Genres Books

As an artist and art educator, I am enthralled with the photos in this book. The design elements and knowledge of art and dance all combine to create a beautiful presentation of each dance artist. The wonderful part is that the dancers are shown in their own environment. The love, absolute love of what they are doing shows in every face. The text is something you want to sit down and absorb over and over. This book is not only for one familiar with dance, but lovers of photography and the arts also. Can't wait for more!

I love this book. It is esthetically gorgeous. The text reveals the depth and complexity of these amazingly talented choreographers elicited by compelling and often humorous questions. I think Rose Eichenbaum's images and accompanying interviews show tremendous respect for her subjects. And they respond in turn by revealing so much both in front of the camera and as they speak to her of their art. If you are curious about who has been or is responsible for American dance today, you will want to read this book. Bravo!

Never before have I encountered a book with such rich content dealing with the dance field and---photos no less, that truly capture these interesting and provocative dance artists. Not only did the book peak my interest about the field, it inspired me to consider going to the theater for a evening of dance--something I haven't done in years.
I recommend this book to dancers, educators and average people who simply want to be inspired.

Jack Caffrey

I expected to be wowed by the photos in Ms. Eichenbaum's book, as I have attended some of her photography exhibits. What I did not expect was that I would be so entertained by the interviews! I am not very familiar with the world of dance but with her interviews, she has portrayed the spirit, the style and the passions of each individual -- they are all very inspirational. And with the photos and the prose combined she has really captured the essence of these dancers. You do not need to be a dancer to appreciate this book!

Lavish treatment of the American Dance scene. Warm in tone, intriguing and evocative in purpose. Photos are emotional and revealing. A 'must have' for anyone passionate about the art of dance and the dancer.

Excellent introduction to flamenco although only suitable for those with some musical knowledge and a basic guitar technique. Particularly strong on explaining the complex rythms and forms of traditional flamenco. Maintains interest with attractive and tuneful short compas sequences leading up to fairly advanced longer solos. As a struggling aficianado I can definitely recommend this first volume of the course.

A great introduction to flamenco guitar. I would stress, though, that it is not for beginning guitarists as one must be able to play at least some basic fingerstyle guitar technique. It is also not a repertoire book although there are a few short solos. Mr. Koster is an excellent guitarist and the accompanying CD has very clear audio examples of all those in the book. All in all, a great resource for someone wanting to get into flamenco guitar.

Excellent approach to the Flamenco guitar, done by somebody who really loves what he does
Very useful and inspiring

This is an ideal flamenco guitar book for beginners trying to learn flamenco guitar. Be forewarned however that at least some basic guitar experience is required before diving into this book. The book contains clear explanations and diagrams. A variety of falsetas and complete solos for several toques including the soleares, alegrias, farruca, bulerias and seguiriyas are covered. The book strongly emphasizes the compas. It introduces the rasgeados technique along with the compas for these toques first and then moves onto falsetas and other techniques...Overall it is highly recommended and expect to spend at least a year or so to cover all of the material in it(assuming you practice for an hour or so everyday).

Mr Koster -- a New Yorker -- is (like myself) a former pupil of Mario Escudero, and since 1965 has had a lengthy career of concerts, broadcasts and teaching in the United States, Spain and Japan.

The present work, along with Volumes 2 & 3, was previously published by AIG Music. The author has taught from it for several years, but in this form it is now out of print. With its republication by Mel Bay, Mr Koster has (he tells me) taken the opportunity of correcting various misprints, revising the text (including the restoration of some passages deleted by the previous publishers), and adding fingerings and fingerboard diagrams. (The last-named are especially helpful in showing when particular chord-shapes should be held.)

Prerequisites
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Like many other Flamenco guitar methods, this one assumes a basic grounding in finger-style guitar (of the order of one to two years' playing). All the examples are presented in staff-notation and tablature; I suppose one could in theory manage by copying the timing from the accompanying CD, but the ability to read would be a definite plus.

Content
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After enthusiastic forewords from Pepe Romero and Eliot Fisk come explanations of the notation, plus notes on the guitar, playing position, fingernails and the cejilla (capo). The tutor proper then explains compás and rasgueado, and passes from easy strumming patterns in the forms farruca, soleares, alegrías and tangos, to rasgueado versions of the same.

We then move to simple thumb and arpeggio falsetas, along with explanations of the different sections of a flamenco composition (llamada, escobilla, etc.). Other rhythms covered include verdiales, rosas, siguiriyas and bulerías, with examples drawn from the simpler falsetas of Sabicas, Mario, Ricardo, Diego del Gastor and Lucía. Further techniques described include the golpe (tap) and alzapúa (strumming with the thumb).

