33 1/3 Europe – serie

By gathering historical and musical fragments from a Europe torn apart by the Second World War and the Cold War, East German playwright Heiner Müller and West German composer Heiner Goebbels created Wolokolamsker Chaussee as a musical panorama that stretched across modern European history at a moment of international crisis. The question at the heart of the recording was prescient in the waning years of the Cold War, but it remains no less critical for the “crisis of Europe” today: Is it possible for Europe to be unified?A vast range of musical styles—from folk song to hip-hop, from the symphonic canon to heavy metal—coalesce in the five acts, which expose the wounds of European history while struggling musically to heal them. This extraordinary recording from 1989/90 not only captures the sound of a historical moment, but also powerfully enacts responses to it.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese, Brazilian, and European music, the series will also include volumes on the popular music of Australia/Oceania, Africa, the Middle East, and more.

By gathering historical and musical fragments from a Europe torn apart by the Second World War and the Cold War, East German playwright Heiner Müller and West German composer Heiner Goebbels created Wolokolamsker Chaussee as a musical panorama that stretched across modern European history at a moment of international crisis. The question at the heart of the recording was prescient in the waning years of the Cold War, but it remains no less critical for the “crisis of Europe” today: Is it possible for Europe to be unified?A vast range of musical styles—from folk song to hip-hop, from the symphonic canon to heavy metal—coalesce in the five acts, which expose the wounds of European history while struggling musically to heal them. This extraordinary recording from 1989/90 not only captures the sound of a historical moment, but also powerfully enacts responses to it.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese, Brazilian, and European music, the series will also include volumes on the popular music of Australia/Oceania, Africa, the Middle East, and more.

By gathering historical and musical fragments from a Europe torn apart by the Second World War and the Cold War, East German playwright Heiner Müller and West German composer Heiner Goebbels created Wolokolamsker Chaussee as a musical panorama that stretched across modern European history at a moment of international crisis. The question at the heart of the recording was prescient in the waning years of the Cold War, but it remains no less critical for the “crisis of Europe” today: Is it possible for Europe to be unified? A vast range of musical styles-from folk song to hip-hop, from the symphonic canon to heavy metal-coalesce in the five acts, which expose the wounds of European history while struggling musically to heal them. This extraordinary recording from 1989/90 not only captures the sound of a historical moment, but also powerfully enacts responses to it.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese, Brazilian, and European music, the series will also include volumes on the popular music of Australia/Oceania, Africa, the Middle East, and more.

By gathering historical and musical fragments from a Europe torn apart by the Second World War and the Cold War, East German playwright Heiner Müller and West German composer Heiner Goebbels created Wolokolamsker Chaussee as a musical panorama that stretched across modern European history at a moment of international crisis. The question at the heart of the recording was prescient in the waning years of the Cold War, but it remains no less critical for the “crisis of Europe” today: Is it possible for Europe to be unified? A vast range of musical styles-from folk song to hip-hop, from the symphonic canon to heavy metal-coalesce in the five acts, which expose the wounds of European history while struggling musically to heal them. This extraordinary recording from 1989/90 not only captures the sound of a historical moment, but also powerfully enacts responses to it.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese, Brazilian, and European music, the series will also include volumes on the popular music of Australia/Oceania, Africa, the Middle East, and more.

The voice of Amália Rodrigues (1920-1999), the “Queen of Fado” and Portugal’s most celebrated diva, was extraordinary for its interpretive power, soul wrenching timbre, and international reach. Amalia à l’Olympia (1957) is an album made from recordings of her first performances at the fabled Olympia Music Hall in Paris in 1956. This album, which was issued for multiple national markets (including: France; USA; Japan; Britain; the Netherlands) catapulted Amália Rodrigues into the international limelight. During its time, this album held the potential for international listeners, outside of Portugal, to represent Portugal, while also standing in for cosmopolitanism, the glamorous city of Paris, and to present a sonorous voyage in sound.This book introduces readers to the voice of Amália Rodrigues and to the genre of the Portuguese fado, offering a primer in how to listen to both. It unpacks this iconic album and the voice, sound, style, and celebrity of Amália Rodrigues. It situates this album within a historical context marked by cold war Atlanticist diplomacy, Portugal’s dictatorial regime, and the emergence of new forms of media, travel, and tourism.In so doing, it examines processes that shaped the internationalization of peripheral popular musics and the making of female vocal stardom in the mid-20th century.

