By Julian Cope
"Welcome to Sardinia: my hell, my domestic, my criminal, my meditation those earlier 16 years. What a spot to die. yet that's accurately why i used to be back."
[/i]When drugged-up Time tourist and '80s musical burnout Rock part and his fellow English hooligans get abducted in the course of [i]Italia '90, there are ruinous implications. yet now Rock has again to Sardinia one ultimate time to settle a few rankings and discover the reality. He believes in basic terms Dutch cult chief pass judgement on Barry Hertzog, nonetheless incarcerated at the island for the crime, supplies the solutions. yet via pharmaceuticals, the patience of his motive force Anna and a quest for the hidden historic doors strewn round Sardinia's in simple terms street, the 131, Rock will realize higher fact awaits him. Judgement, results, hoodwinking on a grand scale, Gnosticism as opposed to agnosticism...131 is a Gnostic whodunit that pursues readers' thoughts of all prior fiction right into a peat lavatory and impales them with seven-foot-long pikes.
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Additional resources for One Three One: A Time-Shifting Gnostic Hooligan Road Novel
This is not an argument that the posthumous acclaim granted Dusty’s recorded legacy is not richly deserved. Like the Beatles but by different means, the singer seems to be consciously forging a new kind of pop music in her late-60’s records that aims to cross over class and racial boundaries: a new kind of soul music that british pop women singers of the 1960s 37 relies as much on her ability to create culture, and negotiate the contemporary pop culture landscape, by means of a self-conscious musical eclecticism.
Nonetheless, British women pop singers had a novel aspect that is still underrecognized. The new woman was more attuned to American music, to jazz or soul sounds, than the previous generation of female performers in England; increasingly, lead vocals were no longer about volume or range but about expressive qualities. Singers instead emulated the performance style of soul artists, which highlighted the stylized expression of emotion in vocal performance. Sixties’ pop performers also broke the mold by singing almost exclusively of romantic love, rather than in the typical lyrical mode of music-hall song, which focused on the traditional duties and responsibilities of women in the private sphere: as dutiful daughters, wives, and mothers.
The modernist moment in rock is not a story about individual “geniuses,” but the unplanned result of popular creativity facilitated by state policy. It was a modernism made possible by welfare state reforms, and not “pure” working-class expression. 23 Although in fairness, the Pistols’ discourse on London is attractively inclusive; Rotten/Lydon always links the musical diversity of his Finsbury park childhood with the social mix of the neighborhood. The Sex Pistols’ working-class community is not a closed, racially exclusive territory but a multicultural space that opens out into the world; see Simmons.