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HEY EVERYBODY WELCOME TO SHARE This is a Page. To join with us friends and to enjoy our music and to share with site visitors. OUR TUNE-Ins 24/7 on the Radio OUR MAIN LINKS http://radio.garden/listen/radio-sam-broadcaster-germany/xIden2fD https://raddio.net/377127-radio-sam-broadcasting-studio/ https://zeno.fm/radio/radio-sam-broadcaster-germanyhaz4uuc3pf9uv/ https://www.youtube.com/@radiosambroadcastergermany6016/featured https://de-de.facebook.com/groups/378636840591338/ https://www.zeno.fm/radio/radio-sam-broadcaster-germany4xqvqt35p48uv/ https://onlineradiobox.com/de/sambroadcastergermany/?cs=de.sambroadcastergermany&lang=en https://radiosambroadcastergermany.blogspot.com/ https://kuasark.com/pa/stations/radio-sam-broadcaster-germany/ Music just for You DISCO SCHLAGER 2024 💖 Hit Mix Schlager für Alle Play Video Share Whole Channel This Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Search videos Search video... Now Playing DISCO SCHLAGER 2024 💖 Hit Mix 01:26:45 Play Video Now Playing Schlager Charts Top 20 - 04. April 2024 28:58 Play Video Now Playing Reflecting on the Legends - Classic Country Songs - Icons of Country Music 01:18:30 Play Video FRIENDS WORLDWIDE Email a.dezius@gmail.com Follow BACK TO TOP

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Radio SAM Broadcaster Germany is our Main Radio Station in Germany Gone are the days of wondering where to go , or are you going to miss out, Or dare we say, that you missed out on a life changing event SOUTH AFRICAN ARTISTS AND SINGERS REMEMBRANCE WALL Bles Bridges:Ruiter Bles Bridges (22 July 1947, Viljoensdrif, Free State) – 24 March 2000), born Lawrence John Gabriel Bridges, was a South African singer. He became known as Bles Bridges, as his Irish grandfather called him "Bles" (meaning "bald" in Afrikaans), due to his very thin hair from an early age. He released his first album in 1982, Onbekende Weermagman (Unknown Soldier). His professional career began in 1984, with the release of his second album, Bles, which went gold in under a month (25,000 copies) and included Maggie, one of his better-known songs. The album had sold twice that by the time his third album was released. At the time of his death, Bles had sold more than two and a half million albums (records and CDs). Soon Bles Bridges began alternating between Afrikaans and English language albums, to great acclaim. He also began working with Eurovision South Africa. In 2000, he began recording an album with his friends in the music industry. The first song - a duet with Patricia Lewis (and his last song as it turned out, as he died within a week of finishing it) - was "The First Kiss Goodnight" by Dennis East; it was recorded on 21 March 2000. His biggest hit was "Ruiter van die Windjie" (Rider of the Wind), which was released in 1986. In the 1980s, he held a concert in support of the Volkshulpskema (People's Help Scheme) of the Afrikaner Weerstandsbeweging, a far right paramilitary organisation, which raised R10,000. He had cancer during the 1980s and gave generously to charity for cancer research after his recovery. His wife Leonie was his sound engineer and the composer and/or songwriter of most of his songs, including most of his biggest hits, including "Maggie" and "I am the Eagle, you're the Wind", among others. It was his custom to hand out roses to some of the female audience members in the front row at his concerts. His career highlight was when he performed to a soldout Superbowl at Sun City, five times on one weekend, becoming the first and only artist to do so, as feature artist on 14 and 15 May 1987. He actually managed to draw a bigger crowd than Frank Sinatra did when he opened the Super Bowl in 1982. Bles died in a motorcar accident on 24 March 2000,leaving behind his wife, Leonie, and children Sunette and Victor. More than 15,000 mourners turned up for his funeral. In Die Windjie Almal, van ons weet hoe vry is die windjie As hy waai wil hy waai as hy draai wil hy draai, die windjie Oral om ons die gesuis van die windjie En hy dra aan ons oor die gevoel om weer vry te wees Ruiter van die windjie wil ek bly Vryer as die voëltjies rondom my Op verre lande vertel ek Goue strande en die see Ooh oh, ruiter van die windjie o, so vry Ewig op jou ruggie wil ek ry En oral waar jy mag swerwe Voer jy my ook altyd mee Saans, as ek slaap slaap ek tussen die blare Deur jou liedjie gesus as jy saggies versteur, die blare Vroeg, voor die eerste straal skyn van die môre Is ons twee weer op reis na die vryheid wat vir ons roep Ruiter van die windjie wil ek bly Vryer as die voëltjies rondom my Op verre lande vertel ek Goue strande en die see Ooh oh, ruiter van die windjie o, so vry Ewig op jou ruggie wil ek ry En oral waar jy mag swerwe Voer jy my ook altyd mee Instrumenteel Ooh oh oh, Ooh oh oh, Ruiter van die windjie wil ek bly Vryer as die voëltjies rondom my Op verre lande vertel ek Goue strande en die see Ooh oh, ruiter van die windjie oh so vry Ewig op jou ruggie wil ek ry En oral waar jy mag swerwe Voer jy my ook altyd mee En oral waar jy mag swerwe Voer jy my ook altyd mee SINGERS Danny Williams (7 January 1942 – 6 December 2005) was a South African pop singer. Williams earned the nickname, "Britain's Johnny Mathis", for his smooth and stylish way with a ballad.He is best known for singing his UK number 1 version of "Moon River" in 1961 and his US top ten hit, "White on White". Born in Port Elizabeth, Eastern Cape, South Africa,Williams won a talent contest at the age of 14 and joined a touring show called Golden City Dixies that played throughout South Africa. In 1959, the show came to London where Williams impressed EMI's Norman Newell, who signed the young singer to a recording contract. He was to spend most of his life in the United Kingdom, where at first he made a few moderately successful singles, mainly popular ballads, before scoring a Number One hit with his cover version of "Moon River" in 1961.To this day it remains his most famous record which he re-recorded for a self-titled album "Danny Williams" issued in the UK by Contour Records in 1972. It led to his appearance in a film about a pop group, directed by Michael Winner, called Play It Cool (1962) which starred Billy Fury. In 1963, Williams joined a 20-city tour which starred Helen Shapiro and featured the Beatles as a support act on the bill; like many other ballad singers of the day, he was swept away by the new beat group era. Williams had no more major British hits, even though "White On White" became popular abroad and was his only US Top Ten hit, charting in 1964. He continued to record for HMV until 1967 while working the nightclub circuit. In 1968, he had a nervous breakdown and was declared bankrupt two years later. However, he resumed his singing career in the early 1970s, achieving a Top 30 success with "Dancin' Easy" in 1977.In the early 1990s he recorded for Prestige Records and subsequently starred in a Nat "King" Cole tribute show which made several British tours.Compilations of his early recordings, including "Moon River", have been issued on CD. He died in December 2005 of lung cancer, at the age of 63. Williams was married three times, and is survived by his two daughters (Natali and Melody Williams) and two sons, the actor Anthony Barclay and Michael Stewart. Louise Carver (born 10 January 1979) is a South African folk rock singer-songwriter and pianist. Carver was born in Cape Town, and holds dual citizenship in South Africa and the United Kingdom. She began playing piano at the age of 11, and received her first recording contract at the age of 15. She matriculated at the Rustenburg School for Girls, matriculating in 1996. She earned an honours degree in Politics, Philosophy and Economics from the University of Cape Town in 2002. Carver released her first single, It Don’t Matter (1996) when she was 17. The single topped the South African National Campus Charts. It spent 11 weeks on the South African National Top 40 Charts, where it peaked at the number three position.At age 18 she followed the single with her debut album, Mirrors and Windows (1998). First for Women, a South African insurance company, sponsored Carver's 2008 Home Tour Channel24 gave a favorable review of Carver in 2009. In June 2010, the City Press said that Carver's Look to the Edge album "has an edgy electronic/pop sound with infusions of South African rhythms and percussion, [and] will appeal to South African and global audiences alike... This 12-track album is unique and diverse. It’s easy listening and has something for everyone. Fredi Nester Esterhuizen (25 Maart 1959 – 3 Julie 2015) was 'n Afrikaanse liedjieskrywer en sanger. Hy het 14 albums en een DVD oor sy loopbaan opgeneem. Van sy populêre liedjies sluit in: Getoor, Sê My, Meer En Meer, Hey DJ en Bly Net Naby My. Sy verhoognaam, Fredi Nest, is 'n kombinasie van sy voornaam en eerste gedeelte van sy middelste naam. Fredi is op 25 Maart 1959 in Johannesburg, Suid-Afrika, gebore en was die oudste van vyf kinders. Hy het al van kleintyd af gesing en kitaar gespeel, maar het eers in sy laat dertigs besluit om musiek sy loopbaan te maak. In 1995 is sy debuutalbum, Memory Train, uitgereik. 'n Jaar later het hy die IBA-prys vir Listen To Me, as die mees gespeelde liedjie op gemeenskapradiostasies ontvang. Hy het sy deurbraak in die Afrikaanse musiekbedryf in 1999 met die album Wie is jy gemaak. Nest het in Cullinan naby Pretoria gewoon, waar hy vir homself 'n ateljee gebou het wat ook vir CD-opnames en produksies gebruik is. 'n Breingewas is in Mei 2015 by hom gediagnoseer, waarna hy behandeling by die Steve Biko Akademiese Hospitaal in Pretoria ontvang het. Die kanker het egter vinnig na die res van sy liggaam versprei. Hy is op 3 Julie 2015 by 'n plaaslike hospice oorlede Steven De Groote (1953—1989) was a South African classical pianist. Steven De Groote was born in Johannesburg, South Africa into a Belgian family in which, for three generations, almost every member had been a professional musician. His grandmother was a recipient of the Prix de Rome in Belgium, and his father the conductor of the Cape Town University Symphony. As a youngster, De Groote toured South Africa performing trios with his father on violin and brother on cello. He trained with Lamar Crowson in Cape Town, and with Eduardo del Pueyo at the Royal Conservatory of Music in Brussels, graduating in 1971 with first prize in piano. In 1972, De Groote entered the Curtis Institute of Music in Philadelphia where he studied with Rudolf Serkin, Mieczysław Horszowski, and Seymour Lipkin. He graduated in 1975. In 1976, De Groote took honours in the Leventritt Competition in New York City. In May 1977, he won the Young Concert Artists International Auditions in New York. In September of that year, he was awarded the Grand Prize at the Van Cliburn Competition in Fort Worth, Texas. In that same competition, he also took prizes for Best Performance of a Commissioned Work and Best Performance of Chamber Music, the only winner in the history of the competition to take all prizes. De Groote was an amateur pilot. In 1985 he survived a severe crash while attempting to land near Phoenix. His lung and aorta were punctured. After extensive surgery and rehabilitation, De Groote recuperated and resumed flying and piano playing. His miraculous recovery was essayed on CBS News Sunday Morning by Charles Kuralt. In 1989 he returned to South Africa to visit family and for a concert tour. There, he was hospitalized with tuberculosis and pneumonia. He died in Johannesburg on 22 May 1989 from multiple organ failure due to AIDS. BACK TO TOP

SOUTH AFRICA COUNTRY & COUNTRY MUSIC & SINGERS ABOUT Country Music The legends of South African country music . The legends are Lance James, Barbara Ray, Bobby Angel, Matt Hurter and Tommy Dell , Alan Ladd, Cheree, JJ Stephens and Jason Bradleyand many other Country Stars and Legends. Lance James has more than 60 albums to his name, the worst of which was recorded way back in the 60s already! Lance is known as the Big Daddy of South African country music and has received many awards during his career of almost 50 years. The ATKV dubbed him "a living icon", and Vonk magazine recently gave him a "Lifetime Achievement" for his contribution to the South African music industry. Lance also recorded various albums with Queen of Country Barbara Ray. Barbara emigrated fron Scotland to South Africa in die mid-60s, and has since become a household name. Twenty-two of her albums went gold, and she won many awards for her contribution to country music. Barbara is especially well-known for her hits "I don"t wanna play house" and "Down the Mississippi", and also tours with one of SA"s other great country legends, Bobby Angel. Bobby Angel has been known as the King of Country since he took the music world by storm with his 1975 hit, "You ask me to". Many more hits followed, and his latest release, "Wals van die lewe", confirmed Bobby"s status as evergreen musician. Tommy Dell, also known as The Killer, and Sally Vaughn represented South Africa in Nashville in 1984. The main singer of the Elvis group The Jordanaires was highly impressed with Dell"s work: "I"ve never seen a singer from another country command so much respect from an audience". No wonder, since nine of Tommy"s albums went gold ... while "Teddy Bear" and "Little Rosa" earned this artist double golden awards.Matt Hurter has been well-known in the South African country music industry for 40 years now. He is the current president of the South African Country Music Association and it was he who founded the SA Country Farm and managed it for 11 years. Matt is working on a new album at the moment, a large part of which will be music he himself wrote. Alan Ladd was born in Lusaka, Zambia, in 1966. He and his 12 brothers and sisters (among whom was the legendary singer, Kupido) emigrated to South Africa in 1976. Ten years later, he recorded his first "seven single", with one of his own songs, Daddy, also on it. He attained great success as singer/songwriter in the years that followed, and his last two albums were released in 2006. The first, The Country Gospel CD, reached platinum status within two months, and sold more than 44 500 copies. The second, My Hart Klop Country, sold more than 37 000 copies within four months. Lance James and Barbara Ray - Folk, Vocal, Solo and Group Musician - Johannesburg Lance James is a top class performer, who can assist you with making your function a memorable success. He remains one of the most-in-demand entertainers, working solo and with other popular artists in South Africa. Lance James is a versatile, bilingual performer who specialises in Corporate functions, Concerts, Dances, Barn dances, Weddings, Shopping Centre promotions, and In-store promotions. He is considered as one of the top entertainers ever in South Africa, and has an excellent rapport with his audiences. Winner of six SABC Sarie Awards, a "Loony's Award for his contribution to entertainment, plus an Honorary Award from ATKV Centurion, Beeld and Pretoria Afrikaanse Sakekamer for his contribution to Afrikaans music. Lance has appeared in many top Television Shows, is a well established Master of Ceremonies, as well as a well known Radio Broadcaster, currently broadcasting on Radio Today, "Keep It Country". Lance started recording in 1962, and to date over 