Britpop的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列線上看、影評和彩蛋懶人包

Anoint My Head - How I Failed to Make it as a Britpop Indie Rock-Star

為了解決Britpop的問題，作者MacLeod, Andy 這樣論述：

《TAKEN 1st mini album》– 劉宇儐音樂創作技法與編曲分析

為了解決Britpop的問題，作者劉宇儐 這樣論述：

近年來，說唱音樂已從地下（Underground）逐漸浮上檯面，逐漸地加入了主流音樂的行列，說唱音樂的竄起，無非是表現出了人們對於音樂、情感、文化及想法最直接的表達。隨著時代的進步，資訊傳播之速度飛快，數位音樂工作站（Digital Audio Workstation）及音樂相關知識的普及化之影響下，音樂製作變得不再是如此遙不可及，此等相關科系如雨後春筍般成立，能夠藉由才藝考取，即可獲得相關資訊的學習機會。筆者嘗試使用目前現有之設備進行音樂製作及人聲和樂器錄製，並將自身之經歷轉化為歌詞，透過說唱音樂之技巧直白地表達出來，搭配不同風格之曲目，探討現代獨立音樂及專輯製作所可能面臨之問題，及使用有

限資源之情況下，獨立音樂製作可達到最大的可能性。本論文將分為四個章節，第一個章節為緒論，包含研究動機、研究方法、及研究目的，第二個章節為《TAKEN 1st mini album》迷你專輯之專輯概述，包含製作公司概述、團體介紹以及專輯介紹製作過程及方法，第三個章節為《TAKEN 1st mini album》內容之曲目作曲分析，包含《Intro》、《Beginning》、《離開之後》及《困難又簡單》之音源使用及音場調整分析，第四章結為結論。 歷經本次研究，筆者對於獨立專輯製作及饒舌音樂掌握更加清晰的脈絡，獨立音樂製作於十幾年前是件難事，但在十幾年後的今天卻資源豐沛，我們應當善於利用資源，

將音樂製作這件事情達到效益的最大化。

Fried & Justified

為了解決Britpop的問題，作者Houghton, Mick 這樣論述：

A gonzo tour through the glory years of indie rock n' roll and acid house by one of the best-loved characters in the music business. In 1980, Mick Houghton set up his own PR company, Brassneck Publicity, and for the next twenty years the list of his charges reads like a Who's Who of some of the grea

test, most influential, and most dysfunctional cult groups of the post-punk era and beyond - the Jesus and Mary Chain, Felt, Sonic Youth, the Wedding Present, and Spiritualized among them. In the 1990s, Houghton judiciously sidestepped the major trends in music - baggy, grunge, and Britpop, and his

reputation for attracting outsiders led to him working with artists as disparate as Sun Ra, Andrew Oldham, Ken Kesey, Bert Jansch, Stereolab, Mercury Rev, and Gorky's Zygotic Mynci. Keen to shed the Britpop tag, Elastica approached Houghton and succeeded by taking five years to complete their second

album ("Justine Frischmann thanked me for keeping them out of the press during that time").But the three acts Houghton is most closely identified with are Echo & the Bunnymen ("whose greatness stemmed from a conviction only to do what was spiritually correct which usually meant them being willfully

stubborn"), Julian Cope, the Teardrop Explodes ("One long evening of excess I spent with Julian inspired the classic "Out of My Mind on Dope and Speed"), and the Justified Ancients of Mu Mu in all their guises ("We arrived in a fleet of white stretch limos at a clearing in a Surrey field where the

K Foundation was exhibiting a million pounds in cash while Bill Drummond and Jimmy Cauty circled the perimeters in two orange Saracen armored vehicles blasting out Abba's "Money Money Money").Between them, these three groups played a significant part in shaping the musical landscape of the 1980s and

1990s, and - as confidant and co-conspirator - Houghton was always with them along the way, carefully navigating the minefield of rivalries and contrasting fortunes. It is Houghton's indefatigable belief that it was always the music that came first and it is his knack of attracting so-called diffic

ult and troubled artists that makes Fried & Justified such an amusing, insightful and uplifting tale. Mick Houghton began writing about music during the seventies for such publications as Circus, Zigzag, Let It Rock, Sounds and Time Out before stumbling into a job as a PR at Warner Bros in 1979. W

ithin a year he had set up the independent Brassneck Publicity, where he’s looked after an extraordinary array of people ever since. Over the years he’s been closely associated with Echo and the Bunnymen, Julian Cope, The Undertones, The Jesus and Mary Chain, Sonic Youth, The KLF, Spiritualized, Ber

t Jansch, and Richard Thompson. He began writing again in 2001, first for Mojo and later for Uncut. As one of the Grammy-nominated compilers/producers of the boxed set Forever Changing: The Golden Age of Elektra, 1963-1973, he went on to write Becoming Elektra: The True Story of Jac Holzman’s Vision

ary Record Label, published in 2010. He is also the author of I’ve Always Kept A Unicorn: The Biography of Sandy Denny (2015).