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Dead Kennedys' Fresh Fruit for Rotting Vegetables (33 1/3) by Foley, Michael St
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Dead Kennedys' Fresh Fruit for Rotting Vegetables (33 1/3) by Foley, Michael St
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Dead Kennedys' Fresh Fruit for Rotting Vegetables (33 1/3) by Foley, Michael St

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    Book Title
    Dead Kennedys' Fresh Fruit for Rotting Vegetables (33 1/3)
    ISBN
    9781623567309
    Kategorie

    Über dieses Produkt

    Product Identifiers

    Publisher
    Bloomsbury Publishing
    ISBN-10
    1623567300
    ISBN-13
    9781623567309
    eBay Product ID (ePID)
    201591537

    Product Key Features

    Number of Pages
    192 Pages
    Publication Name
    Dead Kennedys' Fresh Fruit for Rotting Vegetables
    Language
    English
    Publication Year
    2015
    Subject
    Genres & Styles / Punk, History & Criticism, United States / State & Local / West (Ak, CA, Co, Hi, Id, Mt, Nv, Ut, WY), Genres & Styles / Rock
    Type
    Textbook
    Author
    Michael Stewart Foley
    Subject Area
    Music, History
    Series
    33 1/3 Ser.
    Format
    Trade Paperback

    Dimensions

    Item Height
    0.5 in
    Item Weight
    5.6 Oz
    Item Length
    6.5 in
    Item Width
    4.7 in

    Additional Product Features

    Intended Audience
    Scholarly & Professional
    LCCN
    2014-045849
    Reviews
    Michael Stewart Foley's Fresh Fruit for Rotting Vegetables is a must read not only for punks young and old, but for anyone who has ever felt even the slightest revolutionary pang in their soul ... Through interviews with Jello Biafra, East Bay Ray, and Klaus Fluoride (as well as many other important figures close to, or in the scene at the time) and a mountain of research, Foley puts together a book that is academic, personal, informative, and most importantly, convincing. For those already familiar with Fresh Fruit for Rotting Vegetables , this book further solidifies its greatness among records in any genre. For those new to the album, this book provides an extensive and comprehensive look into a body of work whose release exploded on the scene because of the pressures caused by the era, events, and people that all came together to create it., Michael Stewart Foley's new book on Dead Kennedys' debut album, Fresh Fruit for Rotting Vegetables , rests a jarring assertion: 'By ... the summer of 1978, San Francisco had established itself as home to the most political punk scene in the country.' His evidence - a litany of benefit efforts, topical songs, and punks' steady solidarity with other marginalized groups - is solid, so why does the statement leap off of the page? Perhaps because of how infrequently it's made ... the sort of retrospective historical works that would involve a claim such as Foley's are few and far between, all of which underscores the need for this book., Author Michael Stewart Foley explores the band's genesis from two equally critical points of view in his eponymous book in the 33 1/3 series, the political and social factors alive in California at the time as well as the stew of underground creativity that fed punk's fetid blossom ... Foley's book does the album a good turn, his eye for the social inspirations behind Biafra and others, as well as the creative are essential to its understanding., An accomplished historian with an appreciation for the punk ethic, Foley sketches the social and political conditions of the late 1970s and the band's take-no-prisoners response to them. He's also alert to San Francisco's distinctive punk scene and its unapologetically political stance. His essay is a welcome complement to the extensive literature on the city's utopian mood and music of the 1960s. . Very worthwhile., In his book on Dead Kennedys' 1980 debut , Fresh Fruit for Rotting Vegetables , historian Michael Stewart Foley traces the origins of the radicalized California punk band's political views by chronicling all the turmoil in the late 1960s and into the 1970s, as the hippie ideal curdled into the Me Generation ... what truly separated the Kennedys from their peers-and what transformed their angst into something powerful and useful-was the humor with which they tackled current events, as singer Jello Biafra in particular understood that a wicked sense of irony was the only weapon against a world that had grown so insane., An accomplished historian with an appreciation for the punk ethic, Foley sketches the social and political conditions of the late 1970s and the band's take-no-prisoners response to them. He's also alert to San Francisco's distinctive punk scene and its unapologetically political stance. His essay is a welcome complement to the extensive literature on the city's utopian mood and music of the 1960s. ... Very worthwhile.
    Dewey Edition
    23
    Illustrated
    Yes
    Dewey Decimal
    782.42166092/2
    Table Of Content
    Introduction Chapter 1 - I Don't Need This Fucking World Chapter 2 - Mellow Out or You Will Pay Chapter 3 - The Sun Beams Down on a Brand New Day Chapter 4 - It's Time to Taste What You Most Fear Chapter 5 - There's No Way Like the American Way Acknowledgments Notes Bibliography Index
    Synopsis
    In 1978, San Francisco, a city that has seen more than its share of trauma, plunged from a summer of political tension into an autumn cascade of malevolence that so eluded human comprehension it seemed almost demonic. The battles over property taxes and a ballot initiative calling for a ban on homosexuals teaching in public schools gave way to the madness of the Jonestown massacre and the murders of Mayor George Moscone and city supervisor Harvey Milk at the hands of their former colleague, Dan White. In the year that followed this season of insanity, it made sense that a band called Dead Kennedys played Mabuhay Gardens in North Beach, referring to Governor Jerry Brown as a "zen fascist," calling for landlords to be lynched and yuppie gentrifiers to be sent to Cambodia to work for "a bowl of rice a day," critiquing government welfare and defense policies, and, at a time when each week seemed to bring news of a new serial killer or child abduction, commenting on dead and dying children. But it made sense only (or primarily) to those who were there, to those who experienced the heyday of "the Mab." Most histories of the 1970s and 1980s ignore youth politics and subcultures. Drawing on Bay Area zines as well as new interviews with the band and many key figures from the early San Francisco punk scene, Michael Stewart Foley corrects that failing by treating Dead Kennedys' first record, Fresh Fruit for Rotting Vegetables , as a critical historical document, one that not only qualified as political expression but, whether experienced on vinyl or from the stage of "the Mab," stimulated emotions and ideals that were, if you can believe it, utopian., In 1978, San Francisco, a city that has seen more than its share of trauma, plunged from a summer of political tension into an autumn cascade of malevolence that so eluded human comprehension it seemed almost demonic. The battles over property taxes and a ballot initiative calling for a ban on homosexuals teaching in public schools gave way to the madness of the Jonestown massacre and the murders of Mayor George Moscone and city supervisor Harvey Milk at the hands of their former colleague, Dan White. ..In the year that followed this season of insanity, it made sense that a band called Dead Kennedys played Mabuhay Gardens in North Beach, referring to Governor Jerry Brown as a zen fascist, calling for landlords to be lynched and yuppie gentrifiers to be sent to Cambodia to work for a bowl of rice a day, critiquing government welfare and defense policies, and, at a time when each week seemed to bring news of a new serial killer or child abduction, commenting on dead and dying children. But it made sense only (or primarily) to those who were there, to those who experienced the heyday of the Mab...Most histories of the 1970s and 1980s ignore youth politics and subcultures. Drawing on Bay Area zines as well as new interviews with the band and fans, Michael Stewart Foley corrects that failing by treating Dead Kennedys' first record, Fresh Fruit for Rotting Vegetables , as a critical historical document, one that not only qualified as political expression but, whether experienced on vinyl or from the stage of the Mab, stimulated emotions and ideals that were, if you can believe it, utopian.
    LC Classification Number
    ML421.D4F65 2015

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