Towards the end there are some intelligent notes on the vexed question of how best to notate bulerías (to start on beat 1 or on beat 12, that is the question).

The CD
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The accompanying CD is properly treated as a didactic aid rather than as a recital. The playing is clean and accurate, at appropriate speeds (both slow and fast), and with interpolated comments as required.

But above all, simple though they are, the examples all sound like real Flamenco.

Presentation
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The most obvious improvement over the old edition is the nice photo of the author on the cover of the new one. But the thing that impressed me most was the exhaustive thoroughness of the fingerings, for both right and left hands -- nothing has been left to chance. In addition, the compás count is indicated for most of the pieces.

The old version was, however, spiral bound to open flat, which the new one is not. Still, I was able to flatten it with a minimum of brute force.

Summary
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If most of the above terms are gibberish to you -- as they may well be, if you're a beginner to Flamenco and thus in the market for this book -- don't worry. This is an excellent introduction to the flamenco guitar. I particularly like the fact that the aims of the book -- and with them its size and cost -- have been kept modest, while still establishing a firm and thorough foundation to be built on in the subsequent volumes.

If you're a teacher of classical guitar then, and your students express an interest in learning the basics of Flamenco, this would be a fine starting point.

Recommended.

I highly recommend "The Banjo Encyclopedia: Bluegrass Banjo from A to Z". I learned to play the banjo clawhammer style about seven years ago and have enjoyed developing as an amateur banjo player.

However, three-finger picking style seems to be the predominate way of playing, for some time, and I can recognize its advantages for producing a more sophisticated style.

I have looked at a number of books and never taken the leap from clawhammer style to three-finger picking until now because it has taken "The Banjo Encyclopedia: Bluegrass Banjo from A to Z" to give me what I need to make that leap.

I have great confidence in the book. I like the accompanying disk. I expect to grow with Ross Nickerson's method as successfully as I did previously with my teacher and books.

Very Good. who knew any one could write so much on the banjo. Very good to get goin and doin it right from the start.

I bought this based on customer reviews and it appears to be all it's cracked up to be. However I wanted to warn folks that a book this thick and perfect bound is not very practical. You will have to break the spine to get it to flatten out and actually use. Or you can have it trimmed and rebound at a print shop. I noticed that the website, BanjoTeacher.com, does offer a spiral-bound version and am sorry I didn't go that route. I just don't like tossing my credit info all over the internet, so it would be nice if Amazon could carry the spiral bound edition as well.

This is a great way to begin your banjo journey. I have taken lessons with Ross and he is a fantastic teacher. He has an easy way about him that draws you into the instrument instead of scaring you off it.

The book is written in that very same style. It is very comprehensive but it is broken up into sections that allow you to progress naturally. You will find yourself going back to chapters well after your "beginner" stage. He shows you many different styles of playing and even how to mix them together! I think it's better than the Scruggs book. (but you should own that as well - just because)

If you play banjo or are thinking about it, buy this book. Trust me.

In the old days, banjo techniques were passed down orally from generation to generation as part of regional and familial folklore. Today, aspiring 5-string pickers have a multitude of high quality instructional materials readily available. Ross Nickerson has an impressive resume as a performer, recording artist and teacher. One of his primary goals is to help avoid having to learn everything the hard way. He provides time saving, practical lessons and advice. The Banjo Encyclopedia is very comprehensive, covers many topics, and is a tool that should be referenced regularly.

He starts at square one with the basics of holding the banjo, using picks, reading tab, tuning, positioning hands, and overcoming difficulties. Rolls and exercises are then covered. Chapters are dedicated to right hand technique, as well as that for the left hand. By the end of Chapter 3, one is learning "Banks of the Ohio" and "Bury Me Beneath the Willow." An important lesson that many books fail to present is practice habits and practicing priorities. Nickerson does a fine job emphasizing the importance of a good practicing routine. Basic Scrugg's picking is then addressed and related to the songs, "Sitting on Top of the World" and "Nine Pound Hammer." Melodic and single-string styles of playing introduce some fiddle tunes, and then the author has us put it all together along with rhythm and chordal backup. Chapter ten broaches the subject of improvisation, before we get into kickoffs, turnarounds, and endings. Playing at slower tempos and in waltz time are covered. Finally a chapter on banjo maintenance by Mike Munford addresses all the parts. Advanced songs taught include John Henry and Train 45. The accompanying CD is 78 minutes long, and clear references to the disc tracks are given throughout the book. Nickerson teaches in a very straightforward style, although I might have slightly changed the sequence of some of the instructional material. The Banjo Encyclopedia is a welcome and thorough study of the instrument, most appropriate for beginning and intermediate players. (Joe Ross, staff writer, Bluegrass Now)

This is an asy to understand book for bigning Bass players. It helped me alot!

