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Lipstick Traces: A Secret History of the Twentieth Century, Twentieth Anniversary Edition Paperback – October 13, 2009
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A coruscatingly original piece of work, vibrant with the energy of the bizarre happenings it maps out. (Terry Eagleton New York Times Book Review)
That Marcus can kick off and end his exhaustive, but always clear-headed, cross-epochal trek with the Sex Pistols―and make it all cohere―is but one indication of how fully he meshes the academy and the gutter. (Katherine Dieckmann Village Voice Literary Supplement)
Lipstick Traces has the energy of its obsessions, and it snares you in the manner of those intense, questing and often stoned sessions of intellectual debate you may have experienced in your college years. It was destined, in other words, to achieve cult status. (Ben Brantley New York Times)
In 1989, Harvard University Press published Lipstick Traces, the second book by the American writer and critic Greil Marcus. It was a dazzling creation, mapping out an untold 'secret history' which connected the Sex Pistols, the Dadaists, the Parisian événements of 1968, that legendary subversive clique the Situationist International and an Anabaptist revolt in 16th-century Germany, led by a notorious libertine named John of Leyden. Among the book's most ardent fans, it sparked real epiphanies… It stands as a singularly idiosyncratic product of a genre-cum-tradition rooted in the business of writing about musicians and the whirl of ideas that once surrounded them… [Marcus] manages some of the finest music writing ever to make it on to the page… My 20-year-old copy of Lipstick Traces is the one book I would save from my proverbial burning house. (John Harris The Guardian 2009-06-27)
For anybody who wants to go deeper into the ontology of an idea that animates a kind of music, or is illuminated by that music, read Greil Marcus's Lipstick Traces, just reissued in an expanded edition for the book's twentieth anniversary. I often say that Traces is the best book ever written about music, even though it's not actually about music: it is about the life of an idea. (Sasha Frere-Jones New Yorker online 2009-10-21)
I first read Lipstick Traces as a penniless traveler, hiding in the bathroom of a late-night express train from Cologne to Berlin. My paranoia was considerably eased as I delved into the lives of various misfits and aesthetic revolutionaries throughout the twentieth century. As dawn broke and the train pulled into the station, I disembarked,
feeling not shell-shocked from the conductor's repeated passes to my stall, but decidedly refreshed. (J. Scott Burgeson East Bay Express 1998-01-01)
The 'secret' of Marcus's history is its poetry…widely separated persons and events call out to each other and 'connect' precisely because so many of ordinary history's causal and syntactic arrangements have been positively negated. (Jerome McGann London Review of Books 1989-01-01)
Greil Marcus has developed an ability to discern an art movement, or an entire country, lurking inside a song. (New Yorker 2004-01-01)
Probably the most astute critic of American popular culture since Edmund Wilson. (D. D. Guttenplan London Review of Books 2007-01-01)
About the Author
Greil Marcus is the author of The Doors, Mystery Train, and other books.
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But what is with this garish COVER? By gum, Johnny Rotten should be on here. These muted colors of vomit are a real turn-off and hardly befits the technicolor dustbin within.
I've loved Marcus' writing since discovering his first book 'Mystery Train' in the stacks of my high school library in the mid-1970s. I subsequently stole that library copy and to this day have not returned it. Mystery Train remains for me the most important book ever written about rock-n-roll and the music's place in American culture. And that book's influence is immeasureable. Lipstick Traces is different in that its focus is international and less specifically American than Mystery Train's.
In Lipstick Traces, Greil Marcus goes to great lengths connecting the Sex Pistols with cultural/political movements such as the Situationists. John Lydon in an interview following Lipstick Traces's release, called such connections "rubbish," leading me to wonder what Marcus would have to say about Lydon's comment. Which isn't meant in the least to dissaude you from reading Lipstick Traces: Like all of Marcus's writing, its full of ideas, rich in history, and deeply intriguing: All qualities missing from much of popular music at present. In any case, Lipstick Traces' subtitle alone should make you want to read it.