33 1/3 Greatest Hits, Volume 1: v. 1

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Yellow Magic Orchestra (October 3, 2024) by Toshiyuki Ohwada, on the album by Yellow Magic Orchestra (1978) [28] We are so excited to finally be able to announce our selections from the 2022 33 1/3 open call. We know that it feels like a long time since the submission window closed, but we’ve been hard at work reading through proposals, sending them on to external advisors*, discussing internally, getting in touch with authors, and making the projects official. So without further delay, here is the list of new titles: Have you read any of the titles? Will you? What are your thoughts on either the individual titles so far, or what great New Zealand album would you most like to read about? A: This time around we’re asking that you do not re-submit proposals. However, feel free to submit one on a different album.

A big thanks to our external advisors, who were integral in our selection process: Samantha Bennett, Sean Maloney, boice Terrel-Allen, Sarah Piña, and Ryan Pinkard. a b https://web.archive.org/web/20151106232635/https://333sound.com/2015/11/04/open-call-2015-results-the-16-new-books-in-the-33-13-series/ The first great title in the 33⅓ series paints a vivid picture of Los Angeles in the 1960s and Arthur Lee’s place in it—or, more accurately, just outside of it. While writing and recording Forever Changes, the Love frontman rented a house high in the hills above Los Angeles, where he could look down on the city and its music scene. His songs comprise an “ode to paranoia” that reveals the decay afflicting the hippie generation even before the fabled Summer of Love. Andrew Hultkrans paints Lee as an American prophet—not predicting the future but passing judgment on society. It’s perhaps the finest piece of writing on one of the finest psychedelic albums of that tumultuous decade.Submit the content below in one single document as either .doc, .docx or .pdf. No .rtf files will be accepted.

a b c Brown, Harley (February 25, 2015). "How the 33 1/3 Series, In Spite of Two Shrinking Industries, Continues to Thrive". Billboard. Archived from the original on July 26, 2017 . Retrieved May 5, 2016.

Many writers manage to wrangle interviews with their subjects for these books, but few make as much of the opportunity as Bruce Eaton, who got unprecedented access to the “individuals who were actually ‘in the room’ and had a direct and tangible input into the sound and development” of Big Star’s sophomore album. This direct insight from the band members and engineer John Fry steer the book away from the cult mythology that still clings to the Memphis group and creates something much more even-handed and humane. Eaton conducted the interviews in 2007 and 2008, and his book was published in 2009, just a year before frontman Alex Chilton and bassist Andy Hummel both died unexpectedly. Those immense losses, combined with Fry’s passing in 2014, adds poignancy to a powerful story of thwarted dreams.

In 2010, Continuum was bought out by Bloomsbury Publishing, which continues to publish the series. [3] Following a leave, Barker was replaced by Grossan in January 2013. [2] Leah Babb-Rosenfeld has been the editor of the series since 2016. [4] By the time most people discovered In the Aeroplane Over the Sea, Neutral Milk Hotel had already disbanded, and Jeff Mangum had disappeared. L.A.-based writer Kim Cooper dispels the mystery of the band without diminishing the power of the album as she retraces the NMH’s short history. At the time of its release in 2005, this title was the only book-length examination of Neutral Milk Hotel, and 10 years later it remains the best and most definitive biography of a band whose mystery only intensified its fans’ loyalty. Maria Callas's Lyric and Coloratura Arias (33 1/3) Ginger Dellenbaugh: Bloomsbury Academic". Bloomsbury Publishing. The most unlikely album made the best 33 1/3: Celine Dion isn’t usually afforded the same respect as a Bob Dylan or a Joni Mitchell, but Carl Wilson uses her populist art and personal history to ask questions about class, taste, and race in an effort to figure out how one of the most popular singers in the world could be loved and hated in equal measure. The answers he finds aren’t always comfortable, but that only makes them more important and crucial to criticism in the 21st century.The original Smile album remains unfinished; not to be confused with The Smile Sessions (2011) box set If you would like to submit a proposal for a 33 1/3 volume, please submit all of the following to [email protected]. The submission window to submit is currently closed. Today’s the day! We are thrilled to announce the next batch of 12 books for the 33 1/3 series. From Little Richard to Dolly Parton to Cardi B, we have a variety of new artists and albums to add to the series lineup. We look forward to seeing what our brilliant authors have to say about their music. By far the biggest name in the 33 1/3 roster of writers, Jonathan Lethem is no music critic, but an award-winning fiction writer whose novels Motherless Brooklyn and The Fortress of Solitude indulge long passages about pop music. His take on Talking Heads’ 1979 album forgoes fiction for first-person criticism, in which Lethem’s teenage self acts as a sympathetic protagonist. Even as he plumbs each song on Fear of Music for meaning and significance, he uses the album as a point against which he can measure his own growth as a listener, becoming older and wiser and hungrier for connection with each year and with each listen.

Originally published by Continuum, [3] the series was founded by editor David Barker in 2003. [1] At the time, Continuum published a series of short books on literature called Continuum Contemporaries. One-time series editor Ally-Jane Grossan mentioned that Barker was "an obsessive music fan who thought, 'This is a really cool idea, why don't we apply this to albums'. [3] PopMatters wrote that the range consists of "obscure classics to more usual suspects by the Beach Boys, the Beatles, and the Rolling Stones". [1] A: Yes, in our textbook How To Write About Music there is a chapter titled “How To Pitch a 33 1/3″ that is worth reading. a b c Yoder, Anne K. (April 2, 2006). "Introduction and Interview with Series Editor David Barker". PopMatters. Archived from the original on May 22, 2018. Zaleski, Annie (January 1, 2016). "The lost pop genius of Scott Miller". Salon. Archived from the original on January 6, 2016.I still buy the occasional one. I still read them online or from the library. I haven’t kept up with the series in the way I once did, and it’s unlikely I’ll now cover that lost ground. But I’m still in the race, somewhat. The last one from the main series I read was Sequioa L. Maner’s excellent assessment of Kendric Lamar’s To Pimp A Butterfly (166). The last one I bought (and will soon read) is Steve Tupai Francis’ look at Kraftwerk’s 1981 gem, Computer World (163). I’d like to read the book about George Michael’s Faith (165), Madvillain Madvillainy (171), Wendy Carlos’ Switched-On Bach (141), and, well, there are of course heaps of others.