Search results for ""Dust-to-Digital""
Dust-to-Digital The Birth of Rock and Roll
In The Birth of Rock and Roll, Americana collector Jim Linderman has arranged a storyboard of sorts that dramatizes the spirit of rock and roll in its early days—when "a juke-joint with fifty patrons was a big show," as Linderman writes in his introduction. "A church with fifty congregants was a full house. The annual square dance at the town hall, a rent party, a fish-fry, the honky-tonk piano in the whore house, the union meeting … There was no real money in it. A performer was lucky to be fed, get drunk and get laid." The photographs have little to do with the conventional iconography of the birth of rock and roll: conspicuously absent are pictures of young white men in Memphis, poodle skirts, Alan Freed and Bill Haley's Brylcream. These photographs instead document and celebrate the pure but indefinable essence of rocking. Ordinary, anonymous men, women and children—some white, some black—are holding guitars and strumming while looking relaxed or frantic, but nearly always blissful. Some of the action takes place in rural fields, some in dance halls, some at civic events, some in living rooms and basements. Wherever there was an urge to make acoustic or electric music—whether to help at a rent party, busk in front of a crowd or testify in the name of Jesus—there was an uncredited photographer there to snap an image, and these are the photographs that comprise Linderman's fascinating narrative.
£47.70
Dust-to-Digital Making Pictures: Three for a Dime
In the 1930s the Massengill family of rural Arkansas built three portable photography studios on old truck frames, attached each to the back of any car that would run, and started a mobile photo booth business that would last for a decade. Without formal training they invented ways to mimic the popular photo booth and brought their business to the dirt roads and open fields. Making Pictures, featuring Massengill family prints and photo albums collected by the artist Maxine Payne, illuminates a Depression-era South previously unseen by the public. Unlike the hardscrabble lives captured by WPA photographers, the Massengill photographs often show folks working to look their best. Hand-painted backdrops, colorized prints and the occasional prop add a playful edge to these scenes. Not unlike photographs by Vivian Maier or Mike Disfarmer, the Massengill photographs invite us to reconsider a time and place from a new perspective.
£27.00
Omnibus Press Listening to the Wind: Encounters with 21st Century Independent Record Labels
'Delightfully overwhelming in the amount of music to investigate . . . a late-night voice if I ever heard one'. Gideon Coe, Late Night Book Club, BBC 6Music If there's a cultural artefact capable of withstanding the vagaries and fickleness of the digital age as well as the printed book, it's the vinyl record . . . In Listening to the Wind, Ian Preece sets out on an international road trip to capture the essence of life for independent record labels operating in the twenty-first century. Despite it all - from algorithms and streaming to the death of the high street and the gutting of the music press - releasing a record to serve its 'own beautiful purpose', as 4AD's Ivo Watts Russell once said, is a flame that still burns through these pages. With countless labels, albums and artists to be discovered, this book is for those who share that inextinguishable love for music. **Features extensive, original interviews with the likes of Analog Africa, Light in the Attic, Thrill Jockey, International Anthem, Dust-to-Digital, Pressure Sounds, Heavenly, Touch, Mississippi, Sublime Frequencies and more!**
£20.25
