Böcker i 33 1/3-serien

For a few decades now, They Might Be Giants' album Flood has been a beacon (or at least a nightlight) for people who might rather read than rock out, who care more about science fiction than Slayer, who are more often called clever than cool. Neither the band's hip origins in the Lower East Side scene nor Flood's platinum certification can cover up the record's singular importance at the geek fringes of culture. Flood's significance to this audience helps us understand a certain way of being: it shows that geek identity doesn't depend on references to Hobbits or Spock ears, but can instead be a set of creative and interpretive practices marked by playful excess-a flood of ideas. The album also clarifies an historical moment. The brainy sort of kids who listened to They Might Be Giants saw their own cultural options grow explosively during the late 1980s and early 1990s amid the early tech boom and America's advancing leftist social tides. Whether or not it was the band's intention, Flood's jubilant proclamation of an identity unconcerned with coolness found an ideal audience at an ideal turning point. This book tells the story.

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, this book envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum.

Breaking the global record for streams in a single day, nearly 10 million people around the world tuned in to hear Kendrick Lamar's sophomore album in the hours after its release. To Pimp a Butterfly was widely hailed as an instant classic, garnering laudatory album reviews, many awards, and even a canonized place in Harvard's W. E. B. Du Bois archive. Why did this strangely compelling record stimulate the emotions and imaginations of listeners?This book takes a deep dive into the sounds, images, and lyrics of To Pimp a Butterfly to suggest that Kendrick appeals to the psyche of a nation in crisis and embraces the development of a radical political conscience. Kendrick breathes fresh life into the Black musical protest tradition and cultivates a platform for loving resistance. Combining funk, jazz, and spoken word, To Pimp a Butterfly's expansive sonic and lyrical geography brings a high level of innovation to rap music. More importantly, Kendrick's introspective and philosophical songs compel us to believe in a future where, perhaps, we gon' be alright.

ESG were one of the first bands to sign to British indie label Factory Records, working with famed producer Martin Hannett on their early EPs. The band's signature guitar sound from iconic single 'UFO' has been sampled in hundreds of hip hop records, and everyone from Karen O to Kathleen Hanna lists the South Bronx group as a direct influence. So why do the Scroggins sisters appear as nothing more than a footnote in the 1980s music scene? Through interviews with founding member Renee Scroggins, alongside cult-figures from 1980s New York and North England, this book follows the story of a group of sisters who made it out of the New York projects and into the heart of the dancefloor. Come Away With ESG repositions ESG in their rightful place as punk pioneers and explains how their primal beats have paved the way for modern dance music today.

Madvillain's Madvillainy is a captivating book penned by the talented Will Hagle. Published in 2023 by Bloomsbury Academic, this book delves into a unique genre that keeps the readers hooked from the first page to the last. The book is a testament to Hagle's prowess as a wordsmith and his ability to weave narratives that are as compelling as they are intriguing. The book was published on March 9, 2023, marking a significant milestone in the literary world. Bloomsbury Academic, the publisher, has a reputation for bringing forth books that challenge the status quo and inspire readers, and Madvillain's Madvillainy is no exception. The book is available in English, making it accessible to a broad spectrum of readers across the globe.

In 1958, an anonymous group of overworked and under-budgeted BBC employees set out to make some new sounds for radio and TV. They ended up changing the course of 20th-century music. For millions of people, the work of the BBC Radiophonic Workshop was the first electronic music they had ever heard. Sampling, loops, and the earliest synthesizers-long before audiences knew what they were-made up the groundbreaking scores for news programs, auto maintenance shows, and children's programming. They also produced the Doctor Who theme, one of the first electronic music masterpieces. The Beatles, Pink Floyd, and others borrowed from them. A generation of musicians raised on BBC programming-Aphex Twin, Portishead, and Prodigy among them-took these once-alien sounds and carried on the Workshop's legacy. Ignored for decades by music historians, the Workshop is now recognized as one of the most influential forebears of electronica, psychedelia, ambient music, and synth-pop.

