Beddard Phil (9 results)

Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Condition: Used; Very Good. ***Simply Brit*** Welcome to our online used book store, where affordability meets great quality. Dive into a world of captivating reads without breaking the bank. We take pride in offering a wide selection of used books, from classics to hidden gems, ensuring there is something for every literary palate. All orders are shipped within 24 hours and our lightning fast-delivery within 48 hours coupled with our prompt customer service ensures a smooth journey from ordering to delivery. Discover the joy of reading with us, your trusted source for affordable books that do not compromise on quality.…

Soft Cover. Condition: Good+. No Jacket. Later Edition. Standard used condition. Reading copy or better. Used Book.

Condition: Very Good. some mild shelf wear and light scuffing on the cover, otherwise very good.

O. Pag. (180 S.), durchgehend farbige Illustrationen, 4°, farb. ill. OKart., E. A. Versand per Deutsche Post /DHL. Vorkasse grundsätzlich vorbehalten. BECAUSE OF THE EPR REGULATION NO SHIPPIMG POSSIBLE TO AT , BE, BG, ,CY , CZ, DK EE, ES, FI, FR, EL/GR, HR, HU, IT, LT , LU , LV, MT, NL, PL, PT, RO, SI , SE, SK. Sprache: Englisch Gewicht in Gramm: 900 (unteres Rückenende leicht bestoßen, sonst sehr gut erhalten). …

[first paperback edition] 177pp illus (col photos, posters and artwork) VG+ (silver, white and multi col paper wrappers, sl gum stain to upper edge corner of front wrapper, v. sl rubbed) first paperback edition, a nice example in very presentable condition.

Condition: Sehr gut. 177 Seiten, zahlr. Abb. Very good condition. - This book exists to collect and celebrate selected ephemera from the post- House dance culture of the last nine years: an undertaking often seen as contradictory, if not pointless. You can see the complaint coming: "How can you put something so transient in a book?". But transience is one founding dynamic of British Pop - as defined by Richard Hamilton - and does not preclude another time scale: the real story of people's lives is not to be told in news headlines, but in the stuff of everyday. Because it freezes the moment, the ephemeral can be perennial. Club flyers are an integral part of the urban landscape. Visit any youth-cult shop, and you will find a flat space covered with a bewildering array of visual input - a rapid, constantly changing form of communication. The baseline for any flyer is information - who, when and where - but the sheer volume of this cheap, quick turn-around medium has resulted in other effects. Produced by club communities, flyers are aspirational adverts, bulletin boards, in-jokes, showcases for young designers, a visual call and response for a whole generation. As DJ Magazine noted in April 1994: "They don't always tell the truth (but) they are our history". Here is one way of telling the story of the last nine or ten years, a period which has seen, in the UK and Europe at least, the musical focus of pop shift from rock to dance music - a fact which is as obvious as it is still often denied. The images that you see in this book have a common origin: the sequence of minimal, spacey records that came out of the US from 1986 on. In early manifestos like "Can You Feel It" by Fingers Inc, "Freedom" by the Children, db's "I Have A Dream", and Marshall Jefferson's "Move Your Body", you can hear an inclusive warmth that comes from a strong sense of community - a feeling which, as Chuck Roberts' rap prophesied, has spread around the world to create other communities, one nation united under a House groove. As Jamie Principle whispered on his epic "Baby Wants To Ride": "I believe! I believe! Do you believe? I believe!". For the last 30 years, pop music has travelled back and forth across the Atlantic in a series of bizarre mutations. Who could have predicted Kraftwerk's influence on the black dance music of 1981-1984, Hip Hop and Electro? Stigmatised and ignored in America because of its gay black origins, House readily travelled to Britain, where its "four on the floor" kick and synthesised melodies fed right into the uptempo aesthetic already established by Tamla, Northern Soul, Disco and Hi NRG. Collated and packaged by London Records, House quickly became big news from mid- 1986 on, with massive hits by Farley "Jackmaster" Funk ("Love Can't Turn Around) and Steve "Silk" Hurley ("Jack Your Body": number 1 in the charts, January 1987). House has the gospel spirituality and heart-stopping intensity of life that you hear in the best dance music, together with a certain gay-derived sense of melodrama, but it has added something new to this perennially popular mix: a profound sense of space. This comes directly from the club which gave House its brand name: in restructuring records for his dance floor, Warehouse DJ Frankie Knuckles had to take into account the sheer nsient (short term solution). ISBN 9781873968789 Sprache: Englisch Gewicht in Gramm: 1035 Orig.-Pp.; Orig.-Schutzumschlag. McNulty, Marc [Photographer] (illustrator).…

paperback. Condition: New. In shrink wrap. Looks like an interesting title.