Sepultura have always upheld their Brazilian roots. Band members Max Cavalera (vocals / guitar), Andreas Kisser (guitar), Paolo Jr. (bass) and Igor Caverla (drums) feature in this exclusive audiobiog and share how traditional tribal music features in their writing and performances as they rose from the poverty of San Paola to become Brazil´s first international music success story.This is not a music release by the record company or band and sound quality may vary. Sepultura experiment with their music and produce a fusion of heavy metal and thunderous tribal rhythms.Determination, selling merchandise and support from the record company kept the band going in the early days. In their lyrics they confront social issues homing in on real life issues such as anger, envy and social distortion. They are driven by a rage and aggression and their fans are real people who have had their lives messed up. In this unique audiobiog the band reveal why they don´t do drugs, talk about life on the road and how they manage their success. A classic recording for the collector and fan. 1. Language: English. Narrator: Pete Bruen. Audio sample: http://samples.audible.de/bk/rock/000029/bk_rock_000029_sample.mp3. Digital audiobook in aax.
Brazil, the big B of the BRIC countries, is in high spirits. The current upswing involving booming economic growth and cultural development is accompanied by good architecture: a great number of outstanding buildings have emerged, reviving international interest in Brazilian architecture. This publication provides an exciting selection of 220 modern buildings from the canonical works of Brazilian modern architecture to barely-known buildings; from works of the six best-known Brazilian masters namely, Oscar Niemeyer, Lúcio Costa, Paulo Mendes da Rocha, João Vilanova Artigas, Lina Bo Bardi, and João Filgueiras Lima (Lelé) to those of young aspiring architectural offices. Kolonialarchitektur und Indianerhu tten, Barock und Betonbrutalismus Brasiliens Architektur ist so vielfältig wie das Land selbst. Im Gegensatz dazu unterliegt die Hauptstadt Brasília einem strikten Plan: Die am Reißbrett entworfene Kapitale erhielt ab 1955 durch Oskar Niemeyer, Lúcio Costa und Burle Marx ihr bis heute charakteristisches Aussehen. Während der Amtszeit von Juscelino Kubitschek (1956 1961) entwickelte sich Brasília zu einem Vorzeigemodell architektonischer Moderne. Aktuell erlebt Brasília erneut ein Goldenes Zeitalter: Der wirtschaftliche Aufschwung des Landes und geballter Zukunftsoptimismus (Gastgeber der FIFA-WM 2014 und der Olympischen Sommerspiele 2016) spiegeln sich in der zeitgemäßen Architektur wider. Der vorliegende Titel gewährt mit einer Auswahl von mehr als 200 zeitgenössischen Gebäuden von kaum bekannten Gebäuden der Klassischen Moderne u ber die Werke beru hmter Lehrmeister bis hin zu Projekten junger, aufstrebender Architekturbu ros einen unabhängigen Einblick in die Welt der futuristischen Metropole Su damerikas.
(2016/Warner Music Australia/Festival) 20 tracks (56:15) 1962-1974 with 8 page color booklet. - Klasse Latin Compilation mit 20 Hits und Raritäten aus den 1960er Jahren, als Bossa Nova und Samba erstmals in den USA Mainstream vordrangen. Zusammengestellt von den Acid-Jazz-Pionieren Chris Bangs und Gilles Peterson. Featuring Elvis Presley, Astrud Gilberto, Aretha Franklin, Marcos Valle, Dizzy Gillespie, Sergio Mendes, u. v.a. - The bossa nova has its roots in the songwriters and singers who emerged from Brazil´s late 50s and early 60s golden age. When the newly democratic country was revelling in its position as the wealthiest, and most advanced of the Southern American countries. Its football team had not only won the 1958 World Cup in Sweden, but done it with style unearthing the 18 year old talent Pele. In Oscar Niemeyer it had another world-beater, this time in the world of architecture - his buildings would come to define mid-Century modernism in his home country. - Musically the like of Luis Bonfa, Joao Gilberto and Tom Jobim were beginning to forge the new beat that would become known as bossa nova, and the rhythm especially captivated a group of American jazzmen who passed through the country, they travelled on tours sponsored by the State Department and designed to showcase US culture to the developing world. The likes of Dizzy Gillespie, Bud Shank, Herbie Mann, Stan Getz and Charlie Byrd all made the journey, and returned wanting to tell their home country about the fabulous new music. - The latter were inspired to rnake an album called ´Jazz Samba´ for Verve, and by the summer of 1962 it had climbed all the way to #1 on the Billboard charts, boosted by the success of Jobim and Newton Mendonca´s tune ´Desafinado´ which was lifted as a single. It began the great bossa nova craze. Of course jazz musicians got on board. It isn´t often that commercial music and jazz become bedfellows, and when they do everyone wants a slice. Stan Getz proved lightning could strike twice when he recorded ´The Girl From Ipanema´ with Gilberto. The English language parts were sung by Gilberto´s wife Astrid and made her a star as the single went to #5 in the pop charts. She continued to record for Verve making a series of sophisticated jet-set evoking albums, which included such gems as ´Take Me To Aruanda´. - ´Ipanema´ itself became a standard, capable of being treated in many ways. Not many got close to the gently swaying cool of Lou Rawls in his majestic jazz-soul phase at Capitol. His velvety vocal stylings were perfectly suited to creating a high-end Brazilian croon, and others were recording in the same vein. Jon Hendrick´s gave an early attempt via his version of ´Jive Samba´ from 1964 and the little known club singer Lonnie Sattin updated Ellington´s ´Caravan´ as the most delicious of bossa temptations. Nearly a decade later Jon Lucien, a native of the US Virgin Island, who was taking the New York jazz scene by storm, gave Lionel Bart´s ´Who Will Buy´ (from ´Oliver´) what was by then an unfashionable bossa update. - Those records had both jazz and Brazilian credibility in spades, but the same couldn´t be said about the scores, possibly hundreds of records that attempted to make the pop charts using the bossa nova beat. So Elvis Presley´s ´Bossa Nova Baby´ could have been seen as The King at the nadir of 1960s movie making slump, but actually it is a clever cash-in written by the ´Hound Dog´ and IJailhouse Rock´ writing team Leiber and Stoller, and Elvis rose to the occasion. L&S were also the team behind Tippie and The Clovers ´My Heart Said (Bossa Nova´ which was released on their own Tiger label. Similar in style Is Doris Troy´s self-written ´Bossa Nova Blues´. The singer was a big favourite of The Beatles and other British sixties groups, and later recorded for the Fab Four´s Apple label. Slightly later, but part of the same New York Atlantic Records scene is Aretha Franklin who wrote ´Don´t Let Me Lose This Dream´ for her label debut ´I Never Loved A Man The Way I Loved You´ and its rhythm is pure bossa. - The US love of Bossa Nova swept up numerous Brazilians and gave them a shot at international stardom (or at least a residency in a Vegas). Organist Walter Wanderley was perhaps the oddest of these. Juxtaposing cheesy roller skating rink organ, over a bossa beat, he was extraordinarily popular for a while with his mixture of covers of pop tunes and Brazilian standards. Marcos Valle was another, an exceptional