60 Lance James Albums have been released. Country (also called country and western) is a genre of popular music that originated with blues, church music such as Southern gospel and spirituals, old-time, and American folk music forms including Appalachian, Cajun, Creole, and the cowboyWestern music styles of New Mexico, Red Dirt, Tejano, and Texas country. Its popularized roots originate in the Southern and Southwestern United States of the early 1920s. Lance released "Lance James sing Dankie en ander Treffers” in 1997, "Vriendskap" in 1998, "20 Gewildste Treffers" in 1999, and "No Charge" in 2001. In 1998/99 various other Lance James C.D.'s were re-issued plus "The Heart and Soul" double album. Vrouekeur recorded the best “Country Performance” on CD for the year 2002 was Lance James on the album "Sing a Lekker Liedjie". In 2003, he also released “Till a Tear becomes a Rose” with new singer Joey Lane. Lance can also be heard on the “Back to Bapsfontein” CD which was released in September 2003, and “Toeka 2” by Steve Hofmeyr released early 2004. Lance released "One Day At A Time" Golden Gospel Hits in October 2004. TOMMY DELL Tommy Dell (gebore Thomas Albert Berry, 1942 in Oos-Londen) is 'n Suid-Afrikaanse country-sanger. Hy is veral bekend vir sy treffer Teddy Bear. Van sy ander treffers sluit in Little Rosa en Don't worry about me. ' Diskografie My God Loves Me, HOEZIT MUSIEK From The Heart, SELECT Lag Jou Sopnat "10 jaar later", 2005 HOEZIT MUSIEK Deck Of Cards, UNIVERSAL The Heart And Soul Of Tommy Dell, 1999 CRESCENDO Lag Jou Sopnat Met, 1996 UNIVERSAL The First Ten Years Of Tommy Dell LP Caroline And Tommy LP Me And My Songs LP Country Gentleman Teddy Bear, GALLO Friends, 1980 SOUNDS SUPER Tommy Dell - Teddy Bear Country music often consists of ballads and dance tunes with generally simple forms, folk lyrics, and harmonies often accompanied by string instruments such as banjos, electric and acoustic guitars, steel guitars (such as pedal steels and dobros), and fiddles as well as harmonicas.Blues modes have been used extensively throughout its recorded history. The term country music gained popularity in the 1940s in preference to hillbilly music; it came to encompass Western music, which evolved parallel to hillbilly music from similar roots, in the mid-20th century. In 2009, in the United States, country music was the most listened to rush hour radio genre during the evening commute, and second most popular in the morning commute. The term country music is used today to describe many styles and subgenres. The origins of country music are found in the folk music of working class Americans and blue-collar American life. It has been inspired by American popular music, and American folk music which had its roots in Celtic music, early music of the British Isles, singing cowboys, corrido, ranchera, norteño, French folk music, African-American music, and other traditional folk music traditions. The main components of the modern country music style date back to music traditions throughout the Southern United States and Southwestern United States, while its place in American popular music was established in the 1920s during the early days of music recording ,Country music was "introduced to the world as a Southern phenomenon." Immigrants to the southern Appalachian Mountains, of the Southeastern United States, brought the folk music and instruments of Europe, Africa, and the Mediterranean Basin along with them for nearly 300 years, which developed into Appalachian music. As the country expanded westward, the Mississippi River and Louisiana became a crossroads for country music, giving rise to Cajun music. In the Southwestern United States, it was the Rocky Mountains, American frontier, and Rio Grande that acted as a similar backdrop for Native American, Mexican, and cowboy ballads, which resulted in New Mexico music and the development of Western music, and its directly related Red Dirt, Texas country, and Tejano music styles. The U.S. Congress has formally recognized Bristol, Tennessee as the "Birthplace of Country Music", based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum.Historians have also noted the influence of the less-known Johnson City sessions of 1928 and 1929,and the Knoxville sessions of 1929 and 1930. In addition, the Mountain City Fiddlers Convention, held in 1925, helped to inspire modern country music. Before these, pioneer settlers, in the Great Smoky Mountains region, had developed a rich musical heritage The first generation emerged in the 1920s, with Atlanta's music scene playing a major role in launching country's earliest recording artists. James Gideon "Gid" Tanner (1885–1960) was an American old-time fiddler and one of the earliest stars of what would come to be known as country music. His band, the Skillet Lickers, was one of the most innovative and influential string bands of the 1920s and 1930s. Its most notable members were Clayton McMichen (fiddle and vocal), Dan Hornsby (vocals), Riley Puckett (guitar and vocal) and Robert Lee Sweat (guitar). New York City record label Okeh Records began issuing hillbilly music records by Fiddlin' John Carson as early as 1923, followed by Columbia Records (series 15000D "Old Familiar Tunes") (Samantha Bumgarner) in 1924, and RCA Victor Records in 1927 with the first famous pioneers of the genre Jimmie Rodgers and the first family of country music the Carter Family. Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s. JUANITA DU PLESSIS During the second generation (1930s–1940s), radio became a popular source of entertainment, and "barn dance" shows featuring country music were started all over the South, as far north as Chicago, and as far west as California. The most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville and continuing to the present day. During the 1930s and 1940s, cowboy songs, or Western music, which had been recorded since the 1920s, were popularized by films made in Hollywood, many featuring the king of the "singing cowboys", Gene Autry. Bob Wills was another country musician from the Lower Great Plains who had become very popular as the leader of a "hotstring band," and who also appeared in Hollywood westerns. His mix of country and jazz, which started out as dance hall music, would become known as Western swing. Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded "Boogie Woogie". The Legends of South Africa Singers The third generation (1950s–1960s) started at the end of World War II with "mountaineer" string band music known as bluegrass, which emerged when Bill Monroe, along with Lester Flatt and Earl Scruggs were introduced by Roy Acuff at the Grand Ole Opry. Gospel music remained a popular component of country music. Another type of stripped-down and raw music with a variety of moods, became popular among poor communities in New Mexico, Oklahoma, and Texas; the basic ensemble consisted of classical guitar, bass guitar, dobro or steel guitar, though some larger ensembles featured electric guitars, trumpets, keyboards (especially the honky-tonk piano, a type of tack piano), banjos, and drums. This sound had its roots in the Native American, Hispano, and American frontier music of the Southwestern United States and Northern Mexico, including Western, honky tonk, ranchera, and corrido. By the early 1950s a blend of Western swing, country boogie, and honky tonk was played by most country bands. Rockabilly was most popular with country fans in the 1950s, and 1956 could be called the year of rockabilly in country music, with Johnny Cash emerging as one of the most popular and enduring representatives of the rockabilly genre; rockabilly was also a starting point for eventual rock-and-roll superstar Elvis Presley, who would return to his country roots near the end of his life. Beginning in the mid-1950s, and reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee; Patsy Cline and Jim Reeves were two of the most broadly popular Nashville sound artists, and their deaths in separate plane crashes in the early 1960s were a factor in the genre's decline. Starting in the early 1950s, and during the mid-1960s, Western singer-songwriters such as Michael Martin Murphey and Marty Robbins rose in prominence as did others, throughout Western music traditions, like New Mexico music's Al Hurricane. The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the "old values" of rock n' roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock. Fourth generation (1970s–1980s) music included outlaw country with roots in the Bakersfield sound, and country pop with roots in the countrypolitan, folk music and soft rock. Between 1972 and 1975 singer/guitarist John Denver released a series of hugely successful songs blending country and folk-rock musical styles. By the mid-1970s, Texas country and Tejano music gained popularity with performers like Freddie Fender. During the early 1980s country artists continued to see their records perform well on the pop charts. In 1980 a style of "neocountry disco music" was popularized. During the mid-1980s a group of new artists began to emerge who rejected the more polished country-pop sound that had been prominent on radio and the charts in favor of more traditional "back-to-basics" production; this neotraditional movement would dominate country music through the late 1980s and was typified by the likes of George Strait. Attempts to combine punk and country were pioneered by Jason and the Scorchers, and in the 1980s Southern Californian cowpunk scene with bands like the Long Ryders and Mojo Nixon. During the fifth generation (1990s), country music became a worldwide phenomenon. Two types of artists enjoyed mainstream popularity: neotraditionalists such as Alan Jackson, and the more broadly popular stadium country acts, in particular Garth Brooks. The Chicks became one of the most popular country bands in the 1990s and early 2000s. The sixth generation (2000s–present) has seen a certain amount of diversification in regard to country music styles. It has also, however, seen a shift into patriotism and conservative politics since the 9/11 Terrorist Attacks, but twenty years later, many are saying the genre is finally starting to move away from that.The influence of rock music in country has become more overt during the late 2000s and early 2010s. Most of the best-selling country songs of this era were in the country pop genre, such as those by Lady Antebellum, Florida Georgia Line, Carrie Underwood, Trixie Mattel, Orville Peck and Taylor Swift.Hip hop also made its mark on country music with the emergence of country rap The first commercial recordings of what was considered instrumental music in the traditional country style were "Arkansas Traveler" and "Turkey in the Straw" by fiddlers Henry Gilliland & A.C. (Eck) Robertson on June 30, 1922, for Victor Records and released in April 1923.Columbia Records began issuing records with "hillbilly" music (series 15000D "Old Familiar Tunes") as early as 1924. The first commercial recording of what is widely considered to be the first country song featuring vocals and lyrics was Fiddlin' John Carson with "Little Log Cabin in the Lane" for Okeh Records on June 14, 1923. was the first country singer to have a nationwide hit in May 1924 with "Wreck of the Old 97".The flip side of the record was "Lonesome Road Blues", which also became very popular. In April 1924, "Aunt" Samantha Bumgarner and Eva Davis became the first female musicians to record and release country songs. Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the decade and into the 1930s. Other important early recording artists were Riley Puckett, Don Richardson, Fiddlin' John Carson, Uncle Dave Macon, Al Hopkins, Ernest V. Stoneman, Blind Alfred Reed, Charlie Poole and the North Carolina Ramblers and the Skillet Lickers.The steel guitar entered country music as early as 1922, when Jimmie Tarlton met famed Hawaiian guitarist Frank Ferera on the West Coast. Jimmie Rodgers and the Carter Family are widely considered to be important early country musicians. From Scott County, Virginia, the Carters had learned sight reading of hymnals and sheet music using solfege.Their songs were first captured at a historic recording session in Bristol, Tennessee, on August 1, 1927, where Ralph Peer was the talent scout and sound recordist.A scene in the movie O Brother, Where Art Thou? depicts a similar occurrence in the same timeframe. Rodgers fused hillbilly country, gospel, jazz, blues, pop, cowboy, and folk, and many of his best songs were his compositions, including "Blue Yodel",which sold over a million records and established Rodgers as the premier singer of early country music. Beginning in 1927, and for the next 17 years, the Carters recorded some 300 old-time ballads, traditional tunes, country songs and gospel hymns, all representative of America's southeastern folklore and heritage. Derived from the traditional Western, including Red Dirt, New Mexico, Texas country, Tejano, and honky-tonk musical styles of the late 1950s and 1960s. Songs such as the 1963 Johnny Cash popularized "Ring of Fire" show clear influences from the likes of Al Hurricane and Little Joe, this influence just happened to culminate with artists such as Ray Price (whose band, the "Cherokee Cowboys", included Willie Nelson and Roger Miller) and mixed with the anger of an alienated subculture of the nation during the period, outlaw country revolutionized the genre of country music."After I left Nashville (the early 70s), I wanted to relax and play the music that I wanted to play, and just stay around Texas, maybe Oklahoma. Waylon and I had that outlaw image going, and when it caught on at colleges and we started selling records, we were O.K. The whole outlaw thing, it had nothing to do with the music, it was something that got written in an article, and the young people said, 'Well, that's pretty cool.' And started listening." (Willie Nelson)The term outlaw country is traditionally associated with Willie Nelson, Jerry Jeff Walker,Hank Williams, Jr., Merle Haggard, Waylon Jennings and Joe Ely.It was encapsulated in the 1976 album Wanted! The Outlaws. Many Western and Outlaw country music artists maintained their popularity during the 1980s by forming supergroups, such as The Highwaymen,Texas Tornados, and Bandido. Country pop Main article: Country pop Country pop or soft pop, with roots in the countrypolitan sound, folk music, and soft rock, is a subgenre that first emerged in the 1970s. Although the term first referred to country music songs and artists that crossed over to top 40 radio, country pop acts are now more likely to cross over to adult contemporary music. It started with pop music singers like Glen Campbell, Bobbie Gentry, John Denver, Olivia Newton-John, Anne Murray, B. J. Thomas, the Bellamy Brothers, and Linda Ronstadt having hits on the country charts. Between 1972 and 1975, singer/guitarist John Denver released a series of hugely successful songs blending country and folk-rock musical styles ("Rocky Mountain High", "Sunshine on My Shoulders", "Annie's Song", "Thank God I'm a Country Boy", and "I'm Sorry"), and was named Country Music Entertainer of the Year in 1975. The year before, Olivia Newton-John, an Australian pop singer, won the "Best Female Country Vocal Performance" as well as the Country Music Association's most coveted award for females, "Female Vocalist of