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100%: Bromell, Nick, and Bromell, Nicholas Knowles: Tomorrow Never Knows: Rock Psychedelics in the 1960s [Paperback] (ISBN: 9780226075624) 2002, University of Chicago Press, Vereinigte Staaten von Amerika, Erstausgabe, in Englisch, Band: 6, Taschenbuch.Nur diese Ausgabe anzeigen…
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Tomorrow Never Knows: Rock Psychedelics in the 1960s [Paperback]
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Tomorrow Never Knows: Rock and Psychedelics in the 1960s (2002)
EN PBISBN: 9780226075624 bzw. 0226075621, Band: 6, in Englisch, University Of Chicago Press, Taschenbuch.
Lieferung aus: Vereinigte Staaten von Amerika, Versandkostenfrei.
Von Händler/Antiquariat, Book Deals [60506629], Lewiston, NY, U.S.A.
This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: Acknowledgments Introduction: "Living to Music"- Remembering Rock and Psychedelics in the '60s 1. "Something That Never Happened Before"- The Early Beatles and the Sense of an Ending 2. "Heartbreak Hotel"- At the Crossroads of White Loneliness and the Blues 3. "Something's Happening Here"- The Fusion of Rock and Psychedelics 4. "I Was Alone, I Took a Ride"- Revolver, Revolution, Technology 5. "Never Do See Any Other Way"- Sgt. Pepper's Lonely Hearts Club Band 6. "Evil" Is "Live" Spelled Backwards- The Radical Self in Highway 61 Revisited and The White Album Afterword: "Our Incompleteness and Our Choices"- Forgetting the '60s and Remembering Them Appendix 1. Music, Form, and Meaning Appendix 2. The Form and Work of the Blues Notes Index.
Von Händler/Antiquariat, Book Deals [60506629], Lewiston, NY, U.S.A.
This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: Acknowledgments Introduction: "Living to Music"- Remembering Rock and Psychedelics in the '60s 1. "Something That Never Happened Before"- The Early Beatles and the Sense of an Ending 2. "Heartbreak Hotel"- At the Crossroads of White Loneliness and the Blues 3. "Something's Happening Here"- The Fusion of Rock and Psychedelics 4. "I Was Alone, I Took a Ride"- Revolver, Revolution, Technology 5. "Never Do See Any Other Way"- Sgt. Pepper's Lonely Hearts Club Band 6. "Evil" Is "Live" Spelled Backwards- The Radical Self in Highway 61 Revisited and The White Album Afterword: "Our Incompleteness and Our Choices"- Forgetting the '60s and Remembering Them Appendix 1. Music, Form, and Meaning Appendix 2. The Form and Work of the Blues Notes Index.
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Tomorrow Never Knows: Rock and Psychedelics in the 1960s [Paperback]
EN PB USISBN: 9780226075624 bzw. 0226075621, in Englisch, University of Chicago Press, Vereinigte Staaten von Amerika, Taschenbuch, gebraucht.
Von Händler/Antiquariat, AMAZINGBOOKDEALS [55216202], IRVING, TX, U.S.A.
Used book in GOOD condition. Good enough to read. Binding in GOOD shape with no missing pages. Cover has visible wear. Markings, writings and highligtings inside the book. Text ONLY. Does NOT include accessories such as CD, DVD, access code etc. Fast Shipping. Prompt Customer Service. Satisfaction guaranteed.
Used book in GOOD condition. Good enough to read. Binding in GOOD shape with no missing pages. Cover has visible wear. Markings, writings and highligtings inside the book. Text ONLY. Does NOT include accessories such as CD, DVD, access code etc. Fast Shipping. Prompt Customer Service. Satisfaction guaranteed.
3
Tomorrow Never Knows: Rock and Psychedelics in the 1960s
EN NWISBN: 9780226075532 bzw. 0226075532, in Englisch, University of Chicago Press, Vereinigte Staaten von Amerika, neu.
Lieferung aus: Deutschland, zzgl. Versandkosten, Versandfertig innerhalb von 3 Wochen.
