Weberman alan (25 résultats)

Paperback. Etat : Fair.

Paperback. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Etat : Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Paperback. Etat : Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Paperback. Etat : Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Paperback. Etat : Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Paperback. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Etat : good. All pages and cover are intact with minor wear to the pages, binding, and possible minor marks within. 100% Satisfaction Guarantee!! **Ships SWIFTLY!**.

Paperback. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Etat : Fair.

Paperback. Etat : Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Soft cover. Etat : Fair. No Jacket. This copy has some rubbing of the covers and a top to bottom crease in the back cover. Hinges and gutters are solid. Owner's mark upper half-title page. Otherwise clean and tight in binding, center section of black and white photographs. various {photography} (illustrateur). …

Paperback. Etat : Good. Shelf wear to covers and ends of spine at the edges and corners. Moderate creasing on front cover. Back cover has rubbing. Mild foxing on textblock. Otherwise, the text pages are bright and clean. Binding is solid. Overall a sharp reading copy.

Paperback. Etat : Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Soft cover. Etat : Good. Revised Edition. Crease on spine, edge worn.

PAPERBACK. Etat : Good. Author Canfield inscription on first fly. Glossy color covers. Solid binding, light edge wear, spine edges rubbed. ; 9.0 X 6.0 X 0.90 inches; 382 pages; Signed by author.

paperback. Etat : Very Good+. Etat de la jaquette : No Dust Jacket As Issued. No names or markings. It has some dings and shelf wear. ; 6"-9"tall; 382 pages.

Revised Edition Softcover vg in pictorial covers; lite rubbing to cover edges, minor soiling to page edges else a tight square unmarked copy.

Paperback. Etat : Brand New. 9.00x6.00x1.00 inches. In Stock.

Soft Cover. Etat : Good. No Jacket. First Printing Revised Edition. Front cover has black and white photo of JFK along left hand side, blue vertical bar along right that contains title etc. Superimposed on all of that is a red photo of 3 men. Red price sticker on upper right corner of front. Gold price sticker on lower left hand side. ISBN sticker on lower right. Significant crease runs vertically about a third of the way from left side. 382 very clean pages. The CIA and the assassination of JFK. Compelling stuff! Any picture found beside this listing may NOT actually be a picture of this book but a stock photo used by the listing site. 3 R's Used Books and Hannelore Headley Old & Fine Books, Inc. are committed to saving the trees one leaf at a time.…

paperback. Etat : New. In shrink wrap. Looks like an interesting title.

Paperback. Etat : Very Good. Looks unread but has 1" tear to the rear cover at the head of the spine. Large format softcover, illustrated. oversized and overweight. Please email for photos. Larger books or sets may require additional shipping charges. Books sent via US Postal.

orig.wrappers. 23x15cm, xxii,314 pp, PAPERBACK. A crease to cover corner. Rubbed. An ink mark to bottom page-edge. Good.

Soft cover. Etat : Fine. 303 pp., illustrations.

[New York: self-published, between 1972 and 1975]. Quarto (29.5 × 31 cm). Original side-stapled printed wrappers; 22 pp. stapled pages on stock of several colors (yellow, pink, green, blue). Very good. Largely unknown privately printed publication comprising (purported) material recovered from Bob Dylan's garbage, compiled and mimeographed by the self-proclaimed "Dylanologist" Alan Jules Weberman. Most of the texts printed here were first officially published for a wider readership in "Writings and Drawings" in 1973, although some had previously appeared in scattered small-scale publications, such as concert programs, or had at least been performed publicly. The collection also includes texts that appeared concurrently with or only after "Writings and Drawings", including "Knockin' on Heaven's Door" and "Rita May." Weberman may therefore have produced the collection only after the publication of "Writings and Drawings". Accounts of the eccentric activities and theories of the journalist and activist Weberman are probably included in almost every biography of Bob Dylan. His idealization of the star gave rise to a rage in response to disappointment that drove the self-proclaimed "Dylanologist" not only to pursue an adventurous, seemingly paranoid hermeneutics of Dylan's song lyrics, but also to rifle through the folk singer's garbage for evidence of his theories. Weberman saw Dylan as a hero of the counterculture and of a revolutionary movement who, in his view, had strayed from the path. He founded a "Rock Liberation Front" with the aim of "liberating" artists from bourgeois tendencies and taught courses on his "Dylanology" at the Alternate University of New York. Together with his students, he went to Dylan's house and chanted slogans such as "Hey, hey, hey, Bob Dylan, time to give away your million," and "Hey, hey, Bobby D, the revolution is in need of thee." On that occasion, one of the brief, legendary verbal exchanges between the two is said to have taken place, which Weberman documented. One of the encounters between the two even culminated in a physical altercation. In late summer 1971, a photojournalist for the Associated Press persuaded Weberman to demonstrate his practice of "Garbology" in front of the camera. Weberman later recalled: "The camera clicked just as I heard someone scream, 'Get the hell out of my garbage! You filthy animal! I can't throw anything away without you pawing through it!' It was Sara Dylan. [.] I urged the photographer to get a picture quick." After Weberman left the scene with the photographer, an encounter Weberman describes as follows: "That afternoon I was walking down Elizabeth Street, with my head bowed down to my shoes trying to figure out where I was really at, when I heard a bicycle stop a few feet in back of me. I thought nothing of it. Then, seemingly out of nowhere, an arm clasped around my neck. I wrenched it loose, turned around, and saw it was Bob Dylan." The singer is said to have begun striking Weberman: "He threw me down on the ground and he began to knock my head against the pavement. Finally some local freaks pulled Dylan off. Dylan ripped the DLF button [Dylan-Liberation-Font] from my shirt, got on his bicycle and rode off into the sunset. I sneaked up behind him and was ready to let him have it with the bottle, Brooklyn style, but couldn't do it. Dylan was right. I shouldn't have messed with his junk." (Quoted from: Peter Doggett: There's a riot going on, New York 2007, p. 454f.) Despite this self-criticism, in November 1971 Weberman published a widely noted article in the magazine "Esquire" entitled "The Art of Garbage Analysis: You are what you throw away." This is said to have helped inspire the archaeologist William Rathje at the University of Arizona to initiate the "Tucson Garbage Project." For many years, the group studied household waste in order to learn more about contemporary material culture. In the late 1980s, the project was expanded to include excavations at.…