Author | Dorian Lynskey |
---|---|
Language | English |
Genre | Non-fiction |
Publisher | Faber & Faber (UK) Ecco Press (US) |
Publication date | April 5, 2011 |
Pages | 656 [1] |
ISBN | 978-0-061-67015-2 |
OCLC | 641532418 |
782.42 | |
LC Class | ML3780 .L97 2011 |
33 Revolutions per Minute: A History of Protest Songs, from Billie Holiday to Green Day is a 2011 non-fiction book written by music critic and journalist Dorian Lynskey. Written because he wished to document a "still-vital form of music", each of the book's 33 chapters describes the historical background, writing process, and influence of a notable protest song. The book begins with a chapter on the song "Strange Fruit", before moving from a discussion of protest music's origins to a broader discussion focusing on its expansion across countries and genres. 33 Revolutions per Minute has received generally positive reviews from critics, who praised its scope despite being "thin on critical insight".
Dorian Lynskey is a British music critic and journalist who has written for publications like The Guardian , The Observer , and Q . [2] [3] In the epilogue of 33 Revolutions per Minute, Lynskey wrote how he initially began doing research into protest songs in order to document what he believed to be a "still-vital form of music". [4] When selecting songs to cover, Lynskey noted in an interview that he first and foremost sought songs he enjoyed listening to, so that he would be willing to listen to them repeatedly. He also attempted to cast a wide net across genres and causes for protest, though he emphasized that the book was not meant to be a definitive list of protest songs and acknowledged that his selection of songs was "limited...to western pop music". [4] [5]
33 Revolutions per Minute was first released on April 5, 2011, [1] being published by Faber & Faber in the United Kingdom [6] and Ecco Press in the United States; [7] an eBook was published the same year. [8] In 2012, a French-language edition of the book was published by Payot et Rivages in Paris; [9] in 2015, a Spanish-language edition of the book, and its eBook counterpart, were published by Malpaso Editorial in Barcelona. [10]
33 Revolutions per Minute consists of 33 chapters, in addition to a prologue, an epilogue, sources, and appendices. Each chapter details one notable protest song, including information about the song's influence, its writing process, and the historical background surrounding the song's release. Chapters are organized by chronological order, and split into five parts.
Part one (1939–1964) depicts the early years of protest music, and how it first intersected with popular music. Part two (1965–1973) demonstrates the continued evolution of protest music, with songs reflecting events like the Vietnam War and the black power movement. Part three (1973–1977) depicts various international scenes of protest music, used to illustrate its expansion outside the United States. Finally, parts four (1977–1987) and five (1989–2008) reflect on more modern examples of primarily American and British protest music, covering political scenes like opposition to the presidency of Ronald Reagan and the premiership of Margaret Thatcher, the 1984–1985 United Kingdom miners' strike, and the Iraq War.
33 Revolutions per Minute received generally positive reviews from critics, who praised its comprehensiveness despite being "thin on critical insight". [11] Kirkus gave the book a starred review, writing how Lynskey "presents a difficult, risky art form in all its complexity" and commended his "complete command of the music and the events that sparked it". [1] Vanessa Bush of Booklist similarly gave 33 Revolutions per Minute a starred review, praising the book for being "comprehensive and beautifully written". [12] Sean Wilentz, writing for The New York Times , gave the book a positive review for its comprehensiveness and Lynskey's "crisp prose". [2] However, Dwight Garner, also writing for The New York Times, gave 33 Revolutions per Minute a mixed review, criticized the book for being "mostly torpid and colorless" despite its wide selection of songs. [13] In addition, Michael Azerrad, writing for The Wall Street Journal, criticized the book's lack of focus, noting that "most chapters devote only a few paragraphs to the song they're ostensibly about, then delve into deep, deep background". [14]
Martin Chilton of The Telegraph praised the book for its scope and Lynskey's nuanced description of the musicians he covered. [15] Dave Shiflett of The Washington Post similarly praised the book for Lynskey's balanced coverage, commenting that he "writes passionately and often admiringly but doesn't stint on the criticism", and particularly praised his coverage of Dylan. [16] In contrast, Carolyn Kellogg of the Los Angeles Times criticized Lynskey's coverage of Dylan as shallow, and wrote that 33 Revolutions per Minute, despite its "robust" list of protest songs, lacked "a sense of what they're good for". [17]
What's Going On is the eleventh studio album by the American soul singer Marvin Gaye. It was released on May 21, 1971, by the Motown Records subsidiary label Tamla. Recorded between 1970 and 1971 in sessions at Hitsville U.S.A., Golden World, United Sound Studios in Detroit, and at The Sound Factory in West Hollywood, California, it was Gaye's first album to credit him as producer and to credit Motown's in-house session musicians, known as the Funk Brothers.
