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- KurzbeschreibungA 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.
- AutorEilon Paz
- SerieTen Speed Press
- VerlagRandom House LCC US
- FormatGebundene Ausgabe
- Seiten428 Seiten
- Gewicht2510 g
- LeseprobeI'm really just a casual record collector.<br>Preface by Elion Paz<br />Make no mistake-I love music and I love vinyl, but Dust & Grooves wasn't born out of a personal obsession with records. I've never had a want list, nor have I ever paid much attention to the distinction between VG+ and M-, or sought out limited editions, one-off pressings, or acetates. My passion lies with music, photography, and, as I discovered, photographing those with an unshakable devotion to collecting records. Through Dust & Grooves, I've been able to meet over 150 of the world's most fervent collectors, photograph their prized collections, and ultimately connect to a world that has always been dear to me.<br />Like nearly every single person profiled in this book, I grew up in a household filled with music. My parents' collection of Argentine folk (Mercedes Sosa), tango (Carlos Gardel), and Pink Floyd LPs would be regular fixtures on the family turntable. I later discovered jazz via ECM<br>Records and jazz-funk artists like Ramsey Lewis and Jimmy Smith, and have since accumulated a small but satisfying collection of records. Pink Floyd's Animals has been a longtime favorite, as much for the music as for the striking cover art. It was actually the dark, surreal mood of the cover photo that fueled my desire to pursue photography. I spent a good chunk of my twenties and thirties making a living as a photographer in my home of Tel Aviv, Israel, mostly covering food and travel, but also working with record labels and artists. I enjoyed the work, but I always had the nagging feeling that I wanted to embark on my own music photography project-something more personal, more creative, more inspiring.<br />In the summer of 2008, I left the comforts of my friends and family in Israel and moved to New York City. Of course, I didn't pick the ideal time-the recession was about to sweep through the city and take all the jobs with it. Being unemployed sucked, but it also left me with a lot of time to spend in record stores. Back then, the vinyl resurgence was in its early stages, and records were cheaper and much more plentiful in New York than in Israel. A couple of months after I arrived in NYC, a friend emailed me an unforgettable photo of a man in combat boots, holding an AK-47 machine gun, surrounded by masses of records. I was completely captivated by this exotic, intriguing image, and it somehow ignited my creative calling-to photograph record collectors. I read on to discover that the man was Frank Gossner, a German record collector who regularly travels to West Africa to dig for records. It turned out Frank was living in Brooklyn, and he was game to meet me for coffee.<br />When I told Frank about my idea to photograph the New York crate-digging scene,<br>he went to the trouble of introducing me to some of the city's major vinyl-heads, including Joel Oliveira, once owner of the now-shuttered East Village record store Tropicalia in Furs. Joel welcomed me into his shop, and we spent the day talking about his Brazilian mainstays, rare Japanese Beatles pressings, and the
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