When I bought my first electric bass guitar I sorted through hundreds of instructional books, looking for the right one for me. When I finally asked some expirenced bassist' they all recommended this book. If you are looking for a easy-to-follow book with lots of practice tunes, and if you have little or no musical expirence then GET THIS BOOK NOW!

Is the music review of electric bass metho

In 1977 I went to my local music store and purchased this book. My dream was to be the best bass player in my town, and with the help of this book I achieved this dream. This book stressed the proper way to put your hands on the instrument and excellent drills and scales will give you a solid foundation to work from.I highly recommend it.

Electric Bass Method is a must-have for any beginner, or for anyone interested in learning to read music for a bass. The lessons are basic and fun, with several little tunes placed amongst the scale instruction. The back section offers bass notes to accompany various guitar chords. BUY THIS NOW!

I have always loved this song and was so glad that I bought this release with the book. The song is even better after reading the book.

This is by far the funniest thing I have seen, heard, and read in a long, long time! A must have for anyone with a sense of humor!

I have loved "Merry Christmas From the Family" by Robert Earl Keen since the very first time I ever heard it. I was initially exposed to this song on a cable access TV show, "Viva and Jerry's Country Videos" (which is hilarious in its own right). I hadn't caught the name of the artist, so I called Viva herself and she told me to look up Robert Earl Keen. I did so, bought a couple of albums and generally liked them, but this song (and his video that goes with it) remains my favorite of his works.

This book/CD combination is very nicely produced and is basically a funny color collage telling the story of the song. The CD has my favorite version of the song on it so you can follow along if you want, or more likely just listen and laugh.

I have given several of these as gifts over the last few years and they always get rave reviews. It's kind of sad that there is more than a little truth in the song, but nonetheless it's funny, dryly tongue-in-cheek, and very well done. While this may never overtake "Silent Night" or "O Come All Ye Faithful" in the pantheon of the world's most popular Christmas songs, it has a unique charm that is like nothing else, and I recommend it highly.

If you are a fan of Rober Earl Keen- I mean a fan of all his stuff from the rowdy staples "Road Goes on Forever" and "Copenhagen" to the skillfull subtle songwriting exhibited in No Kinda Dancer, and West Textures.

If this is you, then you will aprreciate this book. In short it is a hysterically illustrated version, verse by verse of his epic Chrismas Song "Merry Christmas From the Family". It is designed by esteemed Nashville graphic designer Buddy Jackson, and it is done with wit and humor in keeping with the songs' lyrics.(...)

Well, Robert Earl Keen himself said this was more of a greeting card than great literature. I think it's a delightful presentation of one of REK's best-loved songs. It's chockful of lyrics, pictures (did you know that Fran and Rita are both women?), recipes (for all those great drinks sung about), lists (10 Things You Can Do with Fake Snow, 10 Things You Won't Find in a Convenience Store), and Texas-style fun. And it includes a CD to boot, so you can listen while you read along. This is a hoot--and at this price, you can buy one for yourself and all your friends. Spread the love from the fam-o-lee!

This is as good as it gets,score-wise, for Handel's best known piece. Unless you want to spend a lot, this is it !!!

This edition of Messiah by Alfred Mann dates from the early 1960s. It is a good edition at an excellent price. For the latest scholarship and all of Handel's variants, however, you should consider the 1998 Oxford University Press edition edited by Clifford Bartlett. For the best guide to the work, read "Handel: Messiah" by Donald Burrows in the Cambridge Music Handbook series.

Paul N. Van de Water

Even to atheists and other skeptics---thanks to G.F. Handel.... I don't know anyone who doesn't love this masterpiece. Handel sets the dry prose of Revelation and Isaiah to Baroque rock n roll, and has earned a place as one of the great vocal composers of ETERNITY... This Dover full score is priced lower than some piano reductions!

Handel's Messiah is one of my favorite works of all time. And nothing goes with a great recording of this exquisite music like a fantastic score - exactly what Dover has provided for us here. Dover sews their books (they don't glue), so you can count on this score's durability, and the print is legible (which can't be said for all music) so you don't have to search out the magnifying glass to read the notes.

