In the Groove: Vintage Record Graphics 1940-1960

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Whaddya know--turns out size does matter. In this stunning collection of album cover art from 1940 to 1960, it is instantly apparent that despite the advantages CDs may have in the technology or convenience departments, vinyl albums--even based on their sheer proportions--have always been way cooler. This is especially true for this particular era, when cover art was truly an art form, with talented designers handcrafting individualized jackets influenced by surrealism, cubism, and modern artists of the day. And as Tony Bennett says in his preface, "they were large enough to make you feel like you were taking home your very own work of art."

Author Eric Kohler, a graphic designer and album cover artist himself, selected these 250 gorgeous covers from his own collection of over 3,000. He offers a captivating history of the early record industry, addressing the invention of the phonograph in 1877, the near demise of the industry due to competition with radio, and the rejuvenating introduction of the jukebox in 1935. Prior to Columbia Records' release of the 33 rpm vinyl LP in 1948, music fans were restricted to 78s--easily breakable, shellac-based records that could only hold four minutes' worth of music on each side. Victor Records made a competitive strike with the 45 (hence turntables with 33, 45, and 78 options), but its success was limited. Until the 1980s, the LP ruled the land with its roomy cardboard cover--a perfect canvas for artists.

Kohler's focus is on the graphic artists themselves--revolutionaries of the industry. Previously, albums had plain covers that advertised phonograph and record companies rather than performers. But when designer Alex Steinweiss entered the scene in 1939 (at the tender age of 23) he changed the business of cover art forever. Kohler illustrates the styles of eight such prominent cover artists--Steinweiss's trademark curly-scrawl script, Jim Flora's cartoonish images recalling Joan Miró and Paul Klee--with such accuracy that readers are able to immediately recognize and differentiate their work. Although the sun shone on these artists for only a brief time (the advent of photographic covers in the late 1950s all but obliterated their influence), these 20 years paint a fascinating portrait of popular music, modern art, and even business development. Best of all, Kohler serves up page after glorious, glossy page of big, beautiful album covers. --Brangien Davis

Book Description

What the much-admired Blue Note: The Album Cover Art and Blue Note 2 did for jazz, In the Groove does for the sounds of the '40s and '50s, when swing and bebop took off. Selected for their noteworthy design and wonderful illustrations, these visual stunners range from jazz to popular tunes to classical and Latin styles. But it's the lounge vibe that truly runs wild as we tour more than 300 sensational album covers, including seldom-seen issues from Decca, Blue Note, and other labels. A brief text explains what design was like before the photograph took over and how the invention of the LP changed the record business forever. Author Eric Kohler also introduces the stand-out designers and key labels of the period. Cole Porter, Louis Armstrong, Bing Crosby, Billie Holiday, Frank Sinatra, Desi Arnaz, Carmen Miranda their best album covers are all here, and they're all sizzlin' in the heyday of hip. Easy on the eyes, In the Groove is the real thing: the great covers created by the great designers for the musical greats of yesteryear.

Customer Reviews:

Excellent book, poor binding.......2005-10-04

This is a fantastic book for album cover designs. But as I was warned, the glue on the binding really does gives out after the first reading. But the content is so incredible, it's worth purchasing this book...just be sure to handle it carefully so you don't loose your pages.

Sound pictures........2002-12-14

Mr Kohler presents two hundred and fifty covers (from his large collection) which he rightly thinks show the best of album design in the early years of the LP. He features eight artist/designers who created some of the most distinctive work in cover art. Two of them are my favorites, David Stone Martin who gave Norman Granz's Clef label some beautiful cover illustrations (twenty are shown) and Reid Miles who created the east coast look to Blue Note Records. Unfortunately only four of his covers are shown but you can see dozens more in the two books by Graham Marsh: The Cover Art of Blue Note Records and The Cover Art of Blue Note Records, Vol.2. The other six designers range from the unique illustrations of RCA's Jim Flora to the work of Swiss born designer Erik Nitsche and his semi abstract work for Decca. Record companies are also featured and you can see the beginnings of the Capitol Records house style, I think they were the only major company to produce consistently well designed covers with excellent photography and typography.

Though all these covers are interesting to look at I don't think too many work as complete design units, that is image and text complement each other, mostly they are images with text added later. One cover that I like is on page eighty-one, it shows a file-card box and the albums title, 'Guide to Jazz' is typed on a card which is resting against the box, the tabs of the other cards have musical instruments on them, a simple creative idea that works. Strangely the designer is unknown.