The voice of Amália Rodrigues (1920-1999), the “Queen of Fado” and Portugal’s most celebrated diva, was extraordinary for its interpretive power, soul wrenching timbre, and international reach. Amalia à l’Olympia (1957) is an album made from recordings of her first performances at the fabled Olympia Music Hall in Paris in 1956. This album, which was issued for multiple national markets (including: France; USA; Japan; Britain; the Netherlands) catapulted Amália Rodrigues into the international limelight. During its time, this album held the potential for international listeners, outside of Portugal, to represent Portugal, while also standing in for cosmopolitanism, the glamorous city of Paris, and to present a sonorous voyage in sound.This book introduces readers to the voice of Amália Rodrigues and to the genre of the Portuguese fado, offering a primer in how to listen to both. It unpacks this iconic album and the voice, sound, style, and celebrity of Amália Rodrigues. It situates this album within a historical context marked by cold war Atlanticist diplomacy, Portugal’s dictatorial regime, and the emergence of new forms of media, travel, and tourism.In so doing, it examines processes that shaped the internationalization of peripheral popular musics and the making of female vocal stardom in the mid-20th century.

The voice of Amália Rodrigues (1920-1999), the “Queen of Fado” and Portugal's most celebrated diva, was extraordinary for its interpretive power, soul wrenching timbre, and international reach. Amalia à l'Olympia (1957) is an album made from recordings of her first performances at the fabled Olympia Music Hall in Paris in 1956. This album, which was issued for multiple national markets (including: France; USA; Japan; Britain; the Netherlands) catapulted Amália Rodrigues into the international limelight. During its time, this album held the potential for international listeners, outside of Portugal, to represent Portugal, while also standing in for cosmopolitanism, the glamorous city of Paris, and to present a sonorous voyage in sound.This book introduces readers to the voice of Amália Rodrigues and to the genre of the Portuguese fado, offering a primer in how to listen to both. It unpacks this iconic album and the voice, sound, style, and celebrity of Amália Rodrigues. It situates this album within a historical context marked by cold war Atlanticist diplomacy, Portugal's dictatorial regime, and the emergence of new forms of media, travel, and tourism.In so doing, it examines processes that shaped the internationalization of peripheral popular musics and the making of female vocal stardom in the mid-20th century.

The voice of Amália Rodrigues (1920-1999), the “Queen of Fado” and Portugal's most celebrated diva, was extraordinary for its interpretive power, soul wrenching timbre, and international reach. Amalia à l'Olympia (1957) is an album made from recordings of her first performances at the fabled Olympia Music Hall in Paris in 1956. This album, which was issued for multiple national markets (including: France; USA; Japan; Britain; the Netherlands) catapulted Amália Rodrigues into the international limelight. During its time, this album held the potential for international listeners, outside of Portugal, to represent Portugal, while also standing in for cosmopolitanism, the glamorous city of Paris, and to present a sonorous voyage in sound.This book introduces readers to the voice of Amália Rodrigues and to the genre of the Portuguese fado, offering a primer in how to listen to both. It unpacks this iconic album and the voice, sound, style, and celebrity of Amália Rodrigues. It situates this album within a historical context marked by cold war Atlanticist diplomacy, Portugal's dictatorial regime, and the emergence of new forms of media, travel, and tourism.In so doing, it examines processes that shaped the internationalization of peripheral popular musics and the making of female vocal stardom in the mid-20th century.

Modeselektor, the Berlin electronic duo consisting of Gernot Bronsert and Sebastian Szary, released Happy Birthday! in 2007, an album that mixed emotion, humor, and party excess. Through this album, this book presents a unique window into the histories of Berlin techno, European rave culture, and electronic music. By emphasizing Happy Birthday! as a network of collabs, genres, and insider winks, it highlights key features in Modeselektor's career: above all, the beginnings of Moderat, the famous project between Modeselektor and Apparat, as well as the connections to groups and artists as diverse as Thom Yorke, Ellen Allien, Paul St. Hilaire, Otto von Schirach, Scooter, and Jones & Stephenson.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Modeselektor, the Berlin electronic duo consisting of Gernot Bronsert and Sebastian Szary, released Happy Birthday! in 2007, an album that mixed emotion, humor, and party excess. Through this album, this book presents a unique window into the histories of Berlin techno, European rave culture, and electronic music. By emphasizing Happy Birthday! as a network of collabs, genres, and insider winks, it highlights key features in Modeselektor's career: above all, the beginnings of Moderat, the famous project between Modeselektor and Apparat, as well as the connections to groups and artists as diverse as Thom Yorke, Ellen Allien, Paul St. Hilaire, Otto von Schirach, Scooter, and Jones & Stephenson.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Modeselektor, the Berlin electronic duo consisting of Gernot Bronsert and Sebastian Szary, released Happy Birthday! in 2007, an album that mixed emotion, humor, and party excess. Through this album, this book presents a unique window into the histories of Berlin techno, European rave culture, and electronic music. By emphasizing Happy Birthday! as a network of collabs, genres, and insider winks, it highlights key features in Modeselektor's career: above all, the beginnings of Moderat, the famous project between Modeselektor and Apparat, as well as the connections to groups and artists as diverse as Thom Yorke, Ellen Allien, Paul St. Hilaire, Otto von Schirach, Scooter, and Jones & Stephenson.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