Masterful music in a high quality book and at a more-than-reasonable price. Do not delay in acquiring this score.

This is a wonderful book if you love to sing. Even if you just love the songs and have a copy of the concert on tape, now you can learn the words! My commumity has Messiah all sing concerts and even though I know the songs, it's always nice to have the music on hand. I ,personally, have been looking for this book everywhere!

This is an awesome read for any metal music fan, old or new. The stories Darryl tells are his own experiences mixed with quotes from the artists themselves. There are numerous pictures to accompany the stories as well.

I ate right thru this book the first night I received it. The first 20 or so pages are literally falling out and need to be clipped in place now.

I have suggested it to others on an internet metal radio station. A few have also picked up copies and are also enjoying reading it. You will not be disappointed if you pick up a copy for yourself.

I highly recommend this book to not only fans, but bands themselves! So much information to glean from. Past advice and current reflections make this a great book for groupies, fans, and bands alike. Darryl covers all metal and some hard rock; these are true metal bands too, not corporate forced fad entities. Some of these bands, I had only heard through the radio station I DJ for. The author gives insite from the little-known local bands to the major acts. Parents, give your kids this book and let's start a new generation with the music we grew up with....REAL Rock!

Buy this book. I couldn't put it down once I started it. Did you buy THE CURSED cd "Room Full of Sinners" with myself on guitar and Blitz from Overkill singing low and bluesy? Kinda sounds like my old band NON-FICTION.Dan

I just finished to read this book and it is a great trip through the 80's scene! in LA,tucson AZ and iowa from a guy who used to run a metal magazine,great pics of bands and funny stories!about the wannabe's out there, about the ones who are on "rock star trips".oh this guy really hate road manegers and record labels!. i didnt give it 5 star cuz the guy is too negative about metal most of the time,too much glam for me( i really dont like glam)i also dont like at all that he mention that poser band called metallica come on! they are not a heavy metal band they are alternative and nu-metal and every trend out there but not metal,oh darryl keck call slayer,megadeth and flotsam and jetsam power metal! and that is a huge mistake! they arent power metal at all...by the way it is a great book about heavy metal

I read through Darryl Keck's book, METAL GENERATION, and I think it might be one of the best books ever written about Metal. It's great primarily because it's not the typical shocking stories that glorying (and somewhat amplify what really happened) regarding the sex, drugs and rock & roll of the time as told by the band members. No, it's written by a fan who had some access to the bands - enough to be nosy, but not enough to be influenced into lying for their decedent friendships that they developed. Darryl Keck should be applauded for telling it like it was!

I JUST ORDERED A COPY OF LAURYN HILLS BOOK 'THE MISEDUCATION OF LAURYN HILL' AND, I ALSO HAVE THE ALBUM, BUT I FELT THAT I NEEDED TO KNOW MORE ABOUT LAURYN HERSELF AND THE ZION,HOPEFULLY SHE MENTIONS IT IN THIS BOOK,I LOVE YOU LAURYN,YOUR MY ONLY INSPIRATION,I WOULD LOVE TO SEE MORE BOOKS WRITTEN BY YOU, I'LL BUY EVERY COPY YOU PUT OUT, I LOVE YOU LAURYN FROM THE BOTTOM OF MY HEART---love,Lashawn Nicole

This album is really creative, Lauryn Hill had TONS of talent!

I love this book! It is da BOMB! You have to read it. Lauryn hill is suck a talented artist and this book give you all the details of lauryn's life! It ROCKS! Hi mom!

The Miseducation of Lauryn Hill isan excellant book! Lauryn has beenthrough some trying times and I adore her for staying so strong. Aside all rumors that were made, Lauryn was still able to stay focused. She is truely genuine.

"Queen of the Hill"- What else could you say about a young woman of such grace? Many have loved and admired Lauryn for years and years and I can honestly understand why. Her style is so versatile, and her personality is so calm, that you can't help but join the " Lauryn Hill bandwagon" (ya know?) I say " Queen of the Hill" and I don't use those words lightly, because most people have read articles, many people have listened to her music, but when you meet her in person, the connection is so overwhelming, you do literally pinch yourself to see if it's a dream.

Unlike many works that Alan Lomax had has hand in, this book is great reading, if nothing more. I am not known to be a fan of Alan Lomax and his father as my review of _The Land Where the Blues Began_ attests, but at least Lomax realized what a treasure Jelly Roll Morton was and interviewed him and also had Morton create hours and hours of singing and piano music.


