

320-503: The same title formed as a letter–number combination. If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=C81&oldid=839175460 " Category : Letter–number combination disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages C81 (album) C81

340-424: Was compiled by NME journalist Roy Carr , and Christopher Rose, who worked in public relations for Rough Trade. To obtain a copy, NME readers needed to collect two coupons from the magazine and send off £1.50. The first printed coupons and advertisement for the cassette were in the issue dated 31 January 1981. By the time C81 went on general sale at the end of May that year, 25,500 copies had been sold through

360-522: Was published that same year in America in abridged form, with the title Generation Ecstasy: Into the World of Techno and Rave Culture . During this time, he also theorized the concept of " post-rock ", using the term first in a Melody Maker 1993 feature about Insides and then in a more developed form in a May 1994 thinkpiece for The Wire and in a review of Bark Psychosis ' album Hex , published in

380-506: Was published, with new material on the rise of dubstep to worldwide popularity and the EDM or Electronic Dance Music explosion in America. In 2005, Reynolds released Rip It Up and Start Again: Postpunk 1978–1984 , a history of the post-punk era. In 2007, Reynolds published Bring the Noise: 20 Years of Writing about Hip Rock and Hip Hop in the UK, a collection of his writing themed around

400-505: Was that the C81 cassette was more akin to ' bandwagon jumping', drawing on the enthusiasm and momentum of the cassette culture movement and using this as a promotional tool, whilst failing to acknowledge that movement, and ignoring its inherent critique of the established music industry. British music writer Simon Reynolds called it "post punk's swan song", noting the appearance of three acts from Scottish independent label Postcard Records and

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