Modeselektor, the Berlin electronic duo consisting of Gernot Bronsert and Sebastian Szary, released Happy Birthday! in 2007, an album that mixed emotion, humor, and party excess. Through this album, this book presents a unique window into the histories of Berlin techno, European rave culture, and electronic music. By emphasizing Happy Birthday! as a network of collabs, genres, and insider winks, it highlights key features in Modeselektor's career: above all, the beginnings of Moderat, the famous project between Modeselektor and Apparat, as well as the connections to groups and artists as diverse as Thom Yorke, Ellen Allien, Paul St. Hilaire, Otto von Schirach, Scooter, and Jones & Stephenson.33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.

From countercultural resistance to world music craze, Balkan music captured the attention of global audiences. Balkanology, the 1991 quintessential album of Bulgarian music, highlights this moment of unbridled creativity. Seasoned musicians all over the world are still in awe of the technical abilities of the musicians in Ansambl Trakia—their complex additive rhythms, breakneck speeds, stunning improvisations, dense ornamentation, chromatic passages, and innovative modulations. Bridging folk, jazz, and rock sensibilities, Trakia’s music has set the standard for Bulgarian music until today, and its members, especially Ivo Papazov, are revered stars at home and abroad. The album reveals how Romani (Gypsy) artists resisted the state’s prohibition against Romani music and fashioned a genre that became a youth movement in Bulgaria, and then a world music phenomenon. Balkanology underscores the political, economic and social roles of music during socialism and postsocialism.

From countercultural resistance to world music craze, Balkan music captured the attention of global audiences. Balkanology, the 1991 quintessential album of Bulgarian music, highlights this moment of unbridled creativity. Seasoned musicians all over the world are still in awe of the technical abilities of the musicians in Ansambl Trakia—their complex additive rhythms, breakneck speeds, stunning improvisations, dense ornamentation, chromatic passages, and innovative modulations. Bridging folk, jazz, and rock sensibilities, Trakia’s music has set the standard for Bulgarian music until today, and its members, especially Ivo Papazov, are revered stars at home and abroad. The album reveals how Romani (Gypsy) artists resisted the state’s prohibition against Romani music and fashioned a genre that became a youth movement in Bulgaria, and then a world music phenomenon. Balkanology underscores the political, economic and social roles of music during socialism and postsocialism.

From countercultural resistance to world music craze, Balkan music captured the attention of global audiences. Balkanology, the 1991 quintessential album of Bulgarian music, highlights this moment of unbridled creativity. Seasoned musicians all over the world are still in awe of the technical abilities of the musicians in Ansambl Trakia-their complex additive rhythms, breakneck speeds, stunning improvisations, dense ornamentation, chromatic passages, and innovative modulations. Bridging folk, jazz, and rock sensibilities, Trakia's music has set the standard for Bulgarian music until today, and its members, especially Ivo Papazov, are revered stars at home and abroad. The album reveals how Romani (Gypsy) artists resisted the state's prohibition against Romani music and fashioned a genre that became a youth movement in Bulgaria, and then a world music phenomenon. Balkanology underscores the political, economic and social roles of music during socialism and postsocialism.

From countercultural resistance to world music craze, Balkan music captured the attention of global audiences. Balkanology, the 1991 quintessential album of Bulgarian music, highlights this moment of unbridled creativity. Seasoned musicians all over the world are still in awe of the technical abilities of the musicians in Ansambl Trakia-their complex additive rhythms, breakneck speeds, stunning improvisations, dense ornamentation, chromatic passages, and innovative modulations. Bridging folk, jazz, and rock sensibilities, Trakia's music has set the standard for Bulgarian music until today, and its members, especially Ivo Papazov, are revered stars at home and abroad. The album reveals how Romani (Gypsy) artists resisted the state's prohibition against Romani music and fashioned a genre that became a youth movement in Bulgaria, and then a world music phenomenon. Balkanology underscores the political, economic and social roles of music during socialism and postsocialism.