This book offers a digest of hours and hours of interviews with Morton in the late 1930s when Morton was living in Washington. It is supplemented by some very useful interviews Lomax did with New Orleans musicians and their families in the late 1940s. The New Orleans interviews provide very useful direct source material about the social and culture and professional milieu that both Creole and Black musicians in New Orleans Sprang from. A recently written criticial review by a real scholar at the close of the book explains the great limitations of Lomax's selections and writngs here.


Lomax apparently knew little about the real history and processes of New Orleans jazz and life, so that a lot of questions that someone interest in Morton's impact on music are not asked, not just in what Lomax selected to put in this book, but in the larger transcripts of Lomax's interviews and in the monologues Morton dictated to a stenographer as part of this project. Lomax's tendency is to seek out non-musical issue his stereotypical images of Blues and Jazz musicians call forth. This is quite unfortunate because to the end of his life, Morton had a very sophsiticated and articulate understanding of music and was capable of serious discussion of jazz and blues in formal musical terminology. He was a person who seriously thought about music most of the time when he was not playing it.

Recently scholars with new information drawn from new discoveries of Morton's personal archives, correspondence, and musical library as well as the range of interviews with other musicians tend to verify much of what as thought of after these intervews as bragadoccio. Morton probably was the first person to produce written compositions that were Jazz as opposed to rag time. He was certainly playing and writing down blues compositions before Handy. Even the greatest of early Jazz Pianists like James P. Johnson affirmed that both in the days before WWI and in the 1920s Morton outplayed all the great Jazz Pianists.

The examination and performance of the music that Morton wrote in the late 1930s indicates that Morton had not only mastered composition and band arrangement in a style that would have surpassed the most surpassed swing of his day but had written orchestral pieces that prefigured the modal Jazz that Coltrane and others presented in the 1950s. These and other compositions indicate that whatever the fortunes of his public performances, Morton was a serious composer whose skills continued to advance even in his last years when his health collapsed.

Yet flagged by failing health, Morton was never able to organize an orchestra that could have played these pieces. He had been told that he could have lived ten or fifteen more years had he given up performing music, but he wanted to make his music more than he wanted to live.

Finally, Morton WAS cheated out of millions of dollars in royalties by the music industry, especially by the Melrose Brothers and by ASCAP. He was one of the first musicians to challange the way the Mafia-connected music publishers simply robbed musicians of their compositions or did not pay them. Unlike some musicians who suffered quietly or WC Handy who was one of the token Blacks ASCAP paraded around to hide its racism, Morton launched a public campaign in Downbeat and other Jazz magazines that exposed the crimes of ASCAP and music publishers like Melrose.

Until the mid 1940s, ASCAP which collected royalties for compositions from record producers, radio, night clubs, and other places where music was played had a racist setup. Few Black members were admitted although royalties were collected for their music. Morton carried out a public and legal campaign for years to be admitted to ASCAP even though it was collecting millions for the large number of his compositions that had become great hits in the swing era, like the King Porter Stomp that became a standard that any competent string band cut its teeth on.

Once inside ASCAP, he found ASCAP distributed its royalties not based on the money different songs brought royalties but on what a board of ASCAP leaders decided was the cultural worth of different kinds of music. Thus while Broadway and classical writers were getting hundreds of thousands of dollars in royalty payments, Morton received under 200 dollars each of the two years he was living and a member of ASCAP. Morton protested and exposed this publically in the last years of his life and attempted to gather other victims of this system in a law suit. While he was dying and unable to carry on this struggle, his protests and the information he gathered led to congressional investigations in the 1940s that forced an end to discrimination in ASCAP in regard to membership and forced it to distribute royalties based on the sales of the music, not on its "value."

The issue of braggadocio also comes here from the fact that Lomax supplied Morton with a bottle of whiskey for each Interview. Morton was not an alcholic, but those who have studied the transcripts have noted that Morton grew more inaccurate, abrasive, and unreliable longer into the interviews as the booze took effect.

This fits into Alan Lomax's consistent pattern of trying to make sources, particularly Black sources fit into the stereotypes he had about them. Lomax who took many photographs of his folk sources, for example, would force people who preferred being photographed in the Sunday Best, to appear in old work clothes. While Leadbelly actually favored the finest suits and imposed a dress code on Sonny Terry and Brownie MCGhee when they roomed at his New York Home (suits and ties as musicians are professionals and get a case, not a sack for the instrument) Lomax forced him to perform in prison garb or overalls. Lomax also created the fiction that singing and the intercession of his father John Lomax had some relationship with Leadbelly being released fromthe Louisiana penitentary when Leadbelly was released as part of program that automatically reduced prison sentences due to depression-caused cutbacks.