This limited printing, hardcover 40th anniversary edition includes: -an exclusive new interview with lead singer Simon Le Bon -a Rio timeline-a newly designed book cover by Rio album sleeve designer, Malcolm Garrette-vintage Duran Duran photos and ads -and much more... In the '80s, the Birmingham, England, band Duran Duran became closely associated with new wave, an idiosyncratic genre that dominated the decade's music and culture. No album represented this rip-it-up-and-start-again movement better than the act's breakthrough 1982 LP, Rio. A cohesive album with a retro-futuristic sound-influences include danceable disco, tangy funk, swaggering glam, and Roxy Music's art-rock-the full-length sold millions and spawned smashes such as "Hungry Like the Wolf" and the title track. However, Rio wasn't a success everywhere at first; in fact, the LP had to be buffed-up with remixes and reissued before it found an audience in America. The album was further buoyed by colorful music videos and a cutting-edge visual aesthetic, both of which established the 2022 Rock & Roll Hall of Fame inductees as leaders of an MTV-driven second British Invasion. Via extensive new and exclusive interviews with band members and other figures who helped Rio succeed, this book explores how and why Rio became a landmark pop-rock album, and examines how the LP was both a musical inspiration-and a reflection of a musical, cultural, and technology zeitgeist.

On Ice-T's 1991 classic O.G. Original Gangster, he introduced his all-Black hardcore band Body Count with lead guitarist Ernie C, bringing them on the first-ever Lollapalooza tour that summer. The next year, Body Count's self-titled debut album, rounded out by rhythm guitarist D-Roc the Executioner, bassist Mooseman, and drummer Beatmaster V, made them the most incendiary band in the world, confronting white supremacy and police brutality with pulverizing songs that shattered musical boundaries. Body Count's rage and shock humor sparked nationwide protests and boycotts, including death threats, censure from the federal government, a spot on the FBI National Threat list, and a denunciation by the President of the United States. The album was removed from stores and remains banned to this day, but decades later Body Count are performing to theirbiggest audiences and greatest acclaim, pulling off one of the most remarkable comebacks in punk or metal history.Drawn from years of research and dozens of new interviews, this is the story of a band of high school friends who revolutionized modern music, brought explosive live performances, and raised questions America's lawmakers didn't want to answer, overcoming some of the country's most powerful forces to reshape the world's cultural conversation.

Canadian performer k.d. lang broke new ground in the 1980s by blending the genres of punk and country, dubbed "cowpunk," with her band, the Reclines. Despite Grammy-award-winning recordings and frequent North American TV spots, mainstream country radio excluded lang from airplay due to her unconventional gender presentation and perceived sexuality. Not until lang's 1992 pop album Ingénue, the release of the single "Constant Craving," and her subsequent coming out in The Advocate did lang earn critical acclaim worldwide. The book addresses lang's rise to fame after switching genres, the successful reinvention of her sound and persona, and how she found herself immersed in the whirlwind of MTV and the "lesbian chic" aesthetic of 1990s pop culture. As an LGBTQ author, Joanna McNaney Stein discusses her adolescence and sexual development by weaving in short narrative prose pieces with her analysis of lang and Ingénue. Also included are interviews with lang's musical collaborators: Ingénue co-writer Ben Mink, drummer Fred Eltringham, pianist Daniel Clarke, and singer-songwriter Laura Veirs.

The Go-Go's debut album Beauty and the Beat was released on July 8, 1981. The album spent six weeks in the number one spot on the Billboard charts, produced two hit singles and sold more than two million copies making it one of the most successful debut albums of all time. Beauty and the Beat made the Go-Go's the first, and to date only, female band to have a number one album who not only wrote their own songs, but also played their own instruments.Beauty and the Beat is a ground-breaking album, but the Go-Go's are often overlooked when we talk about influential female musicians. The Go-Go's were a feminist band and Beauty and the Beat a call to arms that inspired generations of women. The band embraced the DIY spirit of Riot Grrrl before there was a Bikini Kill or a Bratmobile. Girls making music on their own terms didn't start with Courtney Love or Beyoncé or Billie Eilish, it started with the Go-Go's. It started with Beauty and the Beat.While they may have controlled their music, the Go-Go's couldn't control the misogyny of the music industry, media and fans. The sexist and tired stereotypes the Go-Go's experienced 40 years ago still exist today. The legacy of Beauty and the Beat is both a celebration of how the record inspired countless girls to make art and music on their own terms, but also a painful reminder of how little has changed in how female musicians are marketed, manipulated, and discarded.

Babes in Toyland was one of the most influential and underrated bands of the 1990s. They rode the wave of the Minneapolis grunge scene crafting a unique sound composed of self-taught instrumentation and unabashed banshee raging vocals. Their stage presence was enigmatic, their lyrics vitriolic, and their Kinderwhore fashion ironic and easy to emulate. But what made them most inspiring was their ethos and a unique brand of sisterhood that inspired fans to create Riot Grrl and form legendary bands such as 7 year Bitch, Bikini Kill, and Hole.Despite the media's politicization of them as an "all-female" band, the Babes insisted their music wasn't a political statement but about personal expression. They would dismiss labeling their act as feminist, but their actions sent a positive message of what a female space within music could look like. Now, almost 30 years after their most seminal record, Fontanelle, was released, the legend of the band is being resurrected and re-spun to reclaim their proper space and context in the history of music and women in rock.