Big Black was an American punk rock band from Evanston, Illinois, active from 1981 to 1987. Founded first as a solo project by singer and guitarist Steve Albini, the band became a trio with an initial lineup that included guitarist Santiago Durango and bassist Jeff Pezzati, both of Naked Raygun. In 1985, Pezzati was replaced by Dave Riley, who played on Big Black's two full-length studio albums, Atomizer (1986) and Songs About Fucking (1987).
"Strange Fruit" is a song written and composed by Abel Meeropol and recorded by Billie Holiday in 1939. The lyrics were drawn from a poem by Meeropol published in 1937. The song protests the lynching of Black Americans with lyrics that compare the victims to the fruit of trees. Such lynchings had reached a peak in the Southern United States at the turn of the 20th century and the great majority of victims were black. The song was described as "a declaration of war" and "the beginning of the civil rights movement" by Atlantic Records co-founder Ahmet Ertegun.
Oh Mercy is the twenty-sixth studio album by American singer-songwriter Bob Dylan, released on September 12, 1989, by Columbia Records. Produced by Daniel Lanois, it was hailed by critics as a triumph for Dylan, after a string of poorly reviewed albums. Oh Mercy gave Dylan his best chart showing in years, reaching No. 30 on the Billboard charts in the United States and No. 6 in Norway and the UK.
Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981–1991 is a book by Michael Azerrad. It chronicles the careers of several underground rock bands who, while finding little or no mainstream success, were hugely influential in establishing American alternative and indie rock, mostly through nearly constant touring and records released on small, regional independent record labels. Azerrad conducted many interviews with band members, and also conducted extensive research of old fanzines, as well as more mainstream newspapers and books.
"Manic Monday" is a song by the American pop rock band the Bangles, which was the first single released from their second studio album, Different Light (1986). The song was written by American musician Prince, under the pseudonym "Christopher". Originally it was intended for the group Apollonia 6 in 1984. Lyrically, it describes a woman who is waking up to go to work on Monday, wishing it was still Sunday so that she could continue relaxing.
"Sad Eyed Lady of the Lowlands" is a song by the American singer-songwriter Bob Dylan. First released as the final track on Dylan's seventh studio album, Blonde on Blonde (1966), the song lasts 11 minutes and 23 seconds, and occupies the entire fourth side of the double album. The song was written by Dylan and produced by Bob Johnston. The recording session began at 6 pm on February 15, 1966, at Columbia Studio A, Nashville, Tennessee, but Dylan worked on the lyrics for several hours while the experienced Nashville session musicians hired to accompany him stood by. Four takes were recorded in the early hours of February 16; the final recording was released on Blonde on Blonde. The music is a waltz in 6/8 time.
Double Nickels on the Dime is the third album by American punk trio Minutemen, released on the SST Records in July 1984. A double album containing 45 songs, Double Nickels on the Dime combines elements of punk rock, funk, country, spoken word and jazz, and references a variety of themes, from the Vietnam War and racism in America, to working-class experience and linguistics.
"2 + 2 = 5" is a song by the English rock band Radiohead. It is the opening track to their sixth studio album, Hail to the Thief (2003), and was released as the album's third and final single. It reached number two on the Canadian Singles Chart, number 12 on the Italian Singles Chart, and number 15 on the UK Singles Chart. It was included in Radiohead: The Best Of (2008), and a live version was included on the 2004 EP Com Lag.