Lomax wanted precisely to convey a picture of Morton filled with whiskey, smokey rooms, and so forth, when Morton was one of the biggest stars of music between 1917 and 1930, performing in some of the most sophisticated venues and a particular favorite with Hollywood film stars of the period.

Despite these criticisms, I urge anyone interested in finding out not only about Jelly Roll Morton, but about the origins of Jazz in New Orleans and the entertainment industry in the earkly 20th Century to read this book. A good supplement, or perhaps a better place to start would be _Jelly's Blues: The Life, Music, and Redemption of Jelly Roll Morton_ by Howard Reich. This can be followed by _Dead Man Blues: Jelly Roll Morton Way Out West by Phil Pastras_.

In spite of Jelly's bragadocio and the author's lack of Jazz background (Lomax was a folklorist) it's a very interesting book. Jelly must have felt injusticed when, in the late thirties, Benny Goodman was earning lots of money with "King Porter's Stomp". But the truth is that, exactly like King Oliver, he was outpaced by the revolution started by Satchmo.

I have always been a fan of Jelly Roll Morton, and I've always looked for books about him. This is by far the best. I loved it. I wish they would re-issue it

Alan Lomax interviewed Jelly Roll while doing an extensive set of recordings shortly before Morton's death. He followed up with a number of interviews with people who knew Jelly Roll. Lomax did a fabulous job of keeping himself out of the way while letting the often colorful information from the interviews tell the story of Jelly's part in the birth of jazz, a story with triumphs, massive ego and ultimate decline. I read a library copy and am buying a copy for a present.

This is one of the rare books for it can be enjoyed by just about anyone who picks it up. Its the amazing account of the life of Jelly Roll Morton, one of the best jazz pianists of all time. Though a braggart and troubled man, he created some of the very best pieces of jazz. The book goes into his life from his childhood and his time working at Storyville to the very troubled end in the early forties. You learn about his family, his troubled relationships with Anita and Mabel and how he went from being wildly successful to dying virtually forgotten. Voodoo, New Orleans, jazz and Creole culture, its all here.

Written with flair and never boring, Mr. Jelly Roll is a book that you will read more than once. Its a look at a legend and a glimpse into a world we can only know of through books and music. Get this if you want a good read and a look at Mr. Morton's life. A true classic.

This book is stuffed with detailed information on the Mod culture of the early 60's. The author goes on and on telling whatever he can on what was going on, how they dressed, what they liked, the drugs, the scooters...everything! That's not all of it. That book contians thousands of black and white photographs of the scene (images of the kids danceing, riding and strutin' themselves across the beaches). This book tells the history of mod from it's humble begings to it's sad end in the mid-sixties. I would recomend this book to anyone who is interested in Mod. I would also suggest viewing the movie "Quadrophenia" for more of an idea of what Mod was.

Well, I used to get mad trying to look cute like them, me and my mates spent hours reading it! I translated it into Italian and photocopied my translation handing it out at the mod meetings held in Rimini each easter. Now I'm past those days but sweet memories still keep coming back.
A reportage from the past with fresh and amazing photos, but you'll find that style is not a fashion!
Five stars is my rating, but is not an impartial one!

Richard Barnes has written a fine book about the Mod sub culture of the early 1960's. This book tells all about the different fashions, types of music, scooters, dances and even amphetamines. It is the defifnative book on Mods and every 'face' ought to have it

This book has become the acknowledged starting point for anyone wishing to learn more about the 1960's Mod youth movement. The book is filled with photographs and articles from the time. Thoroughly recommended for Mods or anyone wishing to find out about this most important of subcultures.

An in-depth look at the destinctively British sub-culture commonly known as "Mod". This book takes you there in black and white with remarkable photos and descriptive text. Take a trip back in time; back to the summer of '64 on the beaches of Brighton. See original mods dressed to kill- literally! Mods, in their uniforms of three-button tonik suits and military parkas, fighting Rockers, marching into beachside towns to terrorize small businesses and vacationers, throwing deck chairs, and chanting, "We are the Mods!, We are the Mods!, We are, We are, We are the Mods!" Afterwards, it's off with the mods on their Vespas and Lambrettas, adorned with chrome mirrors and lights to the local night club to pop a few leapers and dance till dawn with that special bird.