the Year". In response George Jones, Tammy Wynette, Jean Shepard and other traditional Nashville country artists dissatisfied with the new trend formed the short-lived "Association of Country Entertainers" in 1974; the ACE soon unraveled in the wake of Jones and Wynette's bitter divorce and Shepard's realization that most others in the industry lacked her passion for the movement. During the mid-1970s, Dolly Parton, a successful mainstream country artist since the late 1960s, mounted a high-profile campaign to cross over to pop music, culminating in her 1977 hit "Here You Come Again", which topped the U.S. country singles chart, and also reached No. 3 on the pop singles charts. Parton's male counterpart, Kenny Rogers, came from the opposite direction, aiming his music at the country charts, after a successful career in pop, rock and folk music with the First Edition, achieving success the same year with "Lucille", which topped the country charts and reached No. 5 on the U.S. pop singles charts, as well as reaching Number 1 on the British all-genre chart. Parton and Rogers would both continue to have success on both country and pop charts simultaneously, well into the 1980s. Country music propelled Kenny Rogers’ career, making him a three-time Grammy Award winner and six-time Country Music Association Awards winner. Having sold more than 50 million albums in the US, one of his Song "The Gambler," inspired multiple TV movies, with Rogers as the main character. Artists like Crystal Gayle, Ronnie Milsap and Barbara Mandrell would also find success on the pop charts with their records. In 1975, author Paul Hemphill stated in the Saturday Evening Post, "Country music isn't really country anymore; it is a hybrid of nearly every form of popular music in America." During the early 1980s, country artists continued to see their records perform well on the pop charts. Willie Nelson and Juice Newton each had two songs in the top 5 of the Billboard Hot 100 in the early eighties: Nelson charted "Always on My Mind" (No. 5, 1982) and "To All the Girls I've Loved Before" (No. 5, 1984, a duet with Julio Iglesias), and Newton achieved success with "Queen of Hearts" (No. 2, 1981) and "Angel of the Morning" (No. 4, 1981). Four country songs topped the Billboard Hot 100 in the 1980s: "Lady" by Kenny Rogers, from the late fall of 1980; "9 to 5" by Dolly Parton, "I Love a Rainy Night" by Eddie Rabbitt (these two back-to-back at the top in early 1981); and "Islands in the Stream", a duet by Dolly Parton and Kenny Rogers in 1983, a pop-country crossover hit written by Barry, Robin, and Maurice Gibb of the Bee Gees. Newton's "Queen of Hearts" almost reached No. 1, but was kept out of the spot by the pop ballad juggernaut "Endless Love" by Diana Ross and Lionel Richie.The move of country music toward neotraditional styles led to a marked decline in country/pop crossovers in the late 1980s, and only one song in that period—Roy Orbison's "You Got It", from 1989—made the top 10 of both the Billboard Hot Country Singles" and Hot 100 charts, due largely to a revival of interest in Orbison after his sudden death.The only song with substantial country airplay to reach number one on the pop charts in the late 1980s was "At This Moment" by Billy Vera and the Beaters, an R&B song with slide guitar embellishment that appeared at number 42 on the country charts from minor crossover airplay. The record-setting, multi-platinum group Alabama was named Artist of the Decade for the 1980s by the Academy of Country Music. COUNTRY MUSIC LINKS HPR4 Bluegrass Gospel Branson, Country, Gospel Paul Williams - The Soul Of A Child Classic Country 104.9 Osage Beach, Country THE RANCH 95.9 FM Fort Worth, Country Tyler Childers - Born Again WIVK 107.7 FM Knoxville, Country WCYO - Coyote Country 100.7 FM Irvine KY, Country 106.5 The Wolf - WDAF FM Kansas City, Country Sam Meyers Classic Country Burleson, Country Montgomery Gentry - Merry Christmas From The Family The Big 99.9 Coyote Country Spokane, Country https://www.country108.com/

FUN FOR THE CHILDREN This page is just for Children to Enjoy and have fun ,We will be adding Links - Places to Visit - Video Links - Pictures & Things to Make and to Model. WHAT YOU WILL FIND ON THIS PAGE EASY TO MAKE THINKS TO MAKE PICTURE BOOK SHARE WITH FRIENDS CRAFT WORK CHILDERN LINKS VIDEOS MANY LINKS TO ENJOY tv.disney. View More The Crafty Crow began in 2008 and came out of my need to keep track of all the wonderful children's crafts I see on the internet. This collective specializes in crafts found on weblogs of creative people who either have, or work with, kids. There is an emphasis on projects inspired by nature, crafts that make use of recyclable materials and open-ended art meant to bring families closer together through the creative experience. You will also find tips, tools, resources, and other ideas sprinkled in too. Welcome to The Crafty Crow ! View More “I’m bored,” are often two of the most terrifying words heard by parents. But with a little brainstorming, they don’t have to be. Instead, you can turn boring into a wonderful time of fun, learning and adventure! Growing up my parents didn’t allow “boredom”. Any time I even acted sort of bored they would “find something for me to do!”(some of the most terrifying words to a child!) As a result, I never developed an aptitude for boredom… at least not that I would admit! This list has grown out of many of those early boredom busters. Saying NO to Boredom and YES to Fun View More Hiya! I'm Andrea and together with my mom Jantje, I've been leading the way in art education on the Internet since 1997. For more than 25 years, our goal has been to make art lessons accessible to people around the world. More than 80 million visitors have used our free collection of ideas in their homes and classrooms and thousands have joined our premium art lesson membership club . We make teaching art easier and we're so glad you found us! View More Wat is Filaflooi? Filaflooi is kinders en filaflooi is Afrikaans! Ons het 'n kinderklere-reeks met Afrikaanse kinderrympies daarop - ons ouderdomme strek van 1-2 jaar tot en met 5-6 jaar. In die t-hempies gee ons uiting aan ons passie vir Afrikaans. Ons "leer ou woorde kantel tot 'n nuwe samesyn, sodat hul dan presies bepaalde vreugdes wek..." (NP van Wyk Louw).Dit is wat ons doen! Ons skep deur 'ou woorde' uit kinderrympies bepaalde vreugdes vir die leser daarvan. As ons iets kan bydra tot 'n nuwe geslag kinders se bewustheid van hoe mooi Afrikaans is en hulle kan trots maak op hulle taal, sal dit vir ons 'n groot pluimpie wees. Hoekom Filaflooi? Filaflooi klink soos kind-wees en is ook 'n tipies Afrikaanse woord. Die naam is 'n speling op die woord "filafooi" wat in ou kinderrympies voorkom. Ons spel dit graag met 'n klein lettertjie om dit meer kinderlik te maak. View More Listen now! All your favorite Kidsongs are available to stream!ALSO AVAILABLE on 7 digital, 8tracks, kazoo, anghami, AWA, Deezer, iMusica, InProdicon, KDigital, KKBox, Kuack, Line Music, Media Net, Napster, NetEase Cloud Music, Qobuz, Saavn, Shazam, Slacker Radio, SoundExchange, Tencent Music Entertainment, Tidal, YouTube Music View More Die webtuiste wat jou en jou kleuter die langste sal besig hou- nog jare ebn jare lank- is Juffer se blog: My Klaskamer- idees en gedagtes uit 'n juffrou se pen. Wat 'n vonds! Baba & Kleuter kan nie genoeg lofliedere oor hierdie webskat sing nie, Nie net lei Juffer jou kind op 'n prettige manier stap vir stap deur graad R, 1, 2 en 3 nie, sy bied ook voorskoolse raad en aktiwiteite. Daar is skakels na bruikbare takkaarte en blink idees en jy kan ook inteken as jy personnl;ike aandag nodig het. 'n Nuttige skakel vir kraakvars kleuteraktiwiteite in die blog self is http://juffer.wordpress.com/2009/09/30/inkleurprente-en-aktiwiteite . View More Welcome to DLTK's Crafts for Kids DLTK's Crafts for Kids is your go-to website for fun and educational activities for children! With a wide range of printables, crafts, coloring pages, worksheets, and other resources, DLTK-Kids has something for every young learner. Whether you're looking for a rainy day activity or a way to reinforce important concepts learned in school, DLTK's is the perfect destination. I've done my best to design projects that are simple and easy to follow, so even the littlest hands can create something amazing. View More Looking for a list of easy and fun crafts for kids ? On the hunt for easy and simple craft ideas for kids ? I’ll be sharing our favorite art and craft for kids that are tried and true and so much fun! I love bringing forth easy craft kid ideas and I am happy to include all of our popular kids craft ideas within this page for easy access for you and for me too! 😀 Some of these crafting ideas for kids are seasonal, include a certain theme for the current month, for any occasion that can be made within any day of the year! I am especially fond of crafting and creating with supplies you may already have on hand. View More Easy Crafts for Kids We have hundreds of crafts for kids: paper crafts, recycled craft projects, paper plate craft ideas, animal crafts, back to school, holidays, and tons more. We think all of our crafts are doable for children, but there are definitely some that are easier and quicker than others. Here's over 300 craft projects for kids of all ages! View More Children Channel Children Channel Play Video Share Whole Channel This Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Search videos Search video... Now Playing Finger Family Song + More Nursery Rhymes & Kids Songs | Sing, Laugh & Learn | NuNu Tv 19:01 Play Video Now Playing Tom & Jerry | Tom & Jerry in Full Screen | Classic Cartoon Compilation | WB Kids 21:38 Play Video Now Playing PAW Patrol Rescue Wheels Adventures! #7 w/ Chase 🚗 2 Hours | Nick Jr. 01:59:18 Play Video We have hundreds of easy to make ideas with simple step by step tutorials you and your kids will easily follow. From the simple no-prep crafts that take minutes to make (and are perfect for the classroom) to engaging paper crafts that both you and your kids or students will fall in love with. Our aim is to make crafting fun and frugal – with supplies most households already have at hand (or won’t cost you a fortune). What ages are these crafts suitable for? We have ideas for all age ranges, you will find many easy projects toddlers can make, crafts simple enough for preschoolers to do at home or in preschool, kids in kindergarten will be able to make most of our crafting projects and there is a ton of projects for older kids and kids at heart (yes, you will enjoy quite a few of these too!). View More

Radio SAM Broadcaster Germany is our Main Radio Station in Germany Gone are the days of wondering where to go , or are you going to miss out, Or dare we say, that you missed out on a life changing event Radio SAM Broadcaster Germany Play Video All Videos Broadcasting Channels About this podcast We love radio! Radio SAM Broadcaster Germany makes life a little easier for everyone who feels the same way. We offer you the opportunity to listen to internet radio from all over the world in a particularly uncomplicated manner and free of charge. With the push of a button, you can also record it very easily thanks to Radio SAM Broadcaster Germany. Don't you ever want to miss your favorite internet radio radio again? Radio SAM Broadcaster Germany Radio SAM Broadcaster Germany Radio SAM Broadcaster Germany LISTERN LIVE LISTERN LIVE OUR ADVERTISEING VIDEOS Contact I'm always looking for new and exciting opportunities. Let's connect. a.dezius@gmail.com Say Hello Messager BACK TO TOP

One App, Many Uses Use this paragraph to showcase your app’s key features and how it will enhance the user’s experience with your brand. Just click “Edit Text” or double click here to add your own content. Join over a million happy users! Smart links to promote your music Simple Plans We Create & Share Your Link Easily We create your link with a variety of themes. Personalized Content Easy Streams & Presaves Your audience can stream your release from our Website We support in one click, deeplinking your favourite apps.and links Our Support We Edit & Update We can update your links content at any time to include additional , messages to your audience & more. Increase streams with one link for your song, EP, or album Create a beautiful landing page to promote your music across email, social, and pretty much anywhere across the internet.  FanLinks make it easy to see exactly where your music is available, linking fans to the platform of their choice.  Once fans have clicked on a FanLink, they’ll always automatically be directed to their preferred streaming platform. The result? Reduced drop-off. More listens, more shares Integrated Save Campaigns The easiest way to market an upcoming release. Pre-Saves and Pre-Adds help your fans know where to listen on release day.  One link for the entire release cycle  Worry-free auto scanning of popular streaming services  Increase playlisting and find more listeners and streams Automated Release Notifications Send your fans an email on release day letting them know where they can hear your latest song or album.  Improve awareness and streams on release day  Measure and track engagement on your release emails .  Easily launch targeted advertising campaigns to get your music in front of fans on Facebook and Instagram with Playbooks We believe getting your music noticed should be as simple as clicking a button  Add your Facebook pixel, Google pixel, or Twitter pixel  See how many people are engaging with your music in real-time  Understand where listeners are coming from and which platforms they use to stream Simple with your universal livestream link. I Download the app now! You can easily add your own content to this paragraph. Click on "Edit Text" or double click here to make it your own. Get Updates Get the latest app version, news & updates. Subscribe to our newsletter. Subscribe BACK TO TOP