Darkthrone’s A Blaze in the Northern Sky (1992) is a foundational keystone of the musical and aesthetic vision of the notorious Norwegian black metal scene and one of the most beloved albums of the genre. Its mysterious artwork and raw sound continue to captivate and inspire black metal fans and musicians worldwide. This book explores the album in the context of exoticism and musical geography, examining how black metal music has come to conjure images of untamed Nordic wildernesses for fans worldwide. In doing so, it analyzes aspects of musical style and production that created the distinctly "grim" sound of Darkthrone and Norwegian black metal.

Darkthrone’s A Blaze in the Northern Sky (1992) is a foundational keystone of the musical and aesthetic vision of the notorious Norwegian black metal scene and one of the most beloved albums of the genre. Its mysterious artwork and raw sound continue to captivate and inspire black metal fans and musicians worldwide. This book explores the album in the context of exoticism and musical geography, examining how black metal music has come to conjure images of untamed Nordic wildernesses for fans worldwide. In doing so, it analyzes aspects of musical style and production that created the distinctly "grim" sound of Darkthrone and Norwegian black metal.

Darkthrone's A Blaze in the Northern Sky (1992) is a foundational keystone of the musical and aesthetic vision of the notorious Norwegian black metal scene and one of the most beloved albums of the genre. Its mysterious artwork and raw sound continue to captivate and inspire black metal fans and musicians worldwide. This book explores the album in the context of exoticism and musical geography, examining how black metal music has come to conjure images of untamed Nordic wildernesses for fans worldwide. In doing so, it analyzes aspects of musical style and production that created the distinctly "grim" sound of Darkthrone and Norwegian black metal.

Darkthrone's A Blaze in the Northern Sky (1992) is a foundational keystone of the musical and aesthetic vision of the notorious Norwegian black metal scene and one of the most beloved albums of the genre. Its mysterious artwork and raw sound continue to captivate and inspire black metal fans and musicians worldwide. This book explores the album in the context of exoticism and musical geography, examining how black metal music has come to conjure images of untamed Nordic wildernesses for fans worldwide. In doing so, it analyzes aspects of musical style and production that created the distinctly "grim" sound of Darkthrone and Norwegian black metal.

Upon its release, Don't Break the Oath charted fifth on the official British heavy metal album list and was supported by a two month long sold-out American tour in early 1985. The band's controversial stage appearance with burning crosses, a microphone stand formed as a cross made of two human leg bones, as well as other blasphemous rituals attracted the attention of the then newly formed PRMC (Parental Resource Music Center) committee, ironically reassuring the band its position on the charts. But though the album was hugely popular in the anglophone metal scene, it was conceived in peripheral Denmark.This book discusses the relationship between center and periphery. It juxtaposes the Anglophone reticent of heavy metal with the rather marginalized location of Copenhagen, and examines Mercyful Fate's relation to the Nordic region more generally. It also takes a close look at the methods involved in the production of King Diamond's vocals, and emphasizes the role of the vocalist as just as an important part of the over-all soundscape as the instrumental contributions.

Upon its release, Don't Break the Oath charted fifth on the official British heavy metal album list and was supported by a two month long sold-out American tour in early 1985. The band's controversial stage appearance with burning crosses, a microphone stand formed as a cross made of two human leg bones, as well as other blasphemous rituals attracted the attention of the then newly formed PRMC (Parental Resource Music Center) committee, ironically reassuring the band its position on the charts. But though the album was hugely popular in the anglophone metal scene, it was conceived in peripheral Denmark.This book discusses the relationship between center and periphery. It juxtaposes the Anglophone reticent of heavy metal with the rather marginalized location of Copenhagen, and examines Mercyful Fate's relation to the Nordic region more generally. It also takes a close look at the methods involved in the production of King Diamond's vocals, and emphasizes the role of the vocalist as just as an important part of the over-all soundscape as the instrumental contributions.

Upon its release, Don't Break the Oath charted fifth on the official British heavy metal album list and was supported by a two month long sold-out American tour in early 1985. The band's controversial stage appearance with burning crosses, a microphone stand formed as a cross made of two human leg bones, as well as other blasphemous rituals attracted the attention of the then newly formed PRMC (Parental Resource Music Center) committee, ironically reassuring the band its position on the charts. But though the album was hugely popular in the anglophone metal scene, it was conceived in peripheral Denmark.This book discusses the relationship between center and periphery. It juxtaposes the Anglophone reticent of heavy metal with the rather marginalized location of Copenhagen, and examines Mercyful Fate's relation to the Nordic region more generally. It also takes a close look at the methods involved in the production of King Diamond's vocals, and emphasizes the role of the vocalist as just as an important part of the over-all soundscape as the instrumental contributions.

