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Simon Reynolds (born 19 June 1963) is an English music journalist, critic, and author. Reynolds began his professional career on the staff of ''Melody Maker'' in the mid-1980s, and has since gone on to freelance and publish a number of full-length books on music and culture, ranging from historical tomes on rave music and the post-punk era to critical works such as ''Retromania'' and ''Blissed Out''.〔(Rock's Backpages - Simon Reynolds )〕 Over the course of his career, he has contributed to ''Spin Magazine'', ''Rolling Stone'', ''Melody Maker'', ''The New York Times'', ''The Village Voice'', ''The Guardian'', ''The Wire'', and others. ==Biography and career== Reynolds was born in London in 1963.〔(Rock's Backpages - Simon Reynolds )〕 In the mid 1980s, he attended the University of Oxford, where he co-founded the pop journal ''Moniter'' with friend and future ''Melody Maker'' colleague David Stubbs.〔(Rock's Backpages - Simon Reynolds )〕 In 1986, Reynolds joined the staff of ''Melody Maker'', where his writing was marked by enthusiasm for a wave of experimental rock artists that emerged in the mid-1980s (including A.R. Kane, My Bloody Valentine, and Throwing Muses). During this period, Reynolds and his colleagues set themselves in opposition to what they characterized as the ideological traditionalism and humanism of the indie rock, soul, and pop music of the era, as well as conservative standards of surrounding pop music discourse. Many pieces from this era would later constitute the retrospective collection ''Blissed Out: The Raptures of Rock'', published in 1990.〔(ReadySteadyBook - Simon Reynolds Interview )〕 In 1990, Reynolds left ''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 the UK, and subsequently became a writer on the development of the hardcore "rave continuum" and its surrounding culture.〔(ReadySteadyBook - Simon Reynolds Interview )〕 During this time, he also coined the term "post-rock" in his review of Bark Psychosis' album ''Hex'', published in the March 1994 issue of ''Mojo'' magazine. In 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 published ''Energy Flash: a Journey Through Rave Music and Dance Culture'', a history of what became rave music, and became a senior editor at ''Spin'' magazine in the US. In 1999, he returned to freelance work and published an American version of ''Energy Flash'' in abridged form, titled: ''Generation Ecstasy: Into the World of Techno and Rave Culture''. In 2005, Reynolds published ''Rip It Up and Start Again: Postpunk 1978–1984'', a comprehensive history of the post-punk era.〔(The A.V. Club, ''Inventory: 17 Essential Books About Popular Music'' )〕 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 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 ten years of dance music following the appearance of the first edition. He contributed a chapter to ''Sound Unbound: Sampling Digital Music and Culture'' (The MIT Press, 2008), edited by Paul D. Miller a.k.a. DJ Spooky. In 2011, Reynolds published ''Retromania: Pop Culture's Addiction to Its Own Past'', a critical investigation into what he perceives as the current situation of chronic retrogression in pop music.〔Adam Harper, ("Record Recollection" ), ''Oxonian Review'', 2 June 2011〕 Reynolds has continued writing for magazines, as well as his blog, ''Blissblog''. He resides in Los Angeles.〔(M3 - Simon Reynolds Interview )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Simon Reynolds」の詳細全文を読む スポンサード リンク
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