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Along with Blue Note records, the Prestige, Atlantic, Contemporary and Pacific and Riverside Labels were the chief providers of America’s East and West Coast sounds on vinyl. The hard-edged, straight ahead playing of New York’s jazz musicians was perfectly reflected in the moody, monochromatic photography, quirky graphics and bold typography of the record covers: the look, like the sound, was intelligent, disciplined and sophisticated. On the West, the bright colours and playful themes expressed the funky sounds of the US's cool, california cool. For the first time ever, Coast to Coast Album Covers brings the two together under one very cool roof.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
Watch creative worlds collide like never before in the ultimate fusion of hip-hop and the House of Ideas! With an introduction by award-winning author Ta-Nehisi Coates - a National Book Award winner, a recent MacArthur Genius Grant recipient and the writer of Marvel's BLACK PANTHER - this stunning volume showcases 70 comic-book covers inspired by some of the most iconic albums in music history. Experience page after page of incredible artwork featuring the heroes of the All-New, All-Diff erent Marvel Universe - from A-Force to the X-Men - by an unbelievable roster of talent including Adam Hughes, Brian Stelfreeze, Jim Cheung, Mike Del Mundo, Sanford Greene, Jenny Frison, Phil Noto, Mahmud Asrar, Damion Scott, Tim Bradstreet, Keron Grant, Ed Piskor and more! Their finished covers sit side-by-side with behind-the-scenes sketches, showing the process of rendering some of the most famous images in hip-hop, Marvel style. Straight outta comics - and onto your bookshelf!
Following The Cover Art of Blue Note', this is a selection of the best of the covers produced by the Contemporary and Pacific Jazz record labels during the boom days of West Coast jazz in the 1950s. Unlike Blue Note, which was an East Coast operation, these two labels were based in and around Los Angeles, on the West Coast, and there is a Californian feel to the covers they produced.
Camilla Valentine is a black, twenty-four year old farm girl whose striking beauty stuns Hawk Delano Thompson at first sight at the colored rodeo in Oklahoma. Their brief social engagement leads to Hawk corresponding with Camilla via a series of back and forth letters. Those letters reveal Camilla’s childhood dream to become a black actress in the year 1949—stage and film. Hawk could help her with that: fulfill her dream. Hawk, at twenty-seven, is a successful entrepreneur with big ideas living in Crown City (fictional) in California near Hollywood movie studios. Crown City is a black governed city filled with modern ideas and talented, prideful people. Hawk, who’s no longer smitten by Camilla but who has fallen in love with her, invites Camilla to come to Crown City to study acting at the locally prestigious Desmond Booker’s Acting School. Camilla agrees. She will stay in the Lion Hotel in the Crown. But more important than any other arrangement between them, Hawk confesses to Camilla that he’s in love with her, and makes it perfectly clear that he expects her to fall in love with him in due time; not any other man in Crown City.
"This volume is published for the occasion of the Getty's citywide grant initiative Pacific Standard Time: Art in Los Angeles 1945-1980 and accompanies the exhibition Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture 1950- 1970, held at the J. Paul Getty Museum, Los Angeles."
In the twentieth century, as previously excluded groups, including ethnic minorities, women, the disabled, and the differently gendered, gained a voice in society, group identity also changed and new definitions became necessary. Whether through their group affiliations or in spite of these affiliations, many individuals sought a new definition of themselves. As can be expected, much literature explores these changes and depicts the quest for new definitions and the search for individuality in the light of new definitions. Construction or definition of the self was once available only to the elite, and the freedom of some to define their identity was sacrificed so that others could make their own self-definitions; this practice can be found throughout much of history. This volume is about that kind of oppression and various strategies of escaping from oppression as depicted in serious literature. Its thirteen essays, all by recognized scholars, are divided into five categories: Race, Gender, and the Self; Assimilation and the Self; Black Males and the Self; Female Sexuality and the Self; and The Family and the Self.
A photographic look into the world of vinyl record collectors—including Questlove—in the most intimate of environments—their record rooms. Compelling photographic essays from photographer Eilon Paz are paired with in-depth and insightful interviews to illustrate what motivates these collectors to keep digging for more records. The reader gets an up close and personal look at a variety of well-known vinyl champions, including Gilles Peterson and King Britt, as well as a glimpse into the collections of known and unknown DJs, producers, record dealers, and everyday enthusiasts. Driven by his love for vinyl records, Paz takes us on a five-year journey unearthing the very soul of the vinyl community.
Enjoy the beautiful curated photographs (in color) of Cape Town in South Africa The photos captures the quintessential stunning landmarks, scenery and architectural buildings of the country and city from day to night without no words (texts) This full page picture book will make a great home coffee table decor accessory or as a gift for a loved one 8.5" x 11" / large size Glossy softcover
This Is Our Music, declared saxophonist Ornette Coleman's 1960 album title. But whose music was it? At various times during the 1950s and 1960s, musicians, critics, fans, politicians, and entrepreneurs claimed jazz as a national art form, an Afrocentric race music, an extension of modernist innovation in other genres, a music of mass consciousness, and the preserve of a cultural elite. This original and provocative book explores who makes decisions about the value of a cultural form and on what basis, taking as its example the impact of 1960s free improvisation on the changing status of jazz. By examining the production, presentation, and reception of experimental music by Ornette Coleman, Cecil Taylor, John Coltrane, and others, Iain Anderson traces the strange, unexpected, and at times deeply ironic intersections between free jazz, avant-garde artistic movements, Sixties politics, and patronage networks. Anderson emphasizes free improvisation's enormous impact on jazz music's institutional standing, despite ongoing resistance from some of its biggest beneficiaries. He concludes that attempts by African American artists and intellectuals to define a place for themselves in American life, structural changes in the music industry, and the rise of nonprofit sponsorship portended a significant transformation of established cultural standards. At the same time, free improvisation's growing prestige depended in part upon traditional highbrow criteria: increasingly esoteric styles, changing venues and audience behavior, European sanction, withdrawal from the marketplace, and the professionalization of criticism. Thus jazz music's performers and supporters—and potentially those in other arts—have both challenged and accommodated themselves to an ongoing process of cultural stratification.