Tomorrow Never Knows: Rock and Psychedelics in the 1960s, "There was something rigorous and instructive in getting stoned and listening to music as if it really "mattered,"" writes Nick Bromell in the first book to take seriously the "drugs and rock 'n' roll" side of the 1960s-a side too often eclipsed by oversimplifications of that decade's hedonism or political idealism. To truly understand those years, Bromell argues, we must go back to the primal scene in which listening to rock-the Beatles, Dylan, Doors, Hendrix-was fused with the experience of being high. What did young people hear? What did they feel and think and learn? "Tomorrow Never Knows" focuses not on the stars who produced the music or on the leaders of the counterculture, but on those who sat in their dorm rooms and group houses, smoked dope, and played albums. Weaving together memoir and musicology, history and politics, Bromell shows how millions of listeners mixed rock and psychedelics in a quest to make sense of themselves and their times. This combination was not mere escapism, he argues, but a vital public philosophy, one that we must do justice to in order to comprehend not just the past but the present. For the most enduring legacy of the '60s-and the reason we both celebrate and revile them today-may be that they inaugurated a profound instability, a sense that foundations are fictions and culture itself "just a lie." Indeed, psychedelics helped confirm the way adolescents "already" saw the world, Bromell argues, and that is why they were intrigued by the strange sounds of Revolver long before most of them had even heard of pot or acid. Bromell also suggests that '60s rock drew heavily on the blues not just because white kids admired African American styles ofresistance, but because the blues gave musical expression to the double consciousness most of them felt as both insiders and outsiders in their own culture. Deftly teasing out the layered meanings of such songs as "All Along the Watchtower," "Ballad of a Thin Man," and "Str.
Tomorrow Never Knows: Rock and Psychedelics in the 1960s, "There was something rigorous and instructive in getting stoned and listening to music as if it really "mattered,"" writes Nick Bromell in the first book to take seriously the "drugs and rock 'n' roll" side of the 1960s-a side too often eclipsed by oversimplifications of that decade's hedonism or political idealism. To truly understand those years, Bromell argues, we must go back to the primal scene in which listening to rock-the Beatles, Dylan, Doors, Hendrix-was fused with the experience of being high. What did young people hear? What did they feel and think and learn? "Tomorrow Never Knows" focuses not on the stars who produced the music or on the leaders of the counterculture, but on those who sat in their dorm rooms and group houses, smoked dope, and played albums. Weaving together memoir and musicology, history and politics, Bromell shows how millions of listeners mixed rock and psychedelics in a quest to make sense of themselves and their times. This combination was not mere escapism, he argues, but a vital public philosophy, one that we must do justice to in order to comprehend not just the past but the present. For the most enduring legacy of the '60s-and the reason we both celebrate and revile them today-may be that they inaugurated a profound instability, a sense that foundations are fictions and culture itself "just a lie." Indeed, psychedelics helped confirm the way adolescents "already" saw the world, Bromell argues, and that is why they were intrigued by the strange sounds of Revolver long before most of them had even heard of pot or acid. Bromell also suggests that '60s rock drew heavily on the blues not just because white kids admired African American styles ofresistance, but because the blues gave musical expression to the double consciousness most of them felt as both insiders and outsiders in their own culture. Deftly teasing out the layered meanings of such songs as "All Along the Watchtower," "Ballad of a Thin Man," and "Str.
4
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Tomorrow Never Knows: Rock and Psychedelics in the 1960s
EN HC NWISBN: 9780226075532 bzw. 0226075532, in Englisch, UNIV OF CHICAGO PR, gebundenes Buch, neu.
Lieferung aus: Deutschland, zzgl. Versandkosten.
