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Jennifer Shryane provides a much-needed analysis of Einstürzende Neubauten's important place in popular/experimental music history. She illustrates their innovations with found- and self-constructed instrumentation, their Artaudian performance strategies and textual concerns, as well as their methods of independence. The group have also made a consistent and unique contribution to the development of the independent German Language Contemporary Music scene, which although often acknowledged as influential, is still rarely examined.
Jennifer Shryane provides a much-needed analysis of Einstürzende Neubauten's important place in popular/experimental music history. She illustrates their innovations with found- and self-constructed instrumentation, their Artaudian performance strategies and textual concerns, as well as their methods of independence. The group have also made a consistent and unique contribution to the development of the independent German Language Contemporary Music scene, which although often acknowledged as influential, is still rarely examined.
At the end of his life, Pierre Schaeffer commented that his musical and sound experiments had attempted to go beyond 'do-re-mi'. This had a direct bearing on Einstürzende Neubauten's musical philosophy and work, with the musicians always striving to extend the boundaries of music in sound, instrumentation and purpose. The group are one of the few examples of 'rock-based' artists who have been able to sustain a breadth and depth of work in a variety of media over a number of years while remaining experimental and open to development. Jennifer Shryane provides a much-needed analysis of the group's important place in popular/experimental music history. She illustrates their innovations with found- and self-constructed instrumentation, their Artaudian performance strategies and textual concerns, as well as their methods of independence. Einstürzende Neubauten have also made a consistent and unique contribution to the development of the independent German Language Contemporary Music scene, which although often acknowledged as influential, is still rarely examined.
Connections and clashes between new and old media, as told by interviewees ranging from the founder of Twitter to the publisher of the New York Times. Mainstream media, often known simply as MSM, have not yet disappeared in a digital takeover of the media landscape. But the long-dominant MSM—television, radio, newspapers, magazines, and books—have had to respond to emergent digital media. Newspapers have interactive Web sites; television broadcasts over the Internet; books are published in both electronic and print editions. In Designing Media, design guru Bill Moggridge examines connections and conflicts between old and new media, describing how the MSM have changed and how new patterns of media consumption are emerging. The book features interviews with thirty-seven significant figures in both traditional and new forms of mass communication; interviewees range from the publisher of the New York Times to the founder of Twitter. We learn about innovations in media that rely on contributions from a crowd (or a community), as told by Wikipedia's Jimmy Wales and Craigslist's Craig Newmark; how the band OK Go built a following using YouTube; how real-time connections between dispatchers and couriers inspired Twitter; how a BusinessWeek blog became a quarterly printed supplement to the magazine; and how e-readers have evolved from Rocket eBook to QUE. Ira Glass compares the intimacy of radio to that of the Internet; the producer of PBS's Frontline supports the program's investigative journalism by putting documentation of its findings online; and the developers of Google's Trendalyzer software describe its beginnings as animations that accompanied lectures about social and economic development in rural Africa. At the end of each chapter, Moggridge comments on the implications for designing media. Designing Media is illustrated with hundreds of images, with color throughout. A DVD accompanying the book includes excerpts from all of the interviews, and the material can be browsed at www.designing-media.com. Interviews with: Chris Anderson, Rich Archuleta, Blixa Bargeld, Colin Callender, Fred Deakin, Martin Eberhard, David Fanning, Jane Friedman, Mark Gerzon, Ira Glass, Nat Hunter, Chad Hurley, Joel Hyatt, Alex Juhasz, Jorge Just, Alex MacLean, Bob Mason, Roger McNamee, Jeremy Merle, Craig Newmark, Bruce Nussbaum, Alice Rawsthorn, Anna Rosling Rönnlund, Hans Rosling, Ola Rosling, Paul Saffo, Jesse Scanlon, DJ Spooky, Neil Stevenson, Arthur Sulzberger Jr., Shinichi Takemura, James Truman, Jimmy Wales, Tim Westergren, Ev Williams, Erin Zhu, Mark Zuckerberg
This is the compilation of all the lyrics ever used in Einsturzende Neubauten songs written by their front man Blixa Bargeld. It features commentary and remarks by Maria Zinfert, Blixa Bargeld a.o. on the origin and intention of the lyrics in E.N. songs. All texts appear in German and English.