"Sleep Now in the Fire" is a song by American rock band Rage Against the Machine. It was released on November 4, 1999, as the second single from their third studio album, The Battle of Los Angeles (1999).
Last Exit is the debut studio album by Canadian electronic music group Junior Boys. It was released on June 7, 2004 by KIN Records in the United Kingdom and on September 21, 2004 by Domino Recording Company in the United States. The album was promoted by two singles: "Birthday" and "High Come Down".
Come as You Are: The Story of Nirvana is a 1993 biography of the American rock band Nirvana written by music journalist Michael Azerrad. It was written before the suicide of band leader Kurt Cobain. Azerrad met with the members of the band and conducted extensive interviews about the band and its members' histories.
"Giddy Stratospheres" was a 7-inch single only release by Sheffield band the Long Blondes. It was released on 29 November 2004, on Angular Records. The single was accompanied by two B-sides, "Polly" and "Darts". The single was re-released in 2007 and was the third major label single from their debut album, Someone to Drive You Home. The single peaked at number 37 on the UK Singles Chart. Both versions were very well received by critics.
"Sun City" is a 1985 protest song written by Steven Van Zandt, produced by Van Zandt and Arthur Baker and recorded by Artists United Against Apartheid to convey opposition to the South African policy of apartheid. The song declared that all the artists involved would refuse to perform at Sun City, a resort which was located in the bantustan of Bophuthatswana, one of a number of internationally unrecognized states created by the South African government to forcibly relocate its black population.
"George Bush Doesn't Care About Black People" is a protest song by Houston-based hip hop duo The Legendary K.O. It was released on September 6, 2005, just days after Hurricane Katrina. The song was a single first published for free under the Creative Commons Attribution-NonCommercial-ShareAlike 2.5 license, on FWMJ's Rappers I Know website. It has been described as "vividly topical", and "one of the best political protest songs of all time".
"Ill Manors" is a hip hop protest song by English singer-songwriter Plan B. The track was released in the United Kingdom on 25 March 2012 as the lead single from the soundtrack to Ill Manors, a film written and directed by Plan B. The song was written in reaction to the 2011 riots across England, and specifically Plan B's perception of "society's failure to nurture its disadvantaged youth".
"Butcher's Tale " is a song written by Chris White of the Zombies, first released on the group's 1968 album Odessey and Oracle. It was also released as a single in the United States in June 1968, backed by "This Will Be Our Year." "Butcher's Tale" was recorded in one take on 20 July 1967 at EMI Abbey Road Studio No. 3. The song has also been covered by They Might Be Giants, The Immediate, John Wilkes Booze and Chrysanthemums. The anti-war protest song is written from the perspective of a soldier fighting on the Western Front of World War I, mentioning the battles at Gommecourt, Thiepval, Mametz and Verdun in France.
"Bring Him Back Home (Nelson Mandela)", also known as "Bring Him Back Home", is an anthemic anti-apartheid protest song written by South African musician Hugh Masekela. It was released as the first track of his 1987 album Tomorrow. It was recorded in 1986 when Masekela was in exile from the apartheid regime of South Africa. The melody of the song is buoyant, containing a number of powerful chords and trumpet riffs. The lyrics of the song demand the release of Black South African leader Nelson Mandela, who had been imprisoned by the White South African government on Robben Island since 1962. The song became enormously popular, and turned into an unofficial anthem of the anti-apartheid movement. It became one of Masekela's most performed live songs. It was later used as a part of the official soundtrack to the documentary film Amandla!: A Revolution in Four-Part Harmony. The song was included in the 1994 live album Hope and in the 2001 collection Grazing in the Grass: The Best of Hugh Masekela, released by Columbia Records.
"Commander in Chief" is a song by American singer Demi Lovato. She co-wrote the track with Justin Tranter, Julia Michaels, and its producers Finneas and Eren Cannata. The song was released as a single by Island Records on October 14, 2020. Its lyrics are directed towards then U.S. President Donald Trump, and are a response to the 2020 United States presidential election. An accompanying video was released on the same day.
33 Revolutions per Minute may refer to: