Reggae & African beat 1982–1983

日期

1982 1983

12 期刊

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1982 v1 #2

1982 v1 #2

1982 v1 #3-4

1982 v1 #5

1982 v1 #6

1983 v2 #1

1983 v2 #2

1983 v2 #4

1983 v2 #5

1983 v2 #6

1983 v2 #7

1983 v2 #8

1982 卷 1 期刊 2

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1982 卷 1 期刊 2

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1982 卷 1 期刊 3-4

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1982 卷 1 期刊 5

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1982 卷 1 期刊 6

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16 页面

1983 卷 2 期刊 1

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12 页面

1983 卷 2 期刊 2

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1983 卷 2 期刊 4

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28 页面

1983 卷 2 期刊 5

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24 页面

1983 卷 2 期刊 6

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32 页面

1983 卷 2 期刊 7

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1983 卷 2 期刊 8

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40 页面

关于本刊

期刊:

12

已发布:

1982–1983

出版商:

Bongo Productions for KCRW, 89.9 FM
Bongo Productions

位置:

Santa Monica, CA United States (1982–1983)
Los Angeles, California United States (1983–1988)
Founded in 1981 by publisher and editor C.C. Smith and continuing until 2009, The beat described itself as “the world's leading publication on reggae, African, Caribbean and world music”. Originally a fanzine for the radio program The reggae beat (broadcast by KCRW-FM in Santa Monica, California), it progressed from a handmade publication to a major, glossy newsstand magazine available at many book stores and music outlets. This mirrored the increasing popularity and prominence of the genres it covered. The beat is valuable not only for its profiles and interviews of artists like Bob Marley, Burning Spear, Alton Ellis, and Miriam Makeba, but also as a source for tracking the application and interpretation of the “world music” label.

关于本刊

期刊:

12

已发布:

1982–1983

其他标题:

Reggae beat

出版商:

Bongo Productions for KCRW, 89.9 FM
Bongo Productions

位置:

Santa Monica, CA United States (1982–1983)
Los Angeles, California United States (1983–1988)
Founded in 1981 by publisher and editor C.C. Smith and continuing until 2009, The beat described itself as “the world's leading publication on reggae, African, Caribbean and world music”. Originally a fanzine for the radio program The reggae beat (broadcast by KCRW-FM in Santa Monica, California), it progressed from a handmade publication to a major, glossy newsstand magazine available at many book stores and music outlets. This mirrored the increasing popularity and prominence of the genres it covered. The beat is valuable not only for its profiles and interviews of artists like Bob Marley, Burning Spear, Alton Ellis, and Miriam Makeba, but also as a source for tracking the application and interpretation of the “world music” label.