Upon its release, Don't Break the Oath charted fifth on the official British heavy metal album list and was supported by a two month long sold-out American tour in early 1985. The band's controversial stage appearance with burning crosses, a microphone stand formed as a cross made of two human leg bones, as well as other blasphemous rituals attracted the attention of the then newly formed PRMC (Parental Resource Music Center) committee, ironically reassuring the band its position on the charts. But though the album was hugely popular in the anglophone metal scene, it was conceived in peripheral Denmark.This book discusses the relationship between center and periphery. It juxtaposes the Anglophone reticent of heavy metal with the rather marginalized location of Copenhagen, and examines Mercyful Fate's relation to the Nordic region more generally. It also takes a close look at the methods involved in the production of King Diamond's vocals, and emphasizes the role of the vocalist as just as an important part of the over-all soundscape as the instrumental contributions.

For decades, the state-run music industry in Hungary has artificially isolated musical worlds. The 2010 album I’ll Be Your Plaything is a concept album comprising at times drastically re-imagined cover versions of Hungary’s most popular hits from the socialist era. As such it is a testament to music as a medium’s aptness to reflect on public and personal pasts. The album moreover exemplifies how rich and appealing synthesis of sounds and traditions can be concocted when folk, classically trained, rock, and jazz musical artists collaborate. Along with this freedom to blend and synthesize, the album opens up some long overdue space for women; playing with personas, voices, and singing styles, Palya reflects on issues of femininity, maternity, sexuality, and coupledom across generations.

For decades, the state-run music industry in Hungary has artificially isolated musical worlds. The 2010 album I’ll Be Your Plaything is a concept album comprising at times drastically re-imagined cover versions of Hungary’s most popular hits from the socialist era. As such it is a testament to music as a medium’s aptness to reflect on public and personal pasts. The album moreover exemplifies how rich and appealing synthesis of sounds and traditions can be concocted when folk, classically trained, rock, and jazz musical artists collaborate. Along with this freedom to blend and synthesize, the album opens up some long overdue space for women; playing with personas, voices, and singing styles, Palya reflects on issues of femininity, maternity, sexuality, and coupledom across generations.

For decades, the state-run music industry in Hungary has artificially isolated musical worlds. The 2010 album I'll Be Your Plaything is a concept album comprising at times drastically re-imagined cover versions of Hungary's most popular hits from the socialist era. As such it is a testament to music as a medium's aptness to reflect on public and personal pasts. The album moreover exemplifies how rich and appealing synthesis of sounds and traditions can be concocted when folk, classically trained, rock, and jazz musical artists collaborate. Along with this freedom to blend and synthesize, the album opens up some long overdue space for women; playing with personas, voices, and singing styles, Palya reflects on issues of femininity, maternity, sexuality, and coupledom across generations.

For decades, the state-run music industry in Hungary has artificially isolated musical worlds. The 2010 album I'll Be Your Plaything is a concept album comprising at times drastically re-imagined cover versions of Hungary's most popular hits from the socialist era. As such it is a testament to music as a medium's aptness to reflect on public and personal pasts. The album moreover exemplifies how rich and appealing synthesis of sounds and traditions can be concocted when folk, classically trained, rock, and jazz musical artists collaborate. Along with this freedom to blend and synthesize, the album opens up some long overdue space for women; playing with personas, voices, and singing styles, Palya reflects on issues of femininity, maternity, sexuality, and coupledom across generations.

Call it batida, kuduro, Afro house, Lisbon bass: anyone with a keen ear for contemporary developments in global electronic dance music can't fail to have noticed the rise in popularity and influence of Lisbon-based DJs such as DJ Marfox, DJ Nervoso and Nídia. These DJs and producers have brought the sound of the Lisbon projects to the wider world via international club nights, festival appearances, recordings and remix projects for a range of international artists.This book uses the 2006 compilation DJs do Guetto as a prism for exploring this music's aesthetics and its roots in Lusophone Africa, its evolution in the immigrant communities of Lisbon and its journey from there to the world. The story is one of encounters: between people, sounds, neighborhoods, technologies and cultural contexts. Drawing on reflections by DJ Marfox and others, the book establishes DJs do Guetto as a foundation stone not only for a burgeoning music scene, but also for a newfound sense of pride in a place and a community.