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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.
This study examines the history of record collecting; profiles collectors and the collecting process; considers categories—especially music genres—and types of record collecting; and outlines and discusses the infrastructure within which collecting operates. Shuker situates this discussion within the broader literature on collecting, along with issues of cultural consumption, social identity and 'the construction of self' in contemporary society. Record collecting is both fascinating in its own right, and provides insights into broader issues of nostalgia, consumption and material culture.
The Collector’s Voice is a major four-volume project which brings together in accessible form material relevant to the history and practice of collecting in the European tradition from c. 1500 BC to the present day. The series demonstrates how attitudes to objects, the collecting of objects, and the shape of the museum institution have developed over the past 3000 years. Material presented includes translations of a wide range of original documents: letters, official reports, verse, fiction, travellers' accounts, catalogues and labels. Volume 1: Ancient Voices, edited by Susan Pearce and Alexandra Bounia Volume 2: Early Voices, edited by Susan Pearce and Kenneth Arnold Volume 3: Imperial Voices, edited by Susan Pearce and Rosemary Flanders Volume 4: Contemporary Voices, edited by Susan Pearce and Paul Martin
This history of the LP is a must-have for any music connoisseur! When vinyl LP records took over the music industry in the late 1950s, a new era began. No longer bound by the time constraints of the shellac 78s that had been in use since the 1910s, recording artists could now present an entire album—rather than a lone three-minute single—on a vinyl LP, giving listeners a completely new way to experience their music. In recent years, vinyl has found a second life as an art form, collected and appreciated by music connoisseurs across the world. Vinyl: The Art of Making Records examines the origins of the vinyl format and its evolution throughout the 20th century, and also provides an in-depth look at how vinyl LPs are manufactured and packaged—often with striking artwork that makes them beloved by music enthusiasts today. Also included are four removable art prints, each representing a sample of album covers from the 1960s, 1970s, 1980s, and 1990s.
While the importance of collections has been evident in the sciences and humanities for several centuries, the social and cultural significance of collecting practices is now receiving serious attention as well. As reflected in programs like Antiques Roadshow and American Pickers, and websites such as eBay, collecting has had a consistent and growing presence in popular culture. In tandem with popular collecting, institutions are responding to changes in the collecting environment, as library catalogs go online and museums use new technologies to help generate attendance for their exhibits. In Contemporary Collecting: Objects, Practices, and the Fate of Things, Kevin M. Moist and David Banash have assembled several essays that examine collecting practices on both a personal and professional level. These essays situate collectors and collections in a contemporary context and also show how our changing world finds new meaning in the legacy of older collections. Arranged by such themes as “Collecting in a Virtual World,” “Changing Relationships with Things,” “Collecting and Identity—Personal and Political,” and “Collecting Practices and Cultural Hierarchies,” these essays help illuminate the role of objects in our lives. Covering a breadth of interdisciplinary perspectives and subjects—from PEZ candy dispensers and trading cards to sports memorabilia and music—Contemporary Collecting will be of interest to scholars of cultural studies, anthropology, popular culture studies, sociology, art history, and more.
“A thoughtful, entertaining history of obsessed music collectors and their quest for rare early 78 rpm records” (Los Angeles Times), Do Not Sell at Any Price is a fascinating, complex story of preservation, loss, obsession, and art. Before MP3s, CDs, and cassette tapes, even before LPs or 45s, the world listened to music on fragile, 10-inch shellac discs that spun at 78 revolutions per minute. While vinyl has enjoyed a renaissance in recent years, rare and noteworthy 78rpm records are exponentially harder to come by. The most sought-after sides now command tens of thousands of dollars, when they’re found at all. Do Not Sell at Any Price is the untold story of a fixated coterie of record collectors working to ensure those songs aren’t lost forever. Music critic and author Amanda Petrusich considers the particular world of the 78—from its heyday to its near extinction—and examines how a cabal of competitive, quirky individuals have been frantically lining their shelves with some of the rarest records in the world. Besides the mania of collecting, Petrusich also explores the history of the lost backwoods blues artists from the 1920s and 30s whose work has barely survived and introduces the oddball fraternity of men—including Joe Bussard, Chris King, John Tefteller, and others—who are helping to save and digitize the blues, country, jazz, and gospel records that ultimately gave seed to the rock, pop, and hip-hop we hear today. From Thomas Edison to Jack White, Do Not Sell at Any Price is an untold, intriguing story of the evolution of the recording formats that have changed the ways we listen to (and create) music. “Whether you’re already a 78 aficionado, a casual record collector, a crate-digger, or just someone…who enjoys listening to music, you’re going to love this book” (Slate).
"Vinyl, once thought to be a dying market, is now facing a major revival. Pop culture writer and historian Jennifer Otter Bickerdike interviews some of our most iconic artists, including hip-hop stars, Indie legends, DJs, producers, album cover designers, photographers, label founders and record store owners. Each superstar and superfan talks about their own experiences of vinyl and what it means to them ... Includes interviews with Fat Boy Slim, Tim Burgess (Charlatans), Henry Rollins (musician, actor, writer, comedian), Gaz Coombes (Supergrass), Lars Ulrich (Metallica), Maxi Jazz (Faithless), Rob da Bank (DJ and founder of Bestival), [and others]"--Publisher's description.
From scouring flea markets and eBay to maxing out their credit cards, record collectors will do just about anything to score a long-sought-after album. In Vinyl Freak, music writer, curator, and collector John Corbett burrows deep inside the record fiend’s mind, documenting and reflecting on his decades-long love affair with vinyl. Discussing more than 200 rare and out-of-print LPs, Vinyl Freak is composed in part of Corbett's long-running DownBeat magazine column of the same name, which was devoted to records that had not appeared on CD. In other essays where he combines memoir and criticism, Corbett considers the current vinyl boom, explains why vinyl is his preferred medium, profiles collector subcultures, and recounts his adventures assembling the Alton Abraham Sun Ra Archive, an event so all-consuming that he claims it cured his record-collecting addiction. Perfect for vinyl newbies and veteran crate diggers alike, Vinyl Freak plumbs the motivations that drive Corbett and collectors everywhere.
An archival collection is a unique body of information, created at a particular time by a particular organization or individual as a result of a particular activity. If the cultural record contained in an archive is to be accessible, the archivist must examine, organize, and describe each collection individually. Introduction to Archival Organization and Description guides the novice to an understanding of the nature of archival information and documentation. Chapters cover topics such as the characteristics of archival materials, the gathering and analysis of information for archival description, and the implementation of descriptive tools in information systems. The Introduction to series acquaints professionals and students with the complex issues and technologies in the production, management, and dissemination of cultural heritage information resources.