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Blondie in Camera 1978

Planet Clash

Wer in den siebziger Jahren an den Samstagabenden frisch gebadet und im Frotteebademantel auf der Couch der Eltern saß, wird sich an die Hitparade erinnern. Hier wurde ritualhaft und verlässlich deutsches Kulturgut in Form von dreiminütigen Schlagern verabreicht. Föngewellte Heroen in Schlaghosen hauchten Schmachtfetzen in orangefarbene Kunststoff-Mikrofone, und offensiv gutgelaunte Heldinnen eroberten mit lockerem Hüftschwung die Partykeller. Jenes schillernde, wunderbar geschmacksverirrte Jahrzehnt wird in Spaß muss sein wieder lebendig. Rudi Esch hat sich auf die Spur dieses Musikphänomens begeben und mit allen wichtigen Protagonisten der Schlagerszene der Siebziger gesprochen: mit Christian Anders und Michael Holm, mit Graham Bonney und Ricky Shayne, mit Cindy Berger und Liz Mitchell, mit Frank Farian und Jack White und vielen, vielen anderen, die uns diese unbeschwerte Zeit beschert haben. Und ganz nebenbei wird in seiner ebenso unterhaltsamen wie überraschenden Oral History eine ganz andere Kultur- und Alltags-Geschichte der Bundesrepublik und der Mauerstadt West-Berlin sichtbar. Hossa!

Die Schlagerwelt der Siebziger

Spaß muss sein

Midnight Manor

Roman | Dark Romance Little Mermaid Retelling

Twisted Truth

Discover John Kander and Fred Ebb, the most artistically and commercially successful musical theatre writing team since Rodgers and Hammerstein, in a brand new way. Identifying the theatrical approach that renders their musical dramaturgy unique, this book explores their importance within, and contribution to, musical theatre history. Through their biggest hits, Cabaret (1966) and Chicago (1975), Kander and Ebb have been performed on the stage more times both within and outside of the USA than any other American musical theatre writers. Unlike Sondheim, whose work from 1964 increasingly aspired towards the avant-garde. Kander and Ebb located their projects in a nexus between art and commercial entertainment, seeking to deconstruct popular forms in order to expose their ideological function. This book investigates the full range of Kander and Ebb's collaboration from the pure comic entertainment of 70, Girls, 70 (1971) and Curtains (2006) to more overtly serious musicals such as The Kiss of the Spiderwoman (1992), The Scottsboro Boys (2010) and The Visit (2014), which were less commercially successful precisely because they addressed disturbing subjects. It explores how the difficult material inspired beautiful, though challenging, scores. It also probes how the ironic counterpointing of luscious music with witty and demotic lyrics makes complex demands of a Broadway audience, challenging its desire for escapist entertainment, devoid of critical self-reflection, to becomes complex, yet popular, masterpieces of the genre. This is the first volume to explicitly analyse the recurrent theatrical tropes and dramaturgical forms in Kander and Ebb's musicals, offering an in-depth introduction to their oeuvre.

The Theatre of Kander and Ebb

The Beatles are known for cheeky punchlines, but understanding their humor goes beyond laughing at John Lennon's memorable "rattle your jewelry" dig at the Royal Variety Performance in 1963. From the beginning, the Beatles' music was full of wordplay and winks, guided by comedic influences ranging from rhythm and blues, British radio, and the Liverpool pub scene. Gifted with timing and deadpan wit, the band habitually relied on irony, sarcasm, and nonsense. Early jokes revealed an aptitude for improvisation and self-awareness, techniques honed throughout the 1960s and into solo careers. Experts in the art of play, including musical experimentation, the Beatles' shared sense of humor is a key ingredient to their appeal during the 1960s-and to their endurance. The Beatles and Humour offers innovative takes on the serious art of Beatle fun, an instrument of social, political, and economic critique. Chapters also situate the band alongside British and non-British predecessors and collaborators, such as Billy Preston and Yoko Ono, uncovering diverse components and unexpected effects of the Beatles' output.

Mockers, Funny Papers, and Other Play

The Beatles and Humour

Magnolia Falls

Magnolia Falls 3: Forbidden King

Die heitersten Zitate aus den Romanen von Charles Dickens u.a. aus »Die Weihnachtsgeschichte«, »Die Pickwickier«, »Oliver Twist«, »David Copperfield«, »Schwere Zeiten«, u.v.m. - liebevoll mit nostalgischen Abbildungen illustriert.