JUST 4U CAMPING RESORTS View More Camping Germany Germany is a diverse and fascinating holiday destination with modern cities, medieval villages, impressive natural landscapes and fascinating traditions. The rural regions offer the perfect setting for a successful camping holiday. Fairytale castles and palaces, rolling green landscapes, meandering rivers and majestic mountains make Germany a great travel destination for camping holidaymakers. FOOD & BACKING View More The history of South African recipes reflects the country’s complicated past, which has seen colonialism, slavery, apartheid, and liberation movements. South African cuisine is a unique blend of flavors and influences from the country’s diverse cultural heritage, including indigenous African, Dutch, Malay, Indian, and British.Before European colonization, South African food was based on a hunter-gatherer culture, with traditional dishes consisting of game meat, fruits, and vegetables. The arrival of Dutch settlers in the 17th century brought about significant changes in the local cuisine. The Dutch introduced farming and livestock, which led to the introduction of South African recipes such as biltong (dried, cured meat), boerewors (sausage), and potjiekos (stew). WEATHER REPORT GERMANY View More Germany is known for its unpredictable weather, which can change from one moment to the next. Whether you're planning a trip or just to stay informed, our weather reports provide up-to-date information on current conditions, as well as forecasts for the coming days. From sunny skies to thunderstorms, we've got you covered. prepared and stay safe with our reliable weather reports. SPORT NEWS View More Sports have always been a great way to bring people together, and the world becoming more connected than ever, it's no surprise the love of sports is spreading worldwide. From soccer in Europe to basketball in the United States, there's no shortage of exciting sports to follow. Stay up to date with latest news and scores from around the globe with our comprehensive coverage of top sports worldwide. TRAVEL INFORMATION View More Travel Tours Information Worldwide is your ultimate guide to exploring the world. From the bustling streets of New York City to the serene beaches of Bali, we provide you with all the information you need to plan your dream vacation. Our of experts has traveled the globe to bring you the best tips, tricks, and recommendations for your next adventure. Let us help you make unforgettable memories on your next trip. NEWS View More In today's breaking news, we bring you the latest updates from around the world. Stay tuned for the most recent developments on politics, business, entertainment, and. Our team of reporters is working around the clock to bring the most accurate and up-to-date information. TRAFIC REPORTS IN GERMANY View More Looking for up-to-date traffic information in Germany? Our live traffic reports provide real-time updates on road conditions, accidents, and traffic jams to help you plan your route and avoid delays. Stay informed and stay on schedule with our reliable traffic reports. SOUTH AFRICA INFORMATION View More Southernstar-africa is a Homepage and Website based on South Africa,The Life and Culture and Wildlife and as Well of our Lives ,when we were still Liveing in South Africa .This Homepage has Information on South African History,on the Wildlife and the Big Five Game of South Africa. You Can find Pictures ,Links ,News,Recipes,Joke ,South African Ghost Stories and many other things that mite Intrest you,and also for School Projects,Some Pages are not for childrens View. You will find link banner on top of the webpages,at the bottom of the website,and on the left side of the page,you will also see alot of pages are link to other sites ,on the Net,and as well linked to partner and our own websites and Homepages... MUSIC 4 U View More Welcome to Music 4U, where you can enjoy the top music on our website. We offer a wide range of genres to suit every taste, so sit back, relax, and let music take you away. RADIO SAM BROADCASTING STUDIOS View More "Welcome to my YouTube channel! Enjoy the latest music and playlists that I have curated just for you. Don't forget to hit the subscribe button for more." ONLINE MUSIC View More If you just want to listen to your favorite online radio stations, you can of course do so here: You can click through the music genres or topics you want and you will find enough material to stream continuously for days! Here, the many German channels are just a few clicks away from the small regional channel from Italy. Thanks to the radio cloud, you don't even have to turn on your computer or smartphone to record, you don't even have to be at home. The scheduled shows are simply saved in the cloud, where you can easily stream them or download them for later use. Radio programs and tips - radio plays and more That's all well and good, but you don't even know what you want to hear in the wide landscape of internet radio? No wonder, after all, there are many of programs on all sorts of genres. Our editorial team therefore studies the radio program every week and always has a few tips ready to make your choice easier: There is also something for the little listeners on a separate page for children. Do you want to let off steam in the wide world of internet radio? Radio SAM Broadcaster Germany makes this particularly easy for you . MUSIC TUNE-IN View More Radio SAM Broadcaster Germany is our Main Radio Station in Germany Gone are the days of wondering where to go , or are you going to miss out, Or dare we say, that you missed out on a life changing event….No need to go to different websites, only here, one place….all in one. ‘ Radio SAM Broadcsater Germany’strive to work closely with all different artists and their support to give you up to date fixtures as they happen, so you can plan and attend. ‘ ‘ Radio SAM Broadcaster Germany’’ wants to be part of your journey to that life changing event. Even more, follow us on social media and let’s share that special life changing event . Contacts Email:a.dezius@gmail.com Facebook:https://www.facebook.com/Radio-SAM-Broadcaster-Germany-109034484821095/ Twitter:https://twitter.com/broadcaster_sam

German Radio Stations About site For your convenience, we have done our best to compile a few online radio stations in Germany. Now the only thing you need for listening to the radio is our player. You can listen to any free radio online on our site or you could install our convenient app on your smartphone. Improve your website with the ability to play radio stations and show the recent played songs, the charts being played in a country per genre on the radio, the schedule of the radio stations… with almost no effort. Customize the widget based on your design and content. By allowing more users to play your stream using our player, you will get a higher position in Radio SAM Broadcasting Studios popular stations" list. Get your widget now! Here you can find many Internet Radio Streams , for you to Tune-Into and Enjoy your Music...

The Afrikaans Music in South Africa in Music Talk Afrikaans music, a diverse and influential genre within South Africa's rich musical landscape, reflects the unique cultural heritage and modern expressions of the Afrikaans-speaking community. This article delves into the evolution, major artists, and contemporary trends in Afrikaans music, illustrating its role in shaping the nation's auditory identity. Historical Roots and Early Influences Afrikaans music has its roots deeply embedded in the folk traditions of the early Afrikaner settlers, blending European influences with local sounds. The early 20th century saw the rise of "Boeremusiek" or farmer's music, characterized by the use of accordions, concertinas, and guitars. These instruments set the foundation for the distinctive sound that would evolve into a broader musical genre, capturing the everyday life and stories of the Afrikaans-speaking people. Rise of Afrikaans Pop and Rock By the mid-20th century, Afrikaans music began to diversify with the introduction of pop and rock elements, giving rise to a new wave of musicians who modernized the traditional sounds. Bands like Fokofpolisiekar and Van Coke Kartel, as well as singers such as Karen Zoid and Laurika Rauch, have played pivotal roles in popularizing the rock and pop sub-genres within the Afrikaans music scene. Their work has bridged generational gaps and brought contemporary issues to the forefront through their lyrics and melodies. The Folk Revival and Its Modern Twist In recent years, there has been a revival of interest in Afrikaans folk music, with artists like Chris Chameleon and Die Antwoord adding a modern twist to traditional styles. This revival has not only enriched the genre but also expanded its appeal to younger audiences both in South Africa and internationally. These artists blend traditional elements with modern music styles, creating a hybrid that is both fresh and deeply nostalgic. Afrikaans Music on the Global Stage Afrikaans music has increasingly made its mark on the international scene, with artists touring globally and participating in international music festivals. Acts like Die Antwoord have gained a following worldwide, showcasing the versatility and global appeal of Afrikaans music. Their unique blend of electronic music with Afrikaans rap has introduced the language and its culture to a global audience, highlighting the genre's ability to transcend cultural and linguistic barriers. The Future of Afrikaans Music The future of Afrikaans music looks promising as it continues to evolve and adapt to new trends and technologies. The genre's ability to innovate while staying true to its roots is a testament to the creativity and resilience of its artists. As more musicians experiment with blending different musical styles and technologies, Afrikaans music is set to continue its growth and influence, both within South Africa and across the world. Afrikaans music, with its rich heritage and dynamic present, plays a crucial role in the cultural expression of South Africa, offering insights into the community's past, present, and future aspirations. To complement the vibrant exploration of Afrikaans music, here are five standout songs that showcase the best of the genre. These tracks not only capture the essence of Afrikaans musical creativity but also offer a great starting point for those new to the scene: "Lisa se Klavier" by Koos Kombuis - Often hailed as one of the most beautiful Afrikaans songs, this track is a poignant ballad that showcases Koos Kombuis' deep lyrical abilities and emotive performance. "Toe Vind Ek Jou" by Francois van Coke ft. Karen Zoid - This powerful duet between two of Afrikaans rock's most iconic voices is both stirring and melodically rich, making it a modern classic in the Afrikaans music scene. "De La Rey" by Bok van Blerk - A contemporary anthem that became hugely popular for its rousing melody and historical references, this song is a staple at many Afrikaans gatherings and continues to resonate with listeners. "Liewe Maatjies" by Die Antwoord - Reflecting the unique style of Die Antwoord, this track mixes rap with electronic music, offering a distinctive sound that has brought international attention to Afrikaans music. "Blou" by Laurika Rauch - A classic by one of Afrikaans music's most enduring artists, this song's melodic flow and nostalgic lyrics offer a tender look at the themes of love and memory. These songs each provide a different flavor of Afrikaans music, reflecting the diversity and depth of the genre while celebrating its South African roots. The Afrikaans Music in South Africa in Music Talk Afrikaans music, a diverse and influential genre within South Africa's rich musical landscape, reflects the unique cultural heritage and modern expressions of the Afrikaans-speaking community. This article delves into the evolution, major artists, and contemporary trends in Afrikaans music, illustrating its role in shaping the nation's auditory identity. Historical Roots and Early Influences Afrikaans music has its roots deeply embedded in the folk traditions of the early Afrikaner settlers, blending European influences with local sounds. The early 20th century saw the rise of "Boeremusiek" or farmer's music, characterized by the use of accordions, concertinas, and guitars. These instruments set the foundation for the distinctive sound that would evolve into a broader musical genre, capturing the everyday life and stories of the Afrikaans-speaking people. Rise of Afrikaans Pop and Rock By the mid-20th century, Afrikaans music began to diversify with the introduction of pop and rock elements, giving rise to a new wave of musicians who modernized the traditional sounds. Bands like Fokofpolisiekar and Van Coke Kartel, as well as singers such as Karen Zoid and Laurika Rauch, have played pivotal roles in popularizing the rock and pop sub-genres within the Afrikaans music scene. Their work has bridged generational gaps and brought contemporary issues to the forefront through their lyrics and melodies. The Folk Revival and Its Modern Twist In recent years, there has been a revival of interest in Afrikaans folk music, with artists like Chris Chameleon and Die Antwoord adding a modern twist to traditional styles. This revival has not only enriched the genre but also expanded its appeal to younger audiences both in South Africa and internationally. These artists blend traditional elements with modern music styles, creating a hybrid that is both fresh and deeply nostalgic. Afrikaans Music on the Global Stage Afrikaans music has increasingly made its mark on the international scene, with artists touring globally and participating in international music festivals. Acts like Die Antwoord have gained a following worldwide, showcasing the versatility and global appeal of Afrikaans music. Their unique blend of electronic music with Afrikaans rap has introduced the language and its culture to a global audience, highlighting the genre's ability to transcend cultural and linguistic barriers. The Future of Afrikaans Music The future of Afrikaans music looks promising as it continues to evolve and adapt to new trends and technologies. The genre's ability to innovate while staying true to its roots is a testament to the creativity and resilience of its artists. As more musicians experiment with blending different musical styles and technologies, Afrikaans music is set to continue its growth and influence, both within South Africa and across the world. Afrikaans music, with its rich heritage and dynamic present, plays a crucial role in the cultural expression of South Africa, offering insights into the community's past, present, and future aspirations. To complement the vibrant exploration of Afrikaans music, here are five standout songs that showcase the best of the genre. These tracks not only capture the essence of Afrikaans musical creativity but also offer a great starting point for those new to the scene: "Lisa se Klavier" by Koos Kombuis - Often hailed as one of the most beautiful Afrikaans songs, this track is a poignant ballad that showcases Koos Kombuis' deep lyrical abilities and emotive performance. "Toe Vind Ek Jou" by Francois van Coke ft. Karen Zoid - This powerful duet between two of Afrikaans rock's most iconic voices is both stirring and melodically rich, making it a modern classic in the Afrikaans music scene. "De La Rey" by Bok van Blerk - A contemporary anthem that became hugely popular for its rousing melody and historical references, this song is a staple at many Afrikaans gatherings and continues to resonate with listeners. "Liewe Maatjies" by Die Antwoord - Reflecting the unique style of Die Antwoord, this track mixes rap with electronic music, offering a distinctive sound that has brought international attention to Afrikaans music. "Blou" by Laurika Rauch - A classic by one of Afrikaans music's most enduring artists, this song's melodic flow and nostalgic lyrics offer a tender look at the themes of love and memory. These songs each provide a different flavor of Afrikaans music, reflecting the diversity and depth of the genre while celebrating its South African roots. AFRIKAANS SINGERS THE HISTORY AND HERITAGE OF POPULAR AFRIKAANS MUSIC A short history of popular Afrikaans music If one wants to understand the heritage of popular Afrikaans music, it has to be viewed against the complex sociopolitical backdrop of the development of the language itself. Briefly explained, Afrikaans emerged as a result of the interaction at the Cape between European (mostly Dutch) settlers, the indigenous Khoikhoi and imported Malay slaves, and their descendants over the last three and a half centuries (Roberge 1993). By the mid-nineteenth century, it had become quite distinct from Dutch and was spoken by people diverse in terms of race, class, geography, reli- gion, culture and identity. Developing in a colonial context, racial hierarchies were established and divisions upheld. From a popular music perspective, this diverse cultural heritage saw music sung in Afrikaans and played by musicians from across the racial spectrum (Martin 2012). Dutch and German (and to a lesser extent English) liturgical music and secular songs formed a founda- tion for songs sung in the new language, while imported minstrel songs from America brought to the colony in the latter part of the nineteenth century added stylistic flavour (Van der Merwe 2015). Also influential were the local indigenous music traditions of the Khoikhoi, as well as those imported from the East by slaves. As a result, the popular music that developed from these sources represented clearly heterogeneous elements. This diversity also forms the basis of fault lines and tensions regarding its heritage. Popular Afrikaans music is, perhaps, with due consideration given to the dangers of what has become known as ‘South African exceptionalism’, unique in global popular music as the actual language itself (and therefore by extension, its music) developed parallel to global record-ing technologies. The first Afrikaans newspaper was founded in 1875, just 2 years prior to the invention of the phonograph in 1877. At the turn of the twentieth century, when gramophone records were becoming mass-produced, the Anglo-Boer War (1899–1902) was raging between Britain and the two independent Boer republics, the Zuid-Afrikaanse Republiek (commonly known as the Transvaal Republic) and the Republic of the Free State. These two republics were the manifestations of white Afrikaner nationhood, based on a specific linguistic and racial identity. Because of the interest the conflict attracted in Europe at the time, a few sympathetic European singers recorded the national anthems of the two republics in Brussels and The Hague during the war. These were the earliest Africana (sung in Dutch, but relating to Afrikaans) records. The first recordings in actual Afrikaans date to 1906 and were made in London Afrikaans Singer A Andriëtte Anke Fatheya Ahmed B Bok van Blerk Cristina Boshoff Piet Botha Bles Bridges Liza Brönner C Mimi Coertse posing in front of a sculpture of herself (Johannesburg, ca. 1965) Arno Carstens Chris Chameleon Mimi Coertse D Kurt Darren Izak Davel Al Debbo Coenie de Villiers Casper de Vries Ray Dylan E Erica Eloff Jurie Els Elvis Blue F Joanna Field Ada Forrest Afrikaans Singer G Anton Goosen H Sonja Herholdt Steve Hofmeyr J Theuns Jordaan Hennie Jacobs Fanie de Jager Lance James Watkin Tudor Jones Arno Jordaan Theuns Jordaan K Ada Cherry Kearton (married name of Ada Forrest) Johannes Kerkorrel Koos Kombuis Gé Korsten Karin Kortje David Kramer L Riku Lätti Patricia Lewis Nicholis Louw Stefan Ludik Laura Lynn Helmut Lotti N Nádine Nádine in the Netherlands in 2009 Nataniël Riana Nel Nianell Afrikaans Singer O Overtone are an a cappella group from Johannesburg . Overtone P Jack Parow Brendan Peyper Juanita du Plessis Koos du Plessis Gert Potgieter R Laurika Rauch S Leon Schuster Snotkop Etienne Steyn Amanda Strydom Valiant Swart T Shaun Tait Adam Tas V Bobby van Jaarsveld Bobby van Jaarsveld in 2009 Piet van Wyk de Vries Yolandi Visser Amor Vittone Francois Van Coke ; also the lead singer of punk rock bands Van Coke Kartel and Fokofpolisiekar W Willim Welsyn Robbie Wessels Heinz Winckler Dana Winner Z Karen Zoid performing on stage in 2009 Karen Zoid Nuutste Afrikaanse Musiek Jan 2023 VIEW THE VIDEO Lekker Afrikaanse Musiek Dec 2022 VIEW THE VIDEO Bernice West - Hy Jy Jy (Official Music Video) VIEW THE VIDEO Nicola Dreyer - Jy Weet Dit Is Jy VIEW THE VIDEO Riaan Benadé - Die Lot (Lirieke Video) VIEW THE VIDEO Ricus Nel - Trek Uit Jou Baadjie (Amptelike Musiekvideo) VIEW THE VIDEO Elandre - Asseblief (DJ Johnny Remix) VIEW THE VIDEO Jan Rhaap - Plaaskind VIEW THE VIDEO Logan Pietersen - Afrikaner Boervrou VIEW THE VIDEO ARMAND HOFMEYR - Case Trekker VIEW THE VIDEO Armand Steenkamp - Johanna Van Saldanha VIEW THE VIDEO Willem Botha - 2010 (Amptelike Musiekvideo) VIEW THE VIDEO Popular Afrikaans music (Van der Merwe 2015). More recordings followed, almost all of them made by white Afrikaans singers who were studying in London on scholarships, something which was not available to Afrikaans speakers of other races at the time. The first advertisements for Afrikaans popular music records started to appear in 1910, a few months after the Union of South Africa, which was a merger of the Cape and Natal Colonies with the defeated Boer republics. These early records were advertised in such a way that it played on the tension between Afrikaans and English speakers and appealed to a sense of Afrikaner nationhood. What this meant, ultimately, is that the very first recordings of popular Afrikaans music had close links to a group of white Afrikaans speakers and their aspirations of nationhood. Coloured and black Afrikaans speakers were excluded from these recordings, despite the fact that they had developed vibrant and unique music styles. The first local recordings were made in 1912 by George Walter Dilnutt on his mobile recording unit. More mobile studios arrived in the 1920s, but it was really with the start of the 1930s that the local recording industry took off, partly thanks to hugely successful working-class boeremusiek (literally translated ‘farmer’s music’) albums, of which those by singer David de Lange were the most popular. Such records caused tension among class-aware nationalists who, from the 1930s onwards, were intent on co-opting Afrikaner culture as a vehicle for white Afrikaner nationalism. Although these albums were recorded by white musicians, traditional boeremusiek represented a complex mixture of the urban and the rural, and of race and class. Developing during the nineteenth century and the early parts of the twentieth, it was regularly performed by coloured labourers for white farm- ers at their dance parties, just like other types of labour on the farms were designated to them. Ideologues from nationalist cultural organisations laboured to codify the language and cul- ture to embody a white Afrikaans-speaking volk (nation). Part of this project was the publication of a Volksangbundel (Folk songbook) by the Federasie van Afrikaanse Kultuurvereniginge (Federation of Afrikaans Cultural Organisations, or FAK for short) in 1937 with 314 sanctioned Afrikaans songs, ranging from national anthems to picnic songs. Popular Afrikaans music that did not meet the cultural requirements, like that of David de Lange, were deliberately excluded. The South African Broadcasting Corporation (SABC) was established in 1936, and from 1937 had a dedicated Afrikaans channel that transformed popular Afrikaans music. The ushering in of the apartheid era in 1948 heralded fleeting changes for South Africa. Its segregationist laws impacted on music performance in various ways. The destruction of mix- race urban centres like Sophiatown in Johannesburg in the mid-1950s also affected the perfor- mance of vibrant music styles like marabi jazz and swing by local black musicians. However, during the 1950s, kwela music (pennywhistle jive music that emerged among black musicians in and around Johannesburg) became a very popular genre for white recording artists (Allen 2008). Many Afrikaans musicians recorded kwela; the most prominent was the accordion virtuoso, Nico Carstens, who managed to sell in excess of a million LPs between 1954 and 1959. This coincided with the introduction of rock music to South Africa in 1956. Rock had a delayed influence on Afrikaans music. Although (possibly) the earliest Afrikaans song, ‘Gogga’ (an overt reference to The Beatles) dates to 1964, it was only from the late 1970s and early 1980s that Afrikaans music artists started playing rock music in Afrikaans. While abroad rock music had links with the social movements of the 1960s, it had limited impact among South African, including Afrikaans, youth. The 1960s represented the height of apartheid and white Afrikaners mostly accommodated its policies (Van der Merwe 2014). Furthermore, cen- sorship was strict: television was banned until 1976, and generally Afrikaans music remained superficial and heavily influenced by European Schlager music. It was only towards the end of the 1970s and into the 1980s that Afrikaans music artists started to question the political status quo. This happened at a time of growing wider discontent with the system of apartheid among Schalk van der Merwe white Afrikaans speakers. The 1980s were tumultuous years as South Africa erupted in wide- spread violence in the townships, forcing State President P.W. Botha to call a national state of emergency in 1985. White men also started campaigning against conscription, while mostly English bands performed under the banner of the End Conscription Campaign (ECC). Also around this time, early hip hop groups started to form in and around the coloured neighbour- hoods of Cape Town, although they remained largely underground. By the end of the decade, alternative Afrikaans rock musicians became staunchly critical of not just the political system but also the conservative white middle class in which they grew up. In the post-apartheid context, the Afrikaans culture industry has done well. After the state support it received under apartheid was suspended in 1994, it mostly withdrew into corporate hands (Steyn 2016). Dedicated Afrikaans television channels, radio stations, print media, online communities, brand identities and so forth have grown significantly, while Afrikaans arts festi- vals were established to ensure a vitality in the Afrikaans arts. The Afrikaans music industry has also boomed. Since 2000, a number of artists have passed the 1 million mark in sales in what is a small market. Since 2004, five Afrikaans artists have won the South African Music Award (SAMA) for best-selling local album, while in the 2012/2013 season the five top-selling local albums (of all genres, regardless of language) were Afrikaans (Van der Merwe 2017). However, the top rung of popular Afrikaans artists represent only a specific segment of the Afrikaans- speaking community. A long history of separation has made a lasting impact on commercial Afrikaans music. The mainstream remains overwhelmingly white and caters specifically for its own audience (some, like singer Steve Hofmeyr, have even come to embody right-wing Afrikaner political aspirations), despite the fact that they constitute a minority of first-language Afrikaans speakers. Although one can certainly argue that the Afrikaans recording business is – and always has been – driven by a profit model (aimed mostly at white Afrikaans speakers who have more spending power), it has at times caused friction and drawn accusations of exclusion. As a result, popular Afrikaans music has been included in political debates around linguistic identity, authenticity and the very future of Afrikaans itself. A brief tour of popular Afrikaans music studies The field of popular Afrikaans music studies is relatively young when compared to more estab- lished counterparts in Europe and the USA, or even wider popular music studies in South Africa itself. When the International Association for the Study of Popular Music (IASPM) was founded at the first popular music studies conference in Amsterdam in 1981, no academic study had yet been done on popular Afrikaans music. In fact, it was only towards the end of the 1990s, but especially from the early 2000s onwards, that academic work – emanating from a variety of disciplines – on popular Afrikaans music started to appear. One of the first was by Ingrid Byerly (1998), who identified early forms of resistance in popular Afrikaans music and brought it into the wider discussion on late-apartheid South African music. However, to date, very few articles on popular Afrikaans music have appeared in leading journals such as Popular Music (oneexception is Froneman 2014) or the Journal of Popular Music, or in major international collec-tions of work. There is also no local branch of IASPM in South Africa, although SASRIM (the South African Society for Research in Music), which is primarily a society for musicologists, has hosted conferences where papers on popular Afrikaans music have been presented. The newly formed Africa Open Institute for Music Research and Innovation at Stellenbosch University is partly dedicated to the advancement of popular music studies, but popular Afrikaans music stud- ies as a ‘field’ is yet to be formally institutionalised at a South African university. There are, of course, historical factors that have delayed and frustrated its development. Popular Afrikaans music The political context of the apartheid era was instrumental in dividing the local attentions of musicologists between Western classical music (as many Afrikaans conservatoires tended to do, thereby also subtly accommodating the dominant narrative of white cultural supremacy) and ethnomusicology involved with local black music that represented various forms of resistance, mostly undertaken by liberal scholars in opposition to apartheid (Lucia 2005, p. xxxv). Thus, while popular music studies were gaining legitimacy abroad and among liberal local scholars (for example Anderson 1981, Coplan 1985), popular Afrikaans music was doubly excluded: from within the conservative Afrikaans scholarly community which did not regard it as a legitimate field (reflecting the global stance before the 1980s) to other scholars who regarded it as part of the culture of the oppressor. There was some merit in this assumption, since white Afrikaners as a group had the most invested in apartheid, and popular Afrikaans music often complied with, and reflected, its cultural requirements. There were, however, instances towards the end of apartheid when Afrikaans music artists resisted these requirements, and these were the first to draw academic attention, mostly from outside the field of musicology. The most prominent example of this was the anti-establishment Afrikaans rock music of the 1989 Voëlvry (literally translated as ‘free as a bird’, or even ‘free penis’) tour. The tour consisted of three acts, head- lined by Johannes Kerkorrel (Johnny Church Organ) and the Gereformeerde (‘Reformed’) Blues Band, with Bernoldus Niemand (Bernard Nobody, the working-class alter ego of native English-speaking artist James Phillips) and poet/songwriter André Letoit, who later changed his name to Koos Kombuis (Jacob Kitchen). Voëlvry is commonly regarded as the height of political Afrikaans music against a con- servative white middle-class Afrikaner society and apartheid politics. Journalist and writer Pat Hopkins (2006) published an authoritative book on Voëlvry, accompanied by a DVD produced by Shifty Records (a small, progressive record company that recorded, among other things, political music during the 1980s) boss Lloyd Ross. Although perhaps not strictly speaking an academic investigation, the book is more than just a documentation of the tour, and Hopkins successfully interrogated the way in which Voëlvry subverted the deep historical relationship between Afrikaner nationalism and Afrikaans music. Koos Kombuis’s Sex, drugs en boeremusiek (2000) and Short drive to freedom (2009), on the other hand, offer autobiographical accounts of his experiences as part of Voëlvry. Apart from these books, there is a substantial body of academic articles on Voëlvry. Jury (1996), Bosman (2004), Grundlingh (2004), Laubscher (2005), Viljoen (2005), Baines (2008) and Suriano and Lewis (2015) have all focused on either the movement directly, or the artists associated with it. Not unlike popular music studies elsewhere, protest singers, poets (through literature studies of their lyrics) and music movements are often explored themes and Voëlvry embodied all of these. Apart from Voëlvry (and distinctly different in what it represented), the hit song ‘De la Rey’ has featured prominently in the literature on popular Afrikaans music. It was released in 2006 by singer Bok (‘Buck’) van Blerk and the album (with the same name) became the fastest sell- ing Afrikaans debut album in history. The song was a reference to Koos De la Rey, a revered Boer general in the Anglo-Boer War (1899–1902), and the stunning effect of this invocation in post-apartheid South Africa drew much scholarly attention (Du Pisani 2001, Bezuidenhout 2007, Lotter 2007, Baines 2009, Lambrechts and Visagie 2009, van der Waal and Robins 2011, Pretorius 2013). Furthermore, apart from a flood of local newspaper articles, it also featured in UK’s The Guardian (McGreal 2007) and The New York Times (Wines 2007). Although not groundbreaking in terms of musical style (a slow paced, folky ballad with a 6/8 time signature that is easy to sing along to) ‘De la Rey’ struck a nerve which is of significant importance for the study of post-apartheid Afrikaner identities. It is a controversial song. Some interpret it as a call to arms (McGreal 2007), while others have questioned its play on Afrikaner nostalgia: Schalk van der Merwe (Bezuidenhout 2007, Baines 2009, van der Waal and Robins 2011). The song’s popularity hinted at a surprisingly high degree of social cohesion among white Afrikaans speakers in the absence of political party platforms. ‘De la Rey’ provided an opportunity for many to express solidarity with an Afrikaner identity that was rooted in victimhood (the loss of independence in the Anglo-Boer War and the horrors of British concentration camps), instead of relating to the days of being in power (during apartheid). Such nostalgia encodes all sorts of meanings, from rightwing Afrikaners trying to hijack the song as an anthem of white power, to representing a retreat from the wider South African society in which it is felt that Afrikaans as a language and a culture is under threat. Expanding somewhat on this topic is Senekal and Van den Berg’s (2010) lyrical analyses of 62 post-apartheid Afrikaans songs released between 1998 and 2009. The most common themes they identified had to do with crime, service delivery, appeals to stand together and more com- plex issues surrounding (assumedly white) Afrikaner identity. Under the latter, they included issues surrounding the problematic place of the Afrikaner in South Africa, the new generation positioned between the past and the future, the changing landscape (including Afrikaans place names), the maltreatment of the past and emigration as an alternative. These themes suggest that a number of Afrikaans artists experience a sense of friction within the wider, culturally plural- istic South African society. Stylistically, many of the younger generation of Afrikaans protest singers seem to have continued on a trajectory established by Voëlvry, but since the context has changed so dramatically, so has its meaning. The broader South African public is sensitive to Afrikaner calls ‘to stand together’ or complaints about crime and the government’s ineffi- ciency, and often, whether legitimately or not, see them as the cultural tropes of right-leaning Afrikaners. Deidre Pretorius (2013) has made an important study of stylised representations of masculinity in Huisgenoot Tempo magazine (the premier Afrikaans pop magazine). Here, she identified seven stereotypes: boer, metroman, sportsman, retroman, student, worker and rebel, all vari- ations of white male identities. Another more recent phenomenon that has attracted much academic interest is Afrikaans music’s biggest export, the zef (‘common’ or working class) rap group, Die Antwoord (‘The Answer’). Haupt (2012a) has looked at both Bok van Blerk and Die Antwoord (specifically their use of blackface) while exploring important issues of race and agency in post-apartheid music, media and film. Heavily influenced by coloured and black gangster culture even though they are white, Die Antwoord’s appropriation of the cultural practices of the ‘other’ was discussed in a special roundtable edition in the Journal of South African and American Studies, or Safundi (Haupt 2012b, Kreuger 2012, O’Toole 2012, Van der Watt 2012). Other articles on Die Antwoord have also appeared elsewhere that focus on issues of authenticity, whiteness, cultural appropriation and the like (Marx and Milton 2011, Scott 2012, Haupt 2013, Smit 2015). Haupt is a leading author on South African hip hop and has focused especially on its development around col- oured neighbourhoods on the outskirts of Cape Town from the 1980s onwards, and how it has encoded issues of power, authenticity, race, identity and language. Often rapping in vernacular Afrikaans, these artists portray an alternative type of popular Afrikaans music that stands outside the standard space where mainstream white popular Afrikaans music, with its exclusive and insu- lar nature, dominates. They also represent deep-rooted fault lines among the various first language Afrikaans-speaking communities. Haupt (2006) has also addressed the motives behind Afrikaans arts festivals that invite coloured Afrikaans groups to perform there. He questions whether or not these are acts of buying legitimacy, and furthermore, if coloured artists are only acceptable (and thereby given access) if they perform music that caters for the tastes of white Afrikaans speakers. Whereas the literature on Voëlvry, ‘De la Rey’ and Die Antwoord is very specifically focused, there has been a number of works that have employed a broader scope. The widest Popular Afrikaans music is On Record: Popular Afrikaans Music and Society, 1900–2017 (Van der Merwe 2017), which provides a historical take on salient themes in the entire history of recorded Afrikaans music to the present, starting with the first Africana and Afrikaans records. Rob Allingham, archivist of the Gallo Record Company (an important South African label that has released a trove of local music since 1930, including very popular early boeremusiek records), was the first to provide a summary of the history of popular Afrikaans music, in the African, European and Middle Eastern section in World Music: The Rough Guide (Allingham 1999). Although a potted version, he did manage to highlight many important historical themes such as the influence of imported American music on the ‘concertina-led brand of dance-music’ of the 1930s (a reference to boeremusiek), the ubiquitous background of Afrikaner nationalism, the post-war imitation of middle-of-the-road European light music styles, the emergence of alternative Afrikaans music during the 1980s and 1990s, and the link between music revivalists and right-wing politics after 1994 (Allingham 1999, p. 651). Denis-Constant Martin’s Sounding the Cape (2012) is a notable work that provides a long his- torical account of the social complexities that played on the development of music traditions in and around Cape Town and beyond. It pays proper attention to the enormous cultural contri- butions of coloured and black musicians across a variety of genres and also highlights the role of racial segregation in breaking musical relations that have historically transcended such bounda- ries. Although it is not specifically focused on Afrikaans music, a large part of the study includes Afrikaans music elements that have emerged in this setting. Importantly, the book bridges the lasting insularity that persists in the music industry to give a comprehensive and balanced view of the music of the Cape. Another important study is Froneman’s ethnomusicological work on boeremusiek (2012), which is of special significance for the period from the 1930s to the 1950s, when it was one of the most popular genres of recorded Afrikaans music. The literature on boer- emusiek actually has a longer history. Between the 1940s and the 1960s, nationalist intellectuals wrote numerous papers and articles and made regular speeches on whether or not boeremusiek resembled an authentic Afrikaans folk tradition. They were especially interested in the cultural value of the genre and how to preserve it against foreign influences like jazz. These were, how- ever, written from a nationalist angle and subscribed to the dominant narrative of racial segrega- tion and hierarchies of apartheid. Froneman succeeds in portraying the position of boeremusiek as a juncture between race, class, religion, morality, politics, power and identity, and is authorita- tive. Klopper’s (2009) dissertation on the Afrikaans punk rock band, Fokofpolisiekar (‘Fuck off police car’), is authoritative and provides a lyrical analysis of this hugely influential group’s work. Klopper (2011) also published a biography on the band for a wider, less academic, readership. There are also other popular works, like Danie Pretorius’ Musieksterre van gister en vandag: Lewensketse En Foto’s Van Meer as 100 Musieksterre (‘Music stars of yesterday and today: life sketches and photos of more than 100 music stars’; Pretorius 1998) and Ilza Roggeband’s 50 Stemme: Die grootste name in Afrikaanse musiek (‘50 voices: the biggest names in Afrikaans music’; Roggeband 2009) that provide biographic and discographic information about prominent Afrikaans singers. Another example is the 2003 documentary, Kom laat ons sing (‘Come let us sing’), presented and co-produced by singer Laurika Rauch (Rauch et al. 2003). Here, the main focus was on Musiek-en-Liriek (‘Music and Lyric’), a television programme aired in 1979 that heralded a new phase in Afrikaans music. Although more folk than overtly political, some sub- tle resistance started to emerge in the music. The documentary also provided a wider historical perspective on popular Afrikaans music, including the manner in which apartheid censorship prohibited a lot of music innovation and how the post-apartheid era represents a time of libera- tion. The South African music industry during apartheid was indeed subject to strict censorship, mostly written about by Merrett (1994) and Drewett and Cloonan (2006). This had a direct Schalk van der Merwe impact on the production of popular music, including popular Afrikaans music. The SABC used extremely subjective measures to determine which songs could be broadcast or not. As political tension increased during the 1980s, so did the power and intensity of censorship. It is clear that, although a relatively new field, the literature on popular Afrikaans music stems from numerous disciplines and is growing at a rapid pace. There is, however, still much room and scope for studies on, for example, Afrikaans music videos, postmodernity in popular Afrikaans music, issues of gender, its role in mass Afrikaner culture and the relationship between music and technology. In terms of archives, most South African university libraries have music collections that range from ethnic to Western art music, and in some cases also popular music. However, archival material of specifically popular Afrikaans music is more limited. An impor- tant archive is the Documentation Centre for Music (DOMUS) at Stellenbosch University, which houses the personal archives of influential Afrikaans artists like Anton Goosen and Nico Carstens. DOMUS also houses the Hidden Years Music Archive Project (HYMAP), which is a vast collection of material (live recordings, albums, ephemera) documenting the popular music scene in South Africa between 1960 and 2005, and is currently being sorted. It is one of the best sources of information on popular music performance in South Africa during apartheid. The radio archives of the SABC in Johannesburg hold numerous transcription records (many in Afrikaans), censored albums (of which offending tracks were scratched out) and the like, and although it is not all sorted, it remains an important source. The Gallo Record company has an archive in Johannesburg, but it is currently (as far as can be ascertained) not curated and difficult to access. One of the more useful online sources is the South African Audio Archive (2017), which features audio clips and visuals donated by private collectors. The oldest Afrikaans recording on the site dates to 1912. Another useful online resource is the South African Rock Encyclopaedia (2017), which focuses on local rock in both English and Afrikaans. A welcome new venture is the Music van de Caab Museum on the Solms-Delta wine farm in Franschhoek which aims at showcasing the music heritage of the Cape, which is in line with the farm’s broader policy of empowering farm workers and celebrating their cultural roots. This is important in a wider context of not just preserving, but re-discovering, aspects of coloured Afrikaans music heritage that fall outside the popular mainstream. If one looks at more modern manifestations of such linguistic and racial identities in Afrikaans music (mostly hip hop), artists like Jitsvinger (who performs in an Afrikaans dialect called Afrikaaps), Churchill Naudé and Hemelbesem are notable names. The history of popular Afrikaans music is a rich one and part of a tumultuous and complex past. It is an especially relevant topic when it comes to determining the contours, or looking for indications of, social cohesion (and tension) among its various speak BACK TO TOP

View More SINGERS GERMAN MUSIC Germany claims some of the most renowned composers, singers, producers and performers of the world. Germany is the largest music market in Europe, and third largest in the world. German classical music is one of the most performed in the world; German composers include some of the most accomplished and popular in history, among them Georg Friedrich Händel , Johann Sebastian Bach , Ludwig van Beethoven , Carl Maria von Weber , Felix Mendelssohn , Robert Schumann , Richard Wagner , Johannes Brahms and Richard Strauss , many of whom were among the composers who created the field of German opera . The most popular living German composer is probably film score composer Hans Zimmer . Explore Explore Explore Explore German Hits German Hits Play Video Share Whole Channel This Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Search videos Search video... Now Playing Marina Marx - Steh auf und leb 03:30 Play Video Now Playing DISCO SCHLAGER 2024 💖 Hit Mix 01:26:45 Play Video Now Playing Pop Hits songs of 2000s - Shakira, Britney Spears, Avril Lavigne, Rihanna, Katy Perry, Beyonce 24:43:12 Play Video German popular music of the 20th and 21st century includes the movements of Neue Deutsche Welle (Nena , Hubert Kah , Alphaville ), disco (Boney M. , Modern Talking , Dschinghis Khan , Milli Vanilli , Bad Boys Blue ), metal /rock (Rammstein , Scorpions , Accept , Helloween ), punk (Die Ärzte , Böhse Onkelz , Nina Hagen , Die Toten Hosen ), pop rock (Sandra , Enigma , Michael Cretu , Herbert Grönemeyer ) and indie (Tocotronic ). Famous female singers were Marlene Dietrich and Hildegard Knef . German electronic music gained global influence, with Kraftwerk and Tangerine Dream being pioneer groups in this genre. The electro and techno scene is internationally popular, namely due to the DJs Paul van Dyk , Scooter and Cascada . Germany hosts many large rock music festivals . The Rock am Ring and Rock im Park festival is among the largest in the world. Since around 1990, the new-old German capital Berlin has developed a diverse music and entertainment industry. Minnesingers and Meistersingers (Man and Woman) The beginning of what is now considered German music could be traced back to the 12th-century compositions of mystic abbess Hildegard of Bingen , who wrote a variety of hymns and other kinds of Christian music . After Latin-language religious music had dominated for centuries, in the 12th century to the 14th centuries, Minnesinger (love poets), singing in German, spread across Germany. Minnesinger were aristocrats, traveling from court to court, who had become musicians, and their work left behind a vast body of literature, Minnelieder. The following two centuries saw the Minnesinger replaced by middle-class Meistersinger , who were often master craftsmen in their main profession, whose music was much more formalized and rule-based than that of the Minnesinger. Minnesinger and Meistersinger could be considered parallels of French troubadours and trouvère . Among the Minnesinger, Hermann, a monk from Salzburg , deserves special note. He incorporated folk styles from the Alpine regions in his compositions. He made some primitive forays into polyphony as well. Walther von der Vogelweide and Reinmar von Hagenau are probably the most famous minnesingers from this period. Classical music of Germany Germans have played a leading role in the development of classical music . Many of the best classical musicians such as Bach, Händel, Beethoven, Schumann, Brahms, Wagner, Mahler, or Schoenberg (a lineage labeled the "German Stem" by Igor Stravinsky ) were German. At the beginning of the 15th century, German classical music was revolutionized by Oswald von Wolkenstein , who travelled across Europe learning about classical traditions, spending time in countries like France and Italy. He brought back some techniques and styles to his homeland, and within a hundred years, Germany had begun producing composers renowned across the continent. Among the first of these composers was the organist Conrad Paumann . The largest summer festival for classical music in Germany is the Schleswig-Holstein Musik Festival . Chorale Main article: Chorale Beginning in the 16th century, polyphony , or the intertwining of multiple melodies , arrived in Germany. Protestant chorales predominated; in contrast to Catholic music, chorale was vibrant and energetic. Composers included Dieterich Buxtehude , Heinrich Schütz and Martin Luther , leader of the Protestant Reformation . Luther happened to accompany his sung hymns with a lute, later recreated as the waldzither that became a national instrument of Germany in the 20th century. Opera Main article: German opera W. A. Mozart , 1777 Wolfgang Amadeus Mozart 's Die Zauberflöte (1791) is usually said to be the beginning of German opera . An earlier starting date for German opera, however, could be Heinrich Schütz 's Dafne from 1627. Schütz is said to be the first great German composer before Johann Sebastian Bach , and was a major figure in 17th-century music. In the 19th century, two figures were paramount in German opera: Carl Maria von Weber and Richard Wagner . Wagner introduced devices like the Leitmotiv , a musical theme which recurs for important characters or ideas. Wagner (and Weber) based his operas of German history and folklore, most importantly including the Ring of the Nibelung (1874). Into the 20th century, opera composers included Richard Strauss (Der Rosenkavalier ) and Engelbert Humperdinck , who wrote operas meant for young audiences. Across the border in Austria, Arnold Schoenberg innovated a form of twelve-tone music that used rhythm and dissonance instead of traditional melodies and harmonies, while Kurt Weill and Bertolt Brecht collaborated on some of the great works of German theater, including Rise and Fall of the City of Mahagonny and The Three-Penny Opera . Following the war, German composers like Karlheinz Stockhausen and Hans Werner Henze began experimenting electronic sounds in classical music. Germany is also very well known for its many subsidised opera houses , such as Semperoper , Munich State Theatre and the Bayreuth Festspielhaus . Baroque period Main article: Baroque music J. S. Bach Baroque music, which was the first music to use tonality in the modern sense, is also known for its ornamentation and artistic use of counterpoint . It originated in Northern Italy at the end of the 16th century, and the style migrated quickly to Germany, which was one of the most active centers of early Baroque music. Early German Baroque composers included Heinrich Schütz , Michael Praetorius , Johann Hermann Schein , and Samuel Scheidt . The culmination of the Baroque era was undoubtedly in the works of Johann Sebastian Bach and Georg Friedrich Händel in the first half of the 18th century. Bach established German styles through his skill in counterpoint , harmonic and motivic organisation, and adapted rhythms, forms, and textures from Italy and France. Bach wrote numerous works, including preludes , cantatas , fugues , concertos for harpsichord, violin and wind, orchestral suites, the Brandenburg Concertos , St Matthew Passion , St John Passion and the Christmas Oratorio . Händel was a cosmopolitan composer that wrote music for virtually every genre of his time. His most famous works include the orchestral suites Water Music , Music for the Royal Fireworks and the oratorio Messiah . Another important composer was Georg Philipp Telemann , one of the most prolific musicians in history. Classical era By the middle of the 18th century, the cities of Vienna , Dresden , Berlin and Mannheim had become the center for orchestral music. The Esterházy princes of Vienna, for example, were the patrons of Joseph Haydn , an Austrian who invented the classic format of the string quartet , symphony and sonata . Later that century, Vienna's Wolfgang Amadeus Mozart emerged, mixing German and Italian traditions into his own style. Mozart was a prolific and influential composer who composed over 600 works , many acknowledged as pinnacles of symphonic , concertante , chamber , operatic , and choral music. He is among the most popular of classical composers, and his influence on subsequent Western art music is profound; Ludwig van Beethoven composed his own early works in the shadow of Mozart. Romantic era Main articles: Romantic music and lieder Robert Schumann Carl Maria von Weber Johannes Brahms Richard Wagner Franz Schubert The following century saw two major German composers come to fame early—Ludwig van Beethoven and Franz Schubert . Beethoven, a student of Haydn's in Vienna, used unusually daring harmonies and rhythm and composed numerous pieces for piano , violin , symphonies , chamber music , string quartets and an opera . Schubert created a field of artistic, romantic poetry and music called lied ; his lieder cycles included Die schöne Müllerin and Winterreise . Franz Schubert was extremely prolific during his lifetime. His output consists of over six hundred secular vocal works (mainly Lieder ), seven complete symphonies , sacred music, operas , incidental music and a large body of chamber and piano music. He is ranked among the greatest composers of the late Classical era and early Romantic era. Early in the 19th century, a composer by the name of Richard Wagner was born. He was a "Musician of the Future" who disliked the strict traditionalist styles of music. He is credited with developing leitmotivs which were simple recurring themes found in his operas. Carl Maria von Weber was a composer , conductor , pianist , guitarist [6] and critic , one of the first significant composers of the Romantic school. His operas Der Freischütz , Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. Felix Mendelssohn was a composer, pianist, organist and conductor of the early Romantic period. He was particularly well received in Britain as a composer, conductor and soloist. He wrote symphonies , concerti , oratorios , piano music and chamber music . Robert Schumann was a composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies ; an opera; and other orchestral, choral , and chamber works. Johannes Brahms honored the music pioneered by Mozart and Beethoven and advanced his music into a Romantic idiom , in the process creating bold new approaches to harmony and melody. The later 19th century saw Vienna continue its elevated position in European classical music, as well as a burst of popularity with Viennese waltzes . These were composed by people like Johann Strauss the Younger . Richard Strauss was a leading composer of the late Romantic and early modern eras. He is known for his operas , which include Der Rosenkavalier and Salome ; his lieder , especially his Four Last Songs ; and his tone poems . Strauss, along with Gustav Mahler , represents the late flowering of German Romanticism after Richard Wagner , in which pioneering subtleties of orchestration are combined with an advanced harmonic style. 20th century Further information: Music in Nazi Germany Paul Hindemith Carl Orff The first half of 20th century saw a split between German and Austrian music. In Vienna, Arnold Schoenberg and his pupils Alban Berg and Anton Webern moved along an increasingly avant-garde path, pioneering atonal music in 1909 and twelve-tone music in 1923. Meanwhile, composers in Berlin took a more populist route, from the cabaret-like socialist operas of Kurt Weill to the Gebrauchsmusik of Paul Hindemith . In Munich there was also Carl Orff , who was influenced by the French Impressionist composer Claude Debussy . He began to use colorful, unusual combinations of instruments in his orchestration . His most popular work is Carmina Burana . Many composers emigrated to the United States when the Nazi Party came to power, including Schoenberg, Hindemith, and Erich Korngold . During this period, the Nazi Party embarked on a campaign to rid Germany of so-called degenerate art , which became a catch-all phrase that included music with any link to Jews, Communists, jazz, and anything else thought to be dangerous. Some figures such as Karl Amadeus Hartmann remained defiantly in Germany during the years of Nazi dominance, continually watchful of how their output might be interpreted by the authorities. After the defeat of Nazi Germany , musicians were also subjected to the Allied policy of denazification . But here, the supposed non-political nature of music was able to excuse many, including Wilhelm Furtwängler and Herbert von Karajan (who had actually joined the Nazi Party in 1933). They both claimed to have concentrated mainly on music and to have ignored politics, but also to have conducted pieces in ways that were meant to be "gestures of defiance." In West Germany in the second half of the 20th century, German and Austrian music was largely dominated by the avant-garde. In the 60s and 70s, the Darmstadt New Music Summer School was a major center of European modernism; German composers such as Karlheinz Stockhausen and Hans Werner Henze and non-German ones such as Pierre Boulez and Luciano Berio all studied there. In contrast, composers in East Germany were advised to avoid the avant-garde and to compose music in keeping with the tenets of Socialist Realism . Music written in this style was supposed to advance party politics as well as be more accessible to all.Hanns Eisler and Ernst Hermann Meyer were among the most famous of the first generation of GDR composers. More recently, composers such as Helmut Lachenmann and Olga Neuwirth have extensively explored the possibilities of extended techniques . Hans Werner Henze largely dissociated himself from the Darmstadt school in favour of a more lyrical approach, and remains perhaps Germany's most lauded contemporary composer. Although he had lived outside the country since the 1950s and until his death in 2012, he remained influenced by the Germanic musical tradition. Folk music Germany has many unique regions with their own folk traditions of music and dance. Much of the 20th century saw German culture appropriated for the ruling powers (who fought "foreign" music at the same time). Heino is a Schlager and Volksmusik singer. In both East and West Germany, folk songs called "volkslieder" were taught to children; these were popular, sunny and optimistic, and had little relation to authentic German folk traditions. Inspired by American and English roots revivals , Germany underwent many of the same changes following the 1968 student revolution in West Germany, and new songs, featuring political activism and realistic joy, sadness and passion, were written and performed on the burgeoning folk scene. In East Germany, the same process did not begin until the mid-70s, where some folk musicians began incorporating revolutionary ideas in coded songs. Popular folk songs included emigration songs from the 19th century, work songs and songs of apprentices, as well as democracy-oriented folk songs collected in the 1950s by Wolfgang Steinitz . Beginning in 1970, the Festival des politischen Liedes, an East German festival focusing on political songs, was held annually and organized (until 1980) by the FDJ (East German youth association). Musicians from up to thirty countries would participate, and, for many East Germans, it was the only exposure possible to foreign music. Among foreign musicians at the festival, some were quite renowned, including Inti-Illimani (Chile ), Billy Bragg (England), Dick Gaughan (Scotland ), Mercedes Sosa (Argentina ) and Pete Seeger (United States), while German performers included, from both East and West, Oktoberklub, Wacholder and Hannes Wader . Oom-pah is a kind of music played by the brass bands ; it is associated with beer halls . Bavaria and Swabia Bavarian folk music is likely the best known outside of Germany. Yodeling and schuhplattler dancers are among the stereotyped images of German folk life, though these are only found today in the southernmost areas. Bavarian folk music has played a role in the Alpine New Wave, and produced several pioneering world music groups that fuse traditional Bavarian sounds with foreign styles. Around the turn of the 20th century, across Europe and especially in Bavaria, many people became concerned about a loss of cultural traditions. This idea was connected to the Heimatschutz movement, which sought to protect regional identities and boundaries. What is considered Bavarian folk music in modern Germany is not the same as what Bavarian folk music was in the early 20th century; like any kind of folk or popular music, styles and traditions have evolved over time, giving birth to new forms of music. The popularity of the Volkssänger (people's singer) in Bavaria began in the 1880s, and continued in earnest until the 1920s. Shows consisting of duets, ensemble songs, humor and parodies were popular, but the format began changing significantly following World War I. Bally Prell , the "Beauty Queen of Schneizlreuth ", was emblematic of this change. She was an attractive tenor who sang lieder , chanson and opera and operetta . Swabian folk music is most popularly represented by acts like Saiten Fell and Firlefanz and the singer-songwriter (and player of the hurdy-gurdy and guitar ) Thomas Felder. Christmas carols Some Christmas carols familiar in English are translations of German Christmas songs (Weihnachtslieder). Pastoral Weihnachtslieder are sometimes called Hirtenlieder (shepherd songs). Three well-known examples are "O Tannenbaum " ("O Christmas Tree"), from a German folksong arranged by Ernst Anschütz ; "Silent Night " ("Stille Nacht, heilige Nacht"), by the Austrians Franz Xaver Gruber and Joseph Mohr ; and "Still, still, still ", an Austrian folksong also from the Salzburg region, based on an 1819 melody by Süss, with the original words, slightly changed over time and location, by G. Götsch. Early popular music Marlene Dietrich Between World War I and World War II, German music branched out to form new, more liberal and independent styles. Main articles: Cabaret and Kabarett The first form of German pop music is said to be cabaret , which arose during the Weimar Republic in the 1920s as the sensual music of late-night clubs. Marlene Dietrich and Margo Lion were among the most famous performers of the period, and became associated with both humorous satire and liberal ideas. Swing Movement Main article: Swing Movement in Nazi Germany The strict regimentation of youth culture in Nazi Germany through the Hitler Youth led to the emergence of several underground protest movements, through which adolescents were able better to exert their independence. One of these consisted mainly of upper middle class youths, who based their protest on their musical preferences, rejecting the völkisch music propagated by the Party in place of American jazz forms, especially Swing . While musical preferences are often a feature of youthful rebellion—as the history of rock and roll shows—jazz and especially Swing were particularly offensive to the Nazi hierarchy: not only did they promote sexual permissiveness, but they were also associated with the American enemy and worse, with the African race they considered inferior. On the other hand, Joseph Goebbels assembled some of the now jobless musicians from Germany and conquered countries into a big band called Charlie and His Orchestra . Popular music from West Germany After World War II, German pop music was greatly influenced by music from USA and Great Britain. Apart from Schlager and Liedermacher, it is necessary to distinguish between pop music in West Germany and pop music in East Germany which developed in different directions. Pop music from West Germany was often heard in East Germany, had more variety and is still present today, while East German music has had little influence. In West Germany, English-language pop music became more and more important, and today most songs on the radio are English. Nevertheless, there is great diversity in German language pop music. There is also original English-language pop music from Germany, some having international success (for instance the Scorpions and James Last ), but little with enduring broad success in Germany itself. There was very little English pop music from East Germany. Germany has also had a thriving English-language pop scene since the end of the war, with several European and US acts topping the charts. However, Germans and German-oriented musicians have been successful as well. In the 1990s and the first decade of the 21st century such European pop acts were popular as well as artists such as Sarah Connor , No Angels and Monrose who performed various types of mainstream pop in English. Many of these acts have had success all over Europe and Asia. Schlager and Volksmusik Main articles: Schlager and Volkstümliche Musik Schlager is a kind of vocal pop music, frequently in the form of sentimental ballads sung in German, popularized by singers such as Gitte Hænning and Rex Gildo in the 1960s, though not without a wide range within the style (Modern Schlager, Schlager-Gold, Volksmusik resp. "volkstümlicher Schlager". Schlager/Volksmusik is strictly separated from international pop music and is only played on special format radio stations (sometimes mixed with international Oldies ). An important part of Schlager is volkstümliche Musik , a Schlager-like interpretation of traditional German folk themes that is very popular in German-speaking countries, especially among the older generation. Schlager has a wide variety, and the artists with many other styles, for example: Heino , Katja Ebstein , Wolfgang Petry , Guildo Horn , Roland Kaiser , Helene Fischer and many others. Liedermacher Liedermacher (Songwriter) has sophisticated lyrics and is sung with minimal instrumentation, for instance only with acoustic guitar. Some songs are very political in nature. This is related to American Folk/Americana and French Chanson styles. Famous West German Liedermacher are Reinhard Mey , Klaus Hoffmann , Hannes Wader and Konstantin Wecker . A famous East German Liedermacher was Wolf Biermann . Herman van Veen from the Netherlands was also very popular in Germany. Several Liedermacher artists also record special albums for children. Rock Die Toten Hosen Main article: Rock music in Germany The US military radio station American Forces Network (AFN) had a great impact on German postwar culture, starting with AFN Munich in July 1945, which was formative for the further development of German rock and jazz culture. Bill Ramsey , a senior producer at AFN Frankfurt in 1953 who came from Ohio , later became famous as a jazz and Schlager singer in Germany (while remaining almost unknown in the US). Prior to the late 1960s however, rock music in Germany was a negligible part of the schlager genre covered by interpreters such as Peter Kraus and Ted Herold , who played rock 'n' roll standards by Little Richard or Bill Haley, sometimes translated into German. Genuine German rock first appeared around 1968, just as the hippie countercultural explosion was peaking in the US and UK. At the time, the German musical avant-garde had been experimenting with electronic music for more than a decade, and the first German rock bands fused psychedelic rock from abroad with electronic sounds. The next few years saw the formation of a group of bands that came to be known as Krautrock or Kosmische Musik groups; these included Amon Düül , who later became the world music pioneers Dissidenten , Tangerine Dream , Popol Vuh , Can , Neu! and Faust . Neue Deutsche Welle Nena Neue Deutsche Welle (NDW) is an outgrowth of British punk rock and new wave which appeared in the mid-to late 1970s. It was arguably the first successful unique German form of Pop music, but was limited in its stylistic devices (funny lyrics and surreal composition and production). Though it was a huge success in Germany itself in the 1980s, this was not long-lasting mostly due to over-commercialization. Some artists became famous internationally like Nena , Trio , Falco (from Austria) and Joachim Witt . Popular artists In the 1980s and 1990s most German-language popular music was sung by male solo artists. Very popular singers are Udo Jürgens , Udo Lindenberg , Herbert Grönemeyer , Marius Müller-Westernhagen , Peter Maffay and BAP . Udo Jürgens has maintained a large following since the late 60s and still sold out entire soccer stadiums during concerts in 2012. Grönemeyer also has managed to maintain his success up to today. Maffay developed from Schlager to rock and has a large but delimited fan base—he is seldom played on the radio. BAP, who sing in Kölsch , the dialect of their hometown Cologne , enjoy success nationwide. Hamburger Schule Hamburger Schule (School of Hamburg) is an underground music-movement that started in the late 1980s and was still active till around the mid-1990s. It has similar traditions as Neue Deutsche Welle and mixed all that with punk , grunge and experimental pop music . Hamburger Schule includes intellectual lyrics with postmodern theories and social criticism. Important artists are Blumfeld , Die Sterne , Die Goldenen Zitronen and Tocotronic . Popular music from East Germany By the early 1970s, experimental West German rock styles had crossed the border into East Germany and influenced the creation of an East German rock movement referred to as Ostrock. On the other side of the Iron Curtain , these bands tended to be stylistically more conservative than in the West, to have more reserved engineering, and often to include more classical and traditional structures (such as those developed by Kurt Weill and Bertolt Brecht in their 1920s Berlin theater songs). These groups often featured poetic lyrics loaded with indirect double-meanings and deeply philosophical challenges to the status quo. As such, they were a style of Krautrock . The best-known of these bands were The Puhdys , Karat , City , Stern-Combo Meißen and Silly . Only a few individual songs, such as "Am Fenster" by City and "Über sieben Brücken mußt Du geh'n" by Karat , found wide popularity outside the GDR . There was also a wide diversity of underground bands. Out of this scene later grew the internationally successful band Rammstein (see Neue Deutsche Härte below). Popular music from reunified Germany Modern popular music Silbermond at the Donauinselfest 2009 In the 1990s, German-language groups had only limited popularity, and only a few artists managed to be played on the radio, for example Nena , Herbert Grönemeyer , Marius Müller-Westernhagen , Die Ärzte , Rammstein , Rosenstolz or Die Prinzen . In the mid-2000s the German band Wir sind Helden found success with a new style of German-language pop-rock . This success was followed by several other bands and artists that led to a new boom of German-language music and a broader acceptance of existing German-language recording artists, such as: Sportfreunde Stiller Juli Silbermond Kraftklub Klee MIA. Polarkreis 18 2raumwohnung Revolverheld Annett Louisan Tim Bendzko Andreas Bourani Mark Forster Philipp Poisel Indie and alternative rock Popular anglophone alternative rock and crossover bands from Germany that managed to find success domestic and abroad include Beatsteaks , Donots , Blackmail , Reamonn , Saline Grace , H-Blockx , Itchy Poopzkid , Guano Apes and Die Happy . The Notwist , an indie rock band, had great critical and commercial success with their album Neon Golden . Euro disco Boney M. Boney M. Chilly Dschinghis Khan Mike Mareen Fancy Silent Circle Goombay Dance Band London Boys Lian Ross Arabesque Silver Convention Penny McLean Patty Ryan Synthpop, Eurodance, Pop Modern Talking Cascada being one of the most successful acts of the dance music genre worldwide In the late 1980s (prior to reunification ) and the 1990s, Synthpop and Eurodance became popular throughout Germany. Often, different styles were mixed in between these to attract a broad variety of audiences. Successful representatives of these styles were: George Kranz Culture Beat Modern Talking Sandra Sarah Connor Hubert Kah The Underdog Project Mousse T. Milli Vanilli Groove Coverage Haddaway Captain Hollywood Project La Bouche E-Rotic Monrose No Angels Masterboy X-Perience Mr. President Fun Factory Sash! Jeanette Biedermann Captain Jack Lou Bega Bad Boys Blue Alphaville R.I.O. Cascada Real McCoy Snap! Camouflage A Touch of Class (British based) Antique (Greek-Swedish based) Reggae, dancehall, ska Popular bands and performers include Culcha Candela , Dr. Ring-Ding , Gentleman , Hans Söllner , Jan Delay , Mamadee , Milky Chance , Oceana , Patrice , Peter Fox and Seeed . R&B, soul, funk Milky Chance Notable R&B , Soul and Funk artists include Ayọ , Cassandra Steen , Denyo , Miss Platnum , Nadja Benaissa , Nneka , Söhne Mannheims and Xavier Naidoo . Hip hop Hip hop in Germany arrived in the early 1980s, and graffiti and breakdancing became well-known quickly, even in socialist East Germany . German hip hop "started out as a transnational youth subculture. The commercial success started in 1992 with the hit "Die Da" from Die Fantastischen Vier from Stuttgart . The Rödelheim Hartreim Projekt tried to establish a "gangster" rap. An early influential group was Advanced Chemistry including Torch . They sparked an interest in speaking out for the immigrants and used rap as a way to defend themselves.Fettes Brot from Hamburg, has been successful since their beginning. They sing about funny topics, such as infidelity and boasting about their prowess with women. Whereas hip hop had a peak of success in the early first decade of the 21st century, gangster rap became a controversial part of German music and youth culture just as late as 2004 with Aggro Berlin . Some of Germany's hip hop artists are: Cro , Kool Savas , Sido , Samy Deluxe , Bushido , Marteria , Eko Fresh , Bonez MC , Gzuz , Samra , Capital Bra , Trettmann , and Afrob . Gzuz gained recognition worldwide after two of his music videos were posted by Worldstar Hip Hop on YouTube . Punk Punk music in Germany has a long and diverse history. When bands like the Sex Pistols and The Clash became popular in West Germany, a number of Punk bands were formed, which led to the creation of a German punk scene. Among the first wave of bands were Male, from Düsseldorf , founded in 1976, PVC, from West Berlin , and Big Balls and the Great White Idiot , from Hamburg . Early German punk groups were heavily influenced by UK bands, often writing their lyrics in English. The main difference is that German punk bands had not yet become political. Nina Hagen Beginning in the late 1970s and early 1980s there were new movements within the German punk scene, led by labels like ZickZack Records, from Hamburg. It was during this period that the term Neue Deutsche Welle (New German Wave) was first coined by Alfred Hilsberg. Many of these bands played experimental post-punk , often using synthesizers and computers. Among them were The Nina Hagen Band , as well as Fehlfarben and Abwärts , from Hamburg. Both are still active, though they have changed their style several times. Other bands played a more aggressive style of punk rock with a clear leftist political direction influenced by earlier political rock bands like Ton Steine Scherben - bands like Slime , Toxoplasma , or Vorkriegsjugend are still relevant in the German punk scene. There is a still existing scene with many only locally known independent bands that confine themselves from the bigger and more popular groups (that are often branded as "Kommerzpunk"). Punkrock was outlawed in the GDR. Bands like Schleim-Keim or L'Attentat were observed and persecuted by the Stasi and could not perform in the public.Music was produced in underground and exchanged on Tape, an attempt to release a split-vinyl of "Schleimkeim" and "Zwitschermaschine" failed since the latter was undercut by government agents. Nonpolitical punkrock that is also listened to by skinheads is termed as Oi! . Thematically, Oi! songs are often about alcohol, relations, and/or violence. While some Oi! Bands like "Loikaemie" did antifascist songs, there are many cases with an affliction to neonazis , with fluid borders toward right-extremist rockmusic ("Rechtsrock") within the Oi!-Scene. There are few German language bands who managