9781789388299 - throbbing gristle: an endless discontent (global punk) de trowell, ian (31 resultados)
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Librería: Midtown Scholar Bookstore, Harrisburg, PA, Estados Unidos de AmericaMidtown Scholar Bookstore
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EUR 24,68
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paperback. Condición: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.
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EUR 37,13
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Paperback. Condición: new. Paperback. Drawing on archives and live performances, this book traces the impressions and reverberations of UK punk band Throbbing Gristle. This book looks at late 1970s Britain, before, during, and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time.…It explores how the band worked in and against the time, and how they worked in and against punk, as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value in the bands story, as Throbbing Gristle emerged with punk in late 1976, grappled with it through 1977, and then went on to create and eventually criticize a number of post-punk scenes that had flourished around 1979. This book situates the British band Throbbing Gristle as both a lens and critical tool for England during the punk years and the Winter of Discontent. Using detailed archival research and testimony from key performances, it plots the impact and affective reach of the band. 20 b/w illus. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
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Librería: PBShop.store US, Wood Dale, IL, Estados Unidos de AmericaPBShop.store US
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EUR 39,66
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PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.
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Librería: Rarewaves.com USA, London, LONDO, Reino UnidoRarewaves.com USA
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EUR 41,23
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Paperback. Condición: New. In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti, joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more…low-key arts environments, their major launch coincided with the COUM retrospective exhibition Prostitution at London's ICA gallery, showcasing and contextualising an array of challenging objects from COUM's various actions in performance art and pornography. In a deliberately curated strategy inviting press, civic and arts dignitaries, extravagant followers of the nascent punk scene and music journalists, the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex, censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the 'wreckers of civilisation', providing the suitable newspaper headline that would be followed a month later by 'the filth and the fury' as the Sex Pistols uttered strong profanities on live television.The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art, to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes, amateurism, and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records, and a sporadic string of live performances, the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band's style of exploring harsh pre-recorded sounds, samples of disconcerting narrative and conversation, and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour, and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene, many of their followers and fans formed bands in later years.Drawing on works such as Andy Bennett's When the Lights Went Out, this book looks at late 1970s Britain, before, during and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time, and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value, as Throbbing Gristle emerged.
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Librería: PBShop.store UK, Fairford, GLOS, Reino UnidoPBShop.store UK
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EUR 35,91
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PAP. Condición: New. New Book. Shipped from UK. Established seller since 2000.
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Librería: GreatBookPrices, Columbia, MD, Estados Unidos de AmericaGreatBookPrices
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EUR 39,34
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Condición: As New. Unread book in perfect condition.
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Librería: Brook Bookstore On Demand, Napoli, NA, ItaliaBrook Bookstore On Demand
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EUR 38,98
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Librería: Rarewaves USA, OSWEGO, IL, Estados Unidos de AmericaRarewaves USA
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EUR 47,68
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Paperback. Condición: New. In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti, joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more…low-key arts environments, their major launch coincided with the COUM retrospective exhibition Prostitution at London's ICA gallery, showcasing and contextualising an array of challenging objects from COUM's various actions in performance art and pornography. In a deliberately curated strategy inviting press, civic and arts dignitaries, extravagant followers of the nascent punk scene and music journalists, the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex, censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the 'wreckers of civilisation', providing the suitable newspaper headline that would be followed a month later by 'the filth and the fury' as the Sex Pistols uttered strong profanities on live television.The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art, to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes, amateurism, and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records, and a sporadic string of live performances, the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band's style of exploring harsh pre-recorded sounds, samples of disconcerting narrative and conversation, and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour, and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene, many of their followers and fans formed bands in later years.Drawing on works such as Andy Bennett's When the Lights Went Out, this book looks at late 1970s Britain, before, during and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time, and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value, as Throbbing Gristle emerged.
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Librería: Majestic Books, Hounslow, Reino UnidoMajestic Books
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Librería: BargainBookStores, Grand Rapids, MI, Estados Unidos de AmericaBargainBookStores
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Paperback or Softback. Condición: New. Throbbing Gristle: An Endless Discontent. Book.
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Librería: Ria Christie Collections, Uxbridge, Reino UnidoRia Christie Collections
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Librería: Chiron Media, Wallingford, Reino UnidoChiron Media
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paperback. Condición: New.
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Librería: Revaluation Books, Exeter, Reino UnidoRevaluation Books
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Paperback. Condición: Brand New. 280 pages. 8.25x5.75x0.80 inches. In Stock.
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Librería: GreatBookPricesUK, Woodford Green, Reino UnidoGreatBookPricesUK
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Librería: Books Puddle, New York, NY, Estados Unidos de AmericaBooks Puddle
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Librería: THE SAINT BOOKSTORE, Southport, Reino UnidoTHE SAINT BOOKSTORE
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Paperback / softback. Condición: New. New copy - Usually dispatched within 3 working days.