Heiteres von Dickens

„Nichts ist so ansteckend wie ein Lachen“

A collection of multi-award-winning author David Keenan's best music writing

A Time-Travelling Evangelist’s Guide to Late 20th-Century Underground Music

Volcanic Tongue

2012 nahm Peter Handke mit seinem Versuch über den Stillen Ort die Reihe seiner Versuche wieder auf. Nur ein Jahr später beschließt er sie, endgültig, laut Handke, mit einem fünften und letzten erzählenden Essay, dem Versuch über den Pilznarren - worin die Pilze für den Helden der Geschichte nicht nur Passion, sondern das letzte Abenteuer, das Abenteuer an sich sind.

»Nichts von dem allen, weder der Pilzjäger als Held, noch als der Träumer vom vollkommenen Mord, noch als der Vorläufer eines anderen Ich-Bewußtseins, soll in dem &gt;Versuch über den Pilznarren&lt; erzählt werden. Oder, in Ansätzen, vielleicht doch? So oder so: Eine Geschichte wie die seinige, wie die sich ereignet hat, und wie ich sie, zeitweise aus nächster Nähe, miterlebt habe, ist jedenfalls noch keinmal aufgeschrieben worden.«

Eine Geschichte für sich

Versuch über den Pilznarren

33 1/3 Europe

Phaedra was the album that saw Tangerine Dream move from relative obscurity to mainstream success. Championed by broadcaster John Peel, they reached the attention of Richard Branson and signed a deal for five albums with the Virgin label. Phaedra, released in 1974, was the first of these. It still sounds startlingly innovative, fusing what were then the latest synthesizer technologies with instruments including a Mellotron, organ, electric piano, guitar and flute. The use of sequencers to create rhythmic patterns was a new sonic experience for most listeners, while the processing of all the instruments through reverb and delay helped to create a template for ambience and atmosphere that still continues to influence music today. This book explores Phaedra in the context of the wave of experimental creativity in German music in the 1970s and the part the album played in the emergence of Kosmiche Musik, cosmic music, in 1970s West Germany.

Tangerine Dream's Phaedra

Frida Kahlo continues to be an inspiration for her determination, creativity and resilience. A fine new mini wall art calendar from Flame Tree. Officially Licensed Frida Kahlo Corporation Product. Mexican artist Frida Kahlo sought to define her identity, as well as that of Mexico. She explored themes of self-identity, gender, postcolonialism and popular culture from Mexico throughout her works. Now regarded as a feminist and LGBT icon, as well as a key artist during the twentieth century, this mini calendar celebrates Frida Kahlo’s life with beautiful portraits alongside facts and famous quotes about life and art. Informative text accompanies each work in this mini wall calendar and the datepad features previous and next month’s views. Printed on FSC-certified paper, with plastic-free packaging.

Frida Kahlo: Life of an Icon Mini Wall Calendar 2026 (Art Calendar)

Dr Stuart Campbell provides here the first English translation of Tchaikovsky's critical writings on music. Much of the material originates from the numerous articles written by the composer for the Moscow periodical press between 1868 to 1875, and affords a survey of eminent performers to be heard there, including Auer, von BÃ¿low, Nilsson, Patti and the Rubinstein brothers. As well as following Tchaikovsky's reaction to the Russian musical scene much material is devoted to the operas then being experienced by Moscow audiences, with reviews of works by Halévy, Meyerbeer, Mozart, Rossini, Thomas, Verdi and Wagner and orchestral works by Beethoven, Berlioz, Saint-SaÃ«ns, Schubert and Schumann. The volume also covers Tchaikovsky's first visit to the Bayreuth Festival of 1876, the autobiographical account of his European concert tour in 1888, and his attitude to the music of his great contemporaries Brahms, Verdi and Wagner. The collection therefore offers valuable insight into Tchaikovsky's views on music, performance and repertoire that are relevant to the study of his own compositions, and extends our understanding of nineteenth-century music in general.

Tchaikovsky's Writings about Music

Blondie in Camera 1978

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