I doubt you will see as good a coverage of the early years of the LP as this (well produced) book but have a look at this title that concentrates on jazz covers from the fifties and sixties, Jazz West Coast: Artwork of Pacific Jazz Records. It has dozens of examples of creativity on paper twelve inches square, somehow CD covers just can't compete with that.

***FOR AN INSIDE LOOK click 'customer image' under the cover.

"Groove"y Covers.......2002-06-05

Being a music lover, I've never been partial to one type of music only--I have a passion for everything from rock to classical, pop to country, even from jazz to techno. Something in all of these styles intrigues me. And how intriguing is this incredible book by Eric Kohler. I never thought I'd "get into" a book dedicated solely to album covers from 1940-1960, but I was wrong. The music lover in me kicked in, and I found myself fascinated with the glorious color photos, the revealing and well-researched text, and with the artists themselves. This album cover artistry really has diminished with the advent of the much-smaller compact disc (which is a truly disappointing fact), but Mr. Kohler's book rapturously captures the vividness of the times, the artists, the moods, and the music of those two decades. It took me back to the time when I myself used to stare at the covers of my records for hours while playing them over and over again - this classic book uncovers that wonderful feeling inside you once more. And to top it all off, Mr. Tony Bennett himself writes an introduction that's both classy and sentimental. This is a great book for any music lover with a coffee table -- and an open mind towards how art has influenced music (and vice versa) in so many ways.

Long, lost days of style........2001-08-01

As a graphic designer, I get so flustered when I see the same old CD covers now: a photo of the artist or band, and their name scribbled on top, or a really un-inspired text treatment, most likely using some wretched Photoshop tool like, alien skin or eye candy- blech! Perhaps modern day CD's skimp on the design work of the covers because they are so much smaller now. But back in the days of LP's and 45's art was generously splashed on covers. Full-colored, stylized and oh, so hip! Each one fit to be framed and displayed. "In the Groove: Vintage Record Graphics, 1940-1960" effectively chronicles the history of this long, lost art-form in a picture-book style. I say picture-book, because of the lack of background information on many of the pieces, in fact there are quite a few pieces that are listed as "unknown designer", how unfortunate! Some poor old designer dedicated his or her life to creating some stunning art to attract music lovers' eyes to this or that particular record, and now they're the "unknown designer". Eric Kohler did his best grouping together styles of record graphics, so seeing the evolution of style was very nicely mapped-out. Nice quality paper, nice printing... would've been nicer in hardback. Still, this is one of my favorite books!

Cool Collection of overlooked medium.......2001-02-21

I liked this book so much that I bought a copy for my record-collecting boyfriend and a DJ friend with a varied and ecclectic vinyl collection.

When I thought of record cover art, I thought of those fantasy-styled "YES" covers, or the metal band covers of the 80's. I had no idea about how many cool vintage record covers were out there.

The book focuses on covers from 1940-1960. You'll find many jazz, swing and vocalists represented here. The reproductions are excellent and the variety is impressive. While most covers are reproduced in 3x3inches, quite a few are refresented as full pages which is about a 9-inch square. It is organized by artist and record company, showing you how the artist's style influenced the cover.

I highly recommend it for record collectors, vintage enthusiasts, graphic designers/illustrators and those who love old things. It made me miss the 12-inch vinyl covers all the more and has inspired me to track specific albums down. CDs can never match the emotional connection that vinyl did.

Book Description

This collection of twelve essays discusses the principles and practices of women's autobiographical writing in the United States, England, and France from the eighteenth to the twentieth centuries. Employing feminist and poststructuralist methodologies, the essays examine a wide range of private life writings—letters, journals, diaries, memoirs, pedagogical texts, and fictional and factual autobiographies. The concepts of theory and practice—as opposing and mutually exclusive methodologies, as focal points for conflicting interpretations, and finally as complementary approaches to the study of literature—are central to this collection.

The Private Self explores the links between the historical devaluation of women's writings and the cultural definitions of women that have constrained their writing practices and excluded them from the canon of traditional autobiographical texts. Collectively, these essays expose the cultural biases that derive from notions of selfhood defined by a white, masculine, and Christian experience. In an effort to revise our prevailing concept of autobiography, these essays deal with differences of race, class, religion, sexual orientation, and gender.