´´There was something rigorous and instructive in getting stoned and listening to music as if it really ´´mattered,´´´´ writes Nick Bromell in the first book to take seriously the ´´drugs and rock ´n´ roll´´ side of the 1960s-a side too often eclipsed by oversimplifications of that decade´s hedonism or political idealism. To truly understand those years, Bromell argues, we must go back to the primal scene in which listening to rock-the Beatles, Dylan, Doors, Hendrix-was fused with the experience ´´There was something rigorous and instructive in getting stoned and listening to music as if it really ´´mattered,´´´´ writes Nick Bromell in the first book to take seriously the ´´drugs and rock ´n´ roll´´ side of the 1960s-a side too often eclipsed by oversimplifications of that decade´s hedonism or political idealism. To truly understand those years, Bromell argues, we must go back to the primal scene in which listening to rock-the Beatles, Dylan, Doors, Hendrix-was fused with the experience of being high. What did young people hear? What did they feel and think and learn? ´´Tomorrow Never Knows´´ focuses not on the stars who produced the music or on the leaders of the counterculture, but on those who sat in their dorm rooms and group houses, smoked dope, and played albums. Weaving together memoir and musicology, history and politics, Bromell shows how millions of listeners mixed rock and psychedelics in a quest to make sense of themselves and their times. This combination was not mere escapism, he argues, but a vital public philosophy, one that we must do justice to in order to comprehend not just the past but the present. For the most enduring legacy of the ´60s-and the reason we both celebrate and revile them today-may be that they inaugurated a profound instability, a sense that foundations are fictions and culture itself ´´just a lie.´´ Indeed, psychedelics helped confirm the way adolescents ´´already´´ saw the world, Bromell argues, and that is why they were intrigued by the strange sounds of Revolver long before most of them had even heard of pot or acid. Bromell also suggests that ´60s rock drew heavily on the blues not just because white kids admired African American styles ofresistance, but because the blues gave musical expression to the double consciousness most of them felt as both insiders and outsiders in their own culture. Deftly teasing out the layered meanings of such songs as ´´All Along the Watchtower,´´ ´´Ballad of a Thin Man,´´ and ´´Str Lieferzeit 1-2 Werktage.
´´There was something rigorous and instructive in getting stoned and listening to music as if it really ´´mattered,´´´´ writes Nick Bromell in the first book to take seriously the ´´drugs and rock ´n´ roll´´ side of the 1960s-a side too often eclipsed by oversimplifications of that decade´s hedonism or political idealism. To truly understand those years, Bromell argues, we must go back to the primal scene in which listening to rock-the Beatles, Dylan, Doors, Hendrix-was fused with the experience ´´There was something rigorous and instructive in getting stoned and listening to music as if it really ´´mattered,´´´´ writes Nick Bromell in the first book to take seriously the ´´drugs and rock ´n´ roll´´ side of the 1960s-a side too often eclipsed by oversimplifications of that decade´s hedonism or political idealism. To truly understand those years, Bromell argues, we must go back to the primal scene in which listening to rock-the Beatles, Dylan, Doors, Hendrix-was fused with the experience of being high. What did young people hear? What did they feel and think and learn? ´´Tomorrow Never Knows´´ focuses not on the stars who produced the music or on the leaders of the counterculture, but on those who sat in their dorm rooms and group houses, smoked dope, and played albums. Weaving together memoir and musicology, history and politics, Bromell shows how millions of listeners mixed rock and psychedelics in a quest to make sense of themselves and their times. This combination was not mere escapism, he argues, but a vital public philosophy, one that we must do justice to in order to comprehend not just the past but the present. For the most enduring legacy of the ´60s-and the reason we both celebrate and revile them today-may be that they inaugurated a profound instability, a sense that foundations are fictions and culture itself ´´just a lie.´´ Indeed, psychedelics helped confirm the way adolescents ´´already´´ saw the world, Bromell argues, and that is why they were intrigued by the strange sounds of Revolver long before most of them had even heard of pot or acid. Bromell also suggests that ´60s rock drew heavily on the blues not just because white kids admired African American styles ofresistance, but because the blues gave musical expression to the double consciousness most of them felt as both insiders and outsiders in their own culture. Deftly teasing out the layered meanings of such songs as ´´All Along the Watchtower,´´ ´´Ballad of a Thin Man,´´ and ´´Str Lieferzeit 1-2 Werktage.
5
Tomorrow Never Knows: Rock and Psychedelics in the 1960s
~EN USISBN: 9780226075532 bzw. 0226075532, vermutlich in Englisch, University of Chicago Press, Vereinigte Staaten von Amerika, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Lagernd, zzgl. Versandkosten.
