* Reynolds, Simon, Rip It Up and Start Again.

* Reynolds, Simon.

Writing towards the end of 1987, music critic Simon Reynolds dubbed Public Enemy " a superlative rock band ".

For that purpose, they believed, the music needed to stay " accessible and unpretentious ", in the words of music historian Simon Reynolds.

* Reynolds, Simon ( 1999 ).

* Reynolds, Simon ( 2005 ).

Critic Simon Reynolds described this movement as " a rash of blurry, neo-psychedelic bands ".

As Simon Reynolds put it, " trip hop is merely a form of gentrification.

Music journalist Simon Reynolds cited Fear of Music as representing the Eno-Talking Heads collaboration " at its most mutually fruitful and equitable.

Second Coming received a mixed reception from the British press, which music journalist Simon Reynolds attributed to " the resentment that the Roses, divorced from the cultural moment that gave them meaning, were now just another band ".

* Reynolds, Simon.

* Simon Reynolds ' Energy Flash: a Journey Through Rave Music and Dance Culture ( ISBN 0-330-35056-0 )

* Simon Reynolds ' Generation Ecstasy: Into the World of Techno and Rave Culture ( ISBN 0-415-92373-5 )

Music critic Simon Reynolds said in 1992 that " there's a feeling of burnout in the culture at large.

Uncut magazine's Simon Reynolds wrote of the band: " Once upon a time, a band from the North came with a sound so fresh and vigorous it took the nation by storm.

* Reynolds, Simon.

Simon Reynolds declares that " Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism.

Early industrial music often featured tape editing, stark percussion and loops distorted to the point where they had degraded to harsh noise, such as the work of early industrial group Cabaret Voltaire, which Journalist Simon Reynolds described as characterized by " hissing high hats and squelchy snares of rhythm-generator.

She writes the group's lyrics, which tend to lean towards Marxist social commentary rather than " affairs of the heart " ( in the opinion of music journalist Simon Reynolds ).

In the song, Sadier sings " about capitalism's cruel cycles of slump and recovery " with lyrics that constitute " a plainspoken explanation of one of the central tenets of Marxian economic analysis " ( said critics Simon Reynolds and Stewart Mason, respectively ).

" Simon Reynolds commented in Rolling Stone that the group's earlier records form " an endlessly seductive body of work that sounds always the same, always different.

So was San Francisco's Chrome, who mixed Jimi Hendrix, The Sex Pistols and tape music experiments, and Killing Joke, considered by Simon Reynolds as " a post-punk version of heavy metal ".

* Reynolds, Simon ( 2005 ).

Simon Reynolds identifies the usual appearance of

" began to imagine ," wrote St Simon, " that the King doubted his courage, and resolved to stake all at once in an effort to vindicate himself.

) Philosopher Simon Blackburn wrote a rejoinder to Stove, though a subsequent essay by Stove's protegee James Franklin's suggested that Blackburn's response actually " confirms Stove's central thesis that Darwinism can ' explain ' anything.

Kushner also wrote a response to Simon Wiesenthal's question of forgiveness in the book The Sunflower: On the Possibilities and Limits of Forgiveness.

In the early 1960s Simon wrote a paper responding to a claim by the psychologist Ulric Neisser that machines might be able to replicate ' cold cognition ', e. g. processes like reasoning, planning, perceiving, and deciding, but could not replicate ' hot cognition ', including desiring, feeling pain or pleasure, and having emotions.

Simon wrote many articles on the topic over the course of his life mainly focusing on the issue of decision-making within the behavior of what he termed “ bounded rationality ”.

Dr Simon Kraiz, an expert on Eastern European Jewry at the University of Haifa, pointed out that no Khazar writings have been found: " We know a lot about them, and yet we know almost nothing: Jews wrote about them, and so did Russians, Georgians, and Armenians, to name a few.

Simon Johnson wrote that " the reemergence of an American financial oligarchy is quite recent ," a structure which he delineated as being the " most advanced " in the world.

John Alan Simon wrote, produced and directed a film adaptation of Radio Free Albemuth.

Nazi-hunter Simon Wiesenthal wrote to organisers of a Swedish book fair to which Singer was invited that " A professor of morals ... who justifies the right to kill handicapped newborns ... is in my opinion unacceptable for representation at your level.

Justin wrote that nearly all the Samaritans in his time were adherents of a certain Simon of Gitta, a village not far from Flavia Neapolis.

In 1992 Simon Corble wrote a stage version with medieval songs and music for The Midsommer Actors ' Company.

Enfield went to school with Simon Nye, who later wrote Men Behaving Badly.

Simon Grynée wrote to Martin Bucer in September 1531 that Anne was " young, good-looking, of a rather dark complexion ".

In his pioneering study, Bowling Alone: The Collapse and Revival of American Community ( Simon & Schuster, 2000 ), Harvard political scientist Robert D. Putnam wrote: " Henry Ward Beecher's advice a century ago to ' multiply picnics ' is not entirely ridiculous today.

Simon wrote most of the pair's songs, including three that reached No. 1 on the U. S. singles charts: " The Sound of Silence ", " Mrs. Robinson ", and " Bridge Over Troubled Water ".

Simon also wrote and starred in the film One-Trick Pony ( 1980 ) and co-wrote the Broadway musical The Capeman ( 1998 ) with the poet Derek Walcott.

Between 1957 and 1964, Simon wrote, recorded, and released more than 30 songs, occasionally reuniting with Garfunkel as Tom & Jerry for some singles, including " Our Song " and " That's My Story ".

It was paired with the motion picture of the same name, which Simon wrote and starred in.

In an attempt to return successfully to the music market, Simon wrote and recorded a new album very quickly, with You're the One arriving in October 2000.

Stephen Thomas Erlewine from Allmusic paid attention to the attempts of Simon in embracing his classic folk sound with Eno's electronic textures, and wrote that " Simon doesn't achieve his comeback by reconnecting with the sound and spirit of his classic work ; he has achieved it by being as restless and ambitious as he was at his popular and creative peak, which makes Surprise all the more remarkable.

In the late 1990s, Simon wrote and produced a Broadway musical called The Capeman, which lost $ 11 million during its 1998 run.

Simon also wrote all the songs in the film.