An exhilarating journey through the subcultures, occupied squats, and late-night scenes in the anarchic first few years of Berlin after the fall of the wall Berlin Calling is a gripping account of the 1989 "peaceful revolution" in East Germany that upended communism and the tumultuous years of artistic ferment, political improvisation, and pirate utopias that followed. It’s the story of a newly undivided Berlin when protest and punk rock, bohemia and direct democracy, techno and free theater were the order of the day. In a story stocked with fascinating characters from Berlin’s highly politicized undergrounds—including playwright Heiner Müller, cult figure Blixa Bargeld of the industrial band Einstürzende Neubauten, the internationally known French Wall artist Thierry Noir, the American multimedia artist Danielle de Picciotto (founder of Love Parade), and David Bowie during his Ziggy Stardust incarnation—Hockenos argues that the DIY energy and raw urban vibe of the early 1990s shaped the new Berlin and still pulses through the city today. Just as Mike Davis captured Los Angeles in his City of Quartz, Berlin Calling is a unique account of how Berlin became hip, and of why it continues to attract creative types from the world over.
A mission to find a mythological watering hole... In June 1999, Aug Stone and his best friend flew to Germany to find the bar they had heard Nick Cave owned in Berlin. They assumed they would get off the plane, ask 'which way to Nick Cave's bar?', and then spend the rest of their time living it up amidst the wild world of its confines. Instead what followed were nine days of confusion, thwarted plans, and perpetual drunken misery. To this day, they're not sure Nick Cave ever owned a bar in Berlin. Aug Stone is a writer, comedian, & musician. Stone is the author of the comedy novel Off-License To Kill, and his journalism has appeared in The Quietus, The Comics Journal, Under The Radar, and many other sites and magazines. He performs comedy as Young Southpaw, bringing his surreal stories to the world via The Young Southpaw Part Of An Hour podcast and 'blends the arts with the absurd' on his interview show Etcetera ETC With Young Southpaw.
A landmark history of post-punk, the basis of the documentary film directed by Nikolaos Katranis Renowned music journalist Simon Reynolds celebrates the futurist spirit of such bands as Joy Division, Gang of Four, Talking Heads, and Devo, which resulted in endless innovations in music, lyrics, performance, and style and continued into the early eighties with the video-savvy synth-pop of groups such as Human League, Depeche Mode, and Soft Cell, whose success coincided with the rise of MTV. Full of insight and anecdotes and populated by charismatic characters, Rip It Up and Start Again re-creates the idealism, urgency, and excitement of one of the most important and challenging periods in the history of popular music.
Made in Germany: Studies in Popular Music serves as a comprehensive introduction to the history, sociology, and musicology of contemporary German popular music. Each essay, written by a leading scholar of German music, covers the major figures, styles, and social contexts of pop music in Germany and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music in Germany, followed by essays organized into thematic sections: Historical Spotlights; Globally German; Also "Made in Germany"; Explicitly German; and Reluctantly German.
One of The Telegraph's Best Music Books 2011 We live in a pop age gone loco for retro and crazy for commemoration. Band re-formations and reunion tours, expanded reissues of classic albums and outtake-crammed box sets, remakes and sequels, tribute albums and mash-ups . . . But what happens when we run out of past? Are we heading toward a sort of culturalecological catastrophe where the archival stream of pop history has been exhausted? Simon Reynolds, one of the finest music writers of his generation, argues that we have indeed reached a tipping point, and that although earlier eras had their own obsessions with antiquity—the Renaissance with its admiration for Roman and Greek classicism, the Gothic movement's invocations of medievalism—never has there been a society so obsessed with the cultural artifacts of its own immediate past. Retromania is the first book to examine the retro industry and ask the question: Is this retromania a death knell for any originality and distinctiveness of our own?