"There was something rigorous and instructive in getting stoned and listening to music as if it really "mattered,"" writes Nick Bromell in the first book to take seriously the "drugs and rock 'n' roll" side of the 1960s-a side too often eclipsed by oversimplifications of that decade's hedonism or political idealism. To truly understand those years, Bromell argues, we must go back to the primal scene in which listening to rock-the Beatles, Dylan, Doors, Hendrix-was fused with the experience of being high. What did young people hear? What did they feel and think and learn? "Tomorrow Never Knows" focuses not on the stars who produced the music or on the leaders of the counterculture, but on those who sat in their dorm rooms and group houses, smoked dope, and played albums. Weaving together memoir and musicology, history and politics, Bromell shows how millions of listeners mixed rock and psychedelics in a quest to make sense of themselves and their times. This combination was not mere escapism, he argues, but a vital public philosophy, one that we must do justice to in order to comprehend not just the past but the present. For the most enduring legacy of the '60s-and the reason we both celebrate and revile them today-may be that they inaugurated a profound instability, a sense that foundations are fictions and culture itself "just a lie." Indeed, psychedelics helped confirm the way adolescents "already" saw the world, Bromell argues, and that is why they were intrigued by the strange sounds of Revolver long before most of them had even heard of pot or acid. Bromell also suggests that '60s rock drew heavily on the blues not just because white kids admired African American styles of resistance, but because the blues gave musical expression to the double consciousness most of them felt as both insiders and outsiders in their own culture. Deftly teasing out the layered meanings of such songs as "All Along the Watchtower," "Ballad of a Thin Man," and "Strawberry Fields Forever," his book forces us to rethink what "pop music" can be and what listening to music can do. "Tomorrow Never Knows" describes, in vivid language, how music moved into new sonic configurations, how people's minds moved into new chemical configurations, and how this confluence of music and drugs expressed, reflected, and in many ways "created" the uncertainty, doubt, and drama seminal to contemporary culture. "Tomorrow Never Knows" is both a meditation on the ways the present remembers the past and an indispensable contribution to our understanding of the cataclysmic 1960s.
"There was something rigorous and instructive in getting stoned and listening to music as if it really "mattered,"" writes Nick Bromell in the first book to take seriously the "drugs and rock 'n' roll" side of the 1960s-a side too often eclipsed by oversimplifications of that decade's hedonism or political idealism. To truly understand those years, Bromell argues, we must go back to the primal scene in which listening to rock-the Beatles, Dylan, Doors, Hendrix-was fused with the experience of being high. What did young people hear? What did they feel and think and learn? "Tomorrow Never Knows" focuses not on the stars who produced the music or on the leaders of the counterculture, but on those who sat in their dorm rooms and group houses, smoked dope, and played albums. Weaving together memoir and musicology, history and politics, Bromell shows how millions of listeners mixed rock and psychedelics in a quest to make sense of themselves and their times. This combination was not mere escapism, he argues, but a vital public philosophy, one that we must do justice to in order to comprehend not just the past but the present. For the most enduring legacy of the '60s-and the reason we both celebrate and revile them today-may be that they inaugurated a profound instability, a sense that foundations are fictions and culture itself "just a lie." Indeed, psychedelics helped confirm the way adolescents "already" saw the world, Bromell argues, and that is why they were intrigued by the strange sounds of Revolver long before most of them had even heard of pot or acid. Bromell also suggests that '60s rock drew heavily on the blues not just because white kids admired African American styles of resistance, but because the blues gave musical expression to the double consciousness most of them felt as both insiders and outsiders in their own culture. Deftly teasing out the layered meanings of such songs as "All Along the Watchtower," "Ballad of a Thin Man," and "Strawberry Fields Forever," his book forces us to rethink what "pop music" can be and what listening to music can do. "Tomorrow Never Knows" describes, in vivid language, how music moved into new sonic configurations, how people's minds moved into new chemical configurations, and how this confluence of music and drugs expressed, reflected, and in many ways "created" the uncertainty, doubt, and drama seminal to contemporary culture. "Tomorrow Never Knows" is both a meditation on the ways the present remembers the past and an indispensable contribution to our understanding of the cataclysmic 1960s.
6
Tomorrow Never Knows : Rock and Psychedelics in the 1960s by
~EN USISBN: 9780226075532 bzw. 0226075532, vermutlich in Englisch, University of Chicago Press, Vereinigte Staaten von Amerika, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Lagernd, zzgl. Versandkosten.