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Librería: Biblios, frankfurt am main, HESSE, AlemaniaBiblios
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Librería: Kennys Bookshop and Art Galleries Ltd., Galway, GY, IrlandaKennys Bookshop and Art Galleries Ltd.
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Condición: New. 2023. New. paperback. . . . . .
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Librería: AussieBookSeller, Truganina, VIC, AustraliaAussieBookSeller
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Paperback. Condición: new. Paperback. Drawing on archives and live performances, this book traces the impressions and reverberations of UK punk band Throbbing Gristle. This book looks at late 1970s Britain, before, during, and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time.…It explores how the band worked in and against the time, and how they worked in and against punk, as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value in the bands story, as Throbbing Gristle emerged with punk in late 1976, grappled with it through 1977, and then went on to create and eventually criticize a number of post-punk scenes that had flourished around 1979. This book situates the British band Throbbing Gristle as both a lens and critical tool for England during the punk years and the Winter of Discontent. Using detailed archival research and testimony from key performances, it plots the impact and affective reach of the band. 20 b/w illus. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
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Librería: Russell Books, Victoria, BC, CanadaRussell Books
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EUR 54,26
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paperback. Condición: New. Special order direct from the distributor.
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Librería: Kennys Bookstore, Olney, MD, Estados Unidos de AmericaKennys Bookstore
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Condición: New. 2023. New. paperback. . . . . . Books ship from the US and Ireland.
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Librería: Speedyhen, Hertfordshire, Reino UnidoSpeedyhen
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EUR 33,05
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Condición: NEW.
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Librería: Revaluation Books, Exeter, Reino UnidoRevaluation Books
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EUR 67,13
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Paperback. Condición: Brand New. 280 pages. 8.25x5.75x0.80 inches. In Stock.
Editorial: University of Chicago press
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Librería: Rarewaves USA United, OSWEGO, IL, Estados Unidos de AmericaRarewaves USA United
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EUR 48,98
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Paperback. Condición: New. In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti, joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more…low-key arts environments, their major launch coincided with the COUM retrospective exhibition Prostitution at London's ICA gallery, showcasing and contextualising an array of challenging objects from COUM's various actions in performance art and pornography. In a deliberately curated strategy inviting press, civic and arts dignitaries, extravagant followers of the nascent punk scene and music journalists, the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex, censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the 'wreckers of civilisation', providing the suitable newspaper headline that would be followed a month later by 'the filth and the fury' as the Sex Pistols uttered strong profanities on live television.The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art, to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes, amateurism, and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records, and a sporadic string of live performances, the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band's style of exploring harsh pre-recorded sounds, samples of disconcerting narrative and conversation, and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour, and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene, many of their followers and fans formed bands in later years.Drawing on works such as Andy Bennett's When the Lights Went Out, this book looks at late 1970s Britain, before, during and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time, and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value, as Throbbing Gristle emerged.
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Librería: AHA-BUCH GmbH, Einbeck, AlemaniaAHA-BUCH GmbH
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EUR 40,20
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Taschenbuch. Condición: Neu. Neuware - Drawing on archives and live performances, this book traces the impressions and reverberations of UK punk band Throbbing Gristle. This book looks at late 1970s Britain, before, during, and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time.… It explores how the band worked in and against the time, and how they worked in and against punk, as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value in the band's story, as Throbbing Gristle emerged with punk in late 1976, grappled with it through 1977, and then went on to create and eventually criticize a number of post-punk scenes that had flourished around 1979.
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Librería: Rarewaves.com UK, London, Reino UnidoRarewaves.com UK
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EUR 37,33
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Paperback. Condición: New. In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti, joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more…low-key arts environments, their major launch coincided with the COUM retrospective exhibition Prostitution at London's ICA gallery, showcasing and contextualising an array of challenging objects from COUM's various actions in performance art and pornography. In a deliberately curated strategy inviting press, civic and arts dignitaries, extravagant followers of the nascent punk scene and music journalists, the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex, censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the 'wreckers of civilisation', providing the suitable newspaper headline that would be followed a month later by 'the filth and the fury' as the Sex Pistols uttered strong profanities on live television.The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art, to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes, amateurism, and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records, and a sporadic string of live performances, the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band's style of exploring harsh pre-recorded sounds, samples of disconcerting narrative and conversation, and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour, and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene, many of their followers and fans formed bands in later years.Drawing on works such as Andy Bennett's When the Lights Went Out, this book looks at late 1970s Britain, before, during and immediately after the Winter of Discontent, to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time, and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value, as Throbbing Gristle emerged.
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Librería: THE SAINT BOOKSTORE, Southport, Reino UnidoTHE SAINT BOOKSTORE
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EUR 43,06
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Paperback / softback. Condición: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.