Book Description

This is the first publication of the two most important notebooks created by William Henry Fox Talbot (1800-1877), the inventor of negative/positive photography. Notebooks P and Q span the period from the first public announcement of photography in 1839 through the 1843 plateau of Talbot's researches. They record both his false starts and his triumphs. While the emphasis is on the new art of photography, there is substantial reference to chemistry, electricity, light, optics, and railroad motive power. The notebook pages are reproduced in full, preserving the tempo and organization of Talbot's thoughts, and keeping his sketches in context. This book will fascinate anyone interested in the history of science or technology.

Customer Reviews:

Perfect Birthday Gift.......2000-08-24

This is recommended for the boomer turning 50 who needs nothing but a good laugh. Suitable for males and/or femalies well-endowed with funny bones.

Book Description

Inside you will find amazing-but-true stories about: The frog that's a ventriloquist Snakes that hear with their tongues Mokele-Mbembe, the living dinosaur Giant crocodiles the size of a car And crocs that honk when ready to hatch The lizard that walks on water The largest amphibian in nature, the flying dragon, the strange reptile with three eyes, and much, much more.

Customer Reviews:

Give it to the kids and they'll love it!.......2001-02-07

Many adults will be familiar with the cartoons of Ripley's Believe It Or Not! that used to appear in many newspapers. This book contains some facts about reptiles, but many adults may find that it is a bit on the short side and many of the drawings don't seem to resemble the style of those that were found in the paper.

It is still a good book and anyone who gives it to a child in upper primary school will find that their soon enthralled. Many kids love dinosaurs, frogs and lizards, so facts about weird ones are right up their alley.

ripley's Beleive it or not-Reptiles, lizards, and prehistori.......2000-04-04

I liked this book alot. It is full of cool and interesting things. I liked this book because it was filled with stuff i like. For example if you like strange animals or weird disformed creatures you would love this book. The other Ripley's books arre like this, they give you interestin facts about strange happenings/ or things.Even though it is short it is a good book to fill in your empty time with.

Ripley's Believe it or Not Reptiles, Lizards and Prehistoric Beasts

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Ripley's Believe it or Not Reptiles, Lizards and Prehistoric Beasts
Editor's
Manufacturer: Tor
ProductGroup: Book
Binding: Mass Market Paperback
ASIN: B000GRGCRC

Book Description

Covering 600 music festivals worldwide, this guide offers lively descriptions of festivals of all manner, size, and form. A resource for the committed festival attendee, it offers dates, locations, scheduled events, web sites, and lists of recent performers. Accommodation information is also featured alongside price guidelines and camping details. Also a vital handbook for the performer, it provides contact information for booking agents, deadlines for submissions, and, in some cases, practical tips about how to get on the bill. Covering nearly every conceivable genre of music—from alternative rock, world music, avant-garde jazz, and R&B to bluegrass, reggae, medieval, and contemporary classical—this companion is comprehensive, engagingly written, and amazingly informative. The Music Festival Guide is an essential resource for anyone interested in attending or performing at music festivals.

Customer Reviews:

Resplendent!.......2004-05-12

Hark the the authors of gentlenaught! Quite a fanciful book indeed, but for where art thine Druid Folk Festival? Missing? Aye, missing indeed. Where lutes are lusty, women busty, and the bards do belt with drunk advance, you'll find me and mine singing and dancing with my boots outside my pants.

First entry I read got it wrong.......2004-03-06

I just got this book today and the first entry I went to was the Detroit Electronic Music Festival (DEMF).
Well, the authors got it wrong. First off - as of late 2002 this festival doesn't exist anymore.
It's now the Movement festival. I know there are delays involved in publishing but I would hope that there would be some amendment or last minute change because all of the contact info is already wrong/out of date. Chock it up to the accelerated development of electronic music (and the drama involved with the behind the scenes business of this festival).

So, I feel I should make the corrections here.
First off - as I stated before, it's not the Detroit Electronic Music Festival (DEMF) anymore.
It's called Movement.
Their website is here http://www.movementfestival.com/
The date listed, "Third week in May", is rather vague. It's Memorial Day Weekend every year - May 29 -31st.
The location is correct. Hart Plaza.
I have no idea why the authors gave the admission a three dollar sign price ($$$). The festival is FREE. Always has been (even when it was DEMF) and hopefully always will be. Maybe the authors were suckered by a quick witted Detroit resident "charging admission"? If the authors read this I'd really like to know why they assigned it three dollars. If you attended any of the past festivals (DEMF or Movement) you'd know it's free.
The contact info is also wrong. Pop Culture Media has nothing to do with the festival anymore (part of the drama I mentioned earlier). Check the Movement website for info.
One final quibble - the authors mention Frankie Bones as a "house legend". Frankie *Knuckles* is a house legend - Frankie Bones is arguably closer to techno.

Other than that the authors are correct then they say that Detroit "would know how to throw the best party."
What is the saying? "No one parties like a Detroit party cuz a Detroit party don't stop." Until the cops come that is.

Make sure you get there early in the week for the pre-festival parties, stay out during the weekend for the late night parties, and stick around after the weekend for some post-fest events. But leave the glowsticks at home.

I hope the rest of the book is more accurate for everyone's sake. I certainly don't want to find out the hard way that I was given incorrect info - standing there looking at an empty field.

Jam Bands.......2004-02-06

There has been much hype for The Music Festival Guide and its self defense benefits. I purchased this book with high hopes that it could provide some insight into the frightening realism of defense from an armed assailant. What I got, however, was short reviews of jam band festivals which give you less than a fifty fifty chance of survival from a dangerous encounter. Ground fighting is non existant, and the manner in which you defend yourself in several of these situations does not include controlling the weapon, a fundamental concept in street effective self defense. Overall, I would not reccomend this book for anything more than a reference to music festivals.

This book helped me triumph over my hatred of jam bands.......2004-02-06

This book is a rollicking romp through hundreds of music festivals across the US of A. I think the authors really like jam bands like Radberry Surprise and the Jamfactory because the best writing was about the jam festivals. I'm about to leave a 7 year lesbian relationship and set out across America to spend a year at music festivals and the two books I will bring with me are "The Music Festival Guide" and "Iacocca".

Whoa!.......2004-02-05

I am really anticipating this book alot. I go to alot Blue Grass Folk and festivals around all over and having a book of ideas for guiding me will really be a good thing. I bet its good and want to read it alot.

Book Description

Addresses the status of the body and sexuality in cultural criticism.

Book Description

The growing body of literature on ethnic businesses has emphasized the importance of small family-based businesses as a key form of immigrant adaptation. Although there have been numerous references to the importance of "family labor" as a key ethnic resource, few studies have examined the work roles and family dynamics entailed in various kinds of ethnic businesses.

Helping Out addresses the centrality of children's labor participation in such family enterprises. Discussing the case of Chinese families running take-out food shops in Britain, Miri Song examines the ways in which children contribute their labor and the context in which children come to understand and believe in "helping out" as part of a "family work contract." Song explores the implications of these children's labor participation for family relationships, cultural identity, and the future of the Chinese community in Britain. While doing so, she argues that the practical importance and the broader meanings of children's work must be understood in the context of immigrant families' experiences of migration and ethnic minority status in Western, white-majority societies.

Customer Reviews:

truly gripping reading for sociology!.......2002-10-08

as an asian american, the type of themes discussed here are fascinating, particularly for those of us who are both hyphenated americans of any sort. as well of fascination is the whole concept of being in between generations, such as 1st, 2nd, etc. but this book points out that one can even be a fractional generation. in asian cultures such as japan, china, and korea, there are actual words which identify what generation of ethnicity one is in a new land, and this book reinforces this. a great read for anyone who claims identity between 2 or more cultures.

Helping out: Children's labor in ethnic business.(Review) (book review): An article from: International Labour Review

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Helping out: Children's labor in ethnic business.(Review) (book review): An article from: International Labour Review

Manufacturer: International Labour Office
ProductGroup: Book
Binding: Digital

General | Business & Investing | Subjects | Books

Book Description

This digital document is an article from International Labour Review, published by International Labour Office on March 22, 2000. The length of the article is 592 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Helping out: Children's labor in ethnic business.(Review) (book review)
Publication: International Labour Review (Refereed)
Date: March 22, 2000
Publisher: International Labour Office
Volume: 139 Issue: 1 Page: 103

Article Type: Book Review

Distributed by Thomson Gale

Helping Out: Children's Labor in Ethnic Business.

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Helping Out: Children's Labor in Ethnic Business.

Manufacturer: 0
ProductGroup: Book
Binding: Paperback
ASIN: B000ICSEZI

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