"There was something rigorous and instructive in getting stoned and listening to music as if it really "mattered,"" writes Nick Bromell in the first book to take seriously the "drugs and rock 'n' roll" side of the 1960s-a side too often eclipsed by oversimplifications of that decade's hedonism or political idealism. To truly understand those years, Bromell argues, we must go back to the primal scene in which listening to rock-the Beatles, Dylan, Doors, Hendrix-was fused with the experience of being high. What did young people hear? What did they feel and think and learn? "Tomorrow Never Knows" focuses not on the stars who produced the music or on the leaders of the counterculture, but on those who sat in their dorm rooms and group houses, smoked dope, and played albums. Weaving together memoir and musicology, history and politics, Bromell shows how millions of listeners mixed rock and psychedelics in a quest to make sense of themselves and their times. This combination was not mere escapism, he argues, but a vital public philosophy, one that we must do justice to in order to comprehend not just the past but the present. For the most enduring legacy of the '60s-and the reason we both celebrate and revile them today-may be that they inaugurated a profound instability, a sense that foundations are fictions and culture itself "just a lie." Indeed, psychedelics helped confirm the way adolescents "already" saw the world, Bromell argues, and that is why they were intrigued by the strange sounds of Revolver long before most of them had even heard of pot or acid. Bromell also suggests that '60s rock drew heavily on the blues not just because white kids admired African American styles of resistance, but because the blues gave musical expression to the double consciousness most of them felt as both insiders and outsiders in their own culture. Deftly teasing out the layered meanings of such songs as "All Along the Watchtower," "Ballad of a Thin Man," and "Strawberry Fields Forever," his book forces us to rethink what "pop music" can be and what listening to music can do. "Tomorrow Never Knows" describes, in vivid language, how music moved into new sonic configurations, how people's minds moved into new chemical configurations, and how this confluence of music and drugs expressed, reflected, and in many ways "created" the uncertainty, doubt, and drama seminal to contemporary culture. "Tomorrow Never Knows" is both a meditation on the ways the present remembers the past and an indispensable contribution to our understanding of the cataclysmic 1960s.
"There was something rigorous and instructive in getting stoned and listening to music as if it really "mattered,"" writes Nick Bromell in the first book to take seriously the "drugs and rock 'n' roll" side of the 1960s-a side too often eclipsed by oversimplifications of that decade's hedonism or political idealism. To truly understand those years, Bromell argues, we must go back to the primal scene in which listening to rock-the Beatles, Dylan, Doors, Hendrix-was fused with the experience of being high. What did young people hear? What did they feel and think and learn? "Tomorrow Never Knows" focuses not on the stars who produced the music or on the leaders of the counterculture, but on those who sat in their dorm rooms and group houses, smoked dope, and played albums. Weaving together memoir and musicology, history and politics, Bromell shows how millions of listeners mixed rock and psychedelics in a quest to make sense of themselves and their times. This combination was not mere escapism, he argues, but a vital public philosophy, one that we must do justice to in order to comprehend not just the past but the present. For the most enduring legacy of the '60s-and the reason we both celebrate and revile them today-may be that they inaugurated a profound instability, a sense that foundations are fictions and culture itself "just a lie." Indeed, psychedelics helped confirm the way adolescents "already" saw the world, Bromell argues, and that is why they were intrigued by the strange sounds of Revolver long before most of them had even heard of pot or acid. Bromell also suggests that '60s rock drew heavily on the blues not just because white kids admired African American styles of resistance, but because the blues gave musical expression to the double consciousness most of them felt as both insiders and outsiders in their own culture. Deftly teasing out the layered meanings of such songs as "All Along the Watchtower," "Ballad of a Thin Man," and "Strawberry Fields Forever," his book forces us to rethink what "pop music" can be and what listening to music can do. "Tomorrow Never Knows" describes, in vivid language, how music moved into new sonic configurations, how people's minds moved into new chemical configurations, and how this confluence of music and drugs expressed, reflected, and in many ways "created" the uncertainty, doubt, and drama seminal to contemporary culture. "Tomorrow Never Knows" is both a meditation on the ways the present remembers the past and an indispensable contribution to our understanding of the cataclysmic 1960s.
7
Tomorrow Never Knows, Rock and Psychedelics in the 1960s (2000)
EN HC NWISBN: 9780226075532 bzw. 0226075532, in Englisch, The University Of Chicago Press, gebundenes Buch, neu.
Lieferung aus: Niederlande, Vermoedelijk 4-6 weken.
bol.com.
Tomorrow Never Knows takes us back to the primal scene of the 1960s and asks: what happened when young people got high and listened to rock as if it really mattered as if it offered meaning and sustenance, not just escape and entertainment? What did young people hear in the music of Dylan, Hendrix, or the Beatles? Bromell's pursuit of these questions radically revises our understanding of rock, psychedelics, and their relation to the politics of the 60s, exploring the period's controversial legacy, and the reasons why being experienced has been an essential part of American youth culture to the present day.Soort: Met illustraties;Taal: Engels;Afmetingen: 19x224x150 mm;Gewicht: 390,00 gram;Verschijningsdatum: december 2000;ISBN10: 0226075532;ISBN13: 9780226075532; Engelstalig | Hardcover | 2000.
bol.com.
Tomorrow Never Knows takes us back to the primal scene of the 1960s and asks: what happened when young people got high and listened to rock as if it really mattered as if it offered meaning and sustenance, not just escape and entertainment? What did young people hear in the music of Dylan, Hendrix, or the Beatles? Bromell's pursuit of these questions radically revises our understanding of rock, psychedelics, and their relation to the politics of the 60s, exploring the period's controversial legacy, and the reasons why being experienced has been an essential part of American youth culture to the present day.Soort: Met illustraties;Taal: Engels;Afmetingen: 19x224x150 mm;Gewicht: 390,00 gram;Verschijningsdatum: december 2000;ISBN10: 0226075532;ISBN13: 9780226075532; Engelstalig | Hardcover | 2000.
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Tomorrow Never Knows: Rock and Psychedelics in the 1960s (2002)
EN PB NW FEISBN: 9780226075624 bzw. 0226075621, in Englisch, 234 Seiten, University Of Chicago Press, Taschenbuch, neu, Erstausgabe.
Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, CC-B.
Tomorrow Never Knows takes us back to the primal scene of the 1960s and asks: what happened when young people got high and listened to rock as if it really mattered—as if it offered meaning and sustenance, not just escape and entertainment? What did young people hear in the music of Dylan, Hendrix, or the Beatles? Bromell's pursuit of these questions radically revises our understanding of rock, psychedelics, and their relation to the politics of the 60s, exploring the period's controversial legacy, and the reasons why being "experienced" has been an essential part of American youth culture to the present day. , Paperback, Ausgabe: 1, Label: University Of Chicago Press, University Of Chicago Press, Produktgruppe: Book, Publiziert: 2002-04-15, Freigegeben: 2002-04-15, Studio: University Of Chicago Press, Verkaufsrang: 485488.
Von Händler/Antiquariat, CC-B.
Tomorrow Never Knows takes us back to the primal scene of the 1960s and asks: what happened when young people got high and listened to rock as if it really mattered—as if it offered meaning and sustenance, not just escape and entertainment? What did young people hear in the music of Dylan, Hendrix, or the Beatles? Bromell's pursuit of these questions radically revises our understanding of rock, psychedelics, and their relation to the politics of the 60s, exploring the period's controversial legacy, and the reasons why being "experienced" has been an essential part of American youth culture to the present day. , Paperback, Ausgabe: 1, Label: University Of Chicago Press, University Of Chicago Press, Produktgruppe: Book, Publiziert: 2002-04-15, Freigegeben: 2002-04-15, Studio: University Of Chicago Press, Verkaufsrang: 485488.
9
Tomorrow Never Knows: Rock and Psychedelics in the 1960s
EN USISBN: 9780226075532 bzw. 0226075532, in Englisch, University of Chicago Press, Vereinigte Staaten von Amerika, gebraucht.
Von Händler/Antiquariat, Seattle Goodwill [51090990], Seattle, WA, U.S.A.
May have some shelf-wear due to normal use. All pages are intact.
May have some shelf-wear due to normal use. All pages are intact.
10
Tomorrow Never Knows (2000)
EN USISBN: 9780226075532 bzw. 0226075532, in Englisch, University Of Chicago Press, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Versandkostenfrei.
Von Händler/Antiquariat, Better World Books [51315977], Mishawaka, IN, U.S.A.
Shows some signs of wear, and may have some markings on the inside.
Von Händler/Antiquariat, Better World Books [51315977], Mishawaka, IN, U.S.A.
Shows some signs of wear, and may have some markings on the inside.
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