Dwight E. Brooks deep dives into Earth, Wind & Fire's That's The Way of the World. Alongside interview material from members Phillip Bailey and Verdine White, he analyses how this album shattered musical barriers, transcended genres, and paid homage to African and American traditions.Understanding TTWOTW requires appreciating EWF founder Maurice White's multifaceted vision for his band. White created a band that performed various styles of music that sought to uplift humanity. His musicians personified a new form of Black masculinity rooted in dignity that embraced diverse spiritualities and healthy living. A complete understanding of TTWOTW also necessitates an awareness of American racial dynamics and changes in the popular music industry in the 1960s and '70s.EWF's landmark album TTWOTW presented hopeful messages about the world that were sorely needed at the time. TTWOTW did not tell listeners exactly how to live, but instead how they can live in a quest for self-actualization. The songs encourage us to yearn, learn, love, see, listen, and feel happy. If art can help mold a better future, than EWF's musical legacy of positivity and self-empowerment will continue to contribute to personal growth and social change even as their melodies linger.

While Southern California punk bands were saying, "Our band could be your life," Los Angeles's hair metal acts were insisting, "Our band could be your fantasy." They weren't out to change the world as much as conquer it, and no one embodied that more than its breakout stars, Motley Crue. On their sophomore record Shout at the Devil, they invited listeners to let their ids run wild, propping the door open for gender play, sexual abandon, and a healthy distrust of authority. As more women entered the workforce - not only because upper-middle class white women had made this a central demand of their feminism but also because industrial job opportunities for men were declining. This book demonstrates how Shout at the Devil showed men rejecting manual labor in favor of being beautiful, entertaining, and sexually available. What followed were era-defining culture wars about gender roles, sexual expression, and freedom of speech.

Depeche Mode's 101 is, at first glance, a curious thing: a live double-album by a synth band. A recording of its "Concert for the Masses," 101 marks the moment when doomy, cultish, electronic Depeche Mode, despite low American album sales and a lack of critical acclaim, declared they had arrived and ascended to the rare air of stadium rock. On June 18, 1988, 65,000 screaming, singing Southern Californians flocked to Pasadena's Rose Bowl to celebrate DM's coronation. The concert also revealed the power of Southern California radio station and event host KROQ, which had turned Los Angeles into DM's American stronghold through years of fervent airplay. KROQ's innovative format, which brought "new music" to its avid listeners, soon spread across the country, leading to the explosion of alternative rock in the 1990s.Eight years after its founding in Basildon, Essex, Depeche Mode, rooted in 1970s Krautrock, combined old-fashioned touring, well-crafted songs, and the steadfast support of KROQ to dominate Southern California, the United States, and then the world, kicking open the doors for the likes of Nirvana in the process. 101 is the hidden-in-plain-sight hinge of modern music history.

Following the success of their instantly iconic double LP, London Calling, The Clash set out to do something "triply outrageous." Named after the Nicaraguan rebels who successfully overthrew an authoritarian dictator, Sandinista! consists of 36 songs across six sides of vinyl, showcasing their politics and musical prowess through genres ranging from hip hop, reggae, jazz, gospel, calypso, and punk. Despite being considered one of the greatest albums of all-time, critics and fans have spent over 40 years debating whether the album would be better as a 12-track LP. This book entertains that idea and considers what is lost or gained in the process.

The Isley Brothers' 3+3, dissects The Isleys' 50-year-old undisputed masterwork, an album that firmly established their music dynasty on a global scale, as well as heralding the boldest run of genre-defiant albums of their 65-year career. The 1973 watershed was their first multiplatinum release and is significant as a rare, crossover record by a Black act that struck a chord with urban, rock and pop consumers, despite the schisms between audiences due to bias-driven media and industry marketing.The book looks at the album from all angles: From The Isleys' early career to their influence on rock and rollers both Black and White, from the twists and turns of having national hits without national recognition, onto their decision to form T-Neck Records and the group's challenges navigating a music industry that racially codified music and hampered Black artists from universal acclaim and compensations--and finally a summation of the decades following The Isley's run and its ups and downs, with a fast-forward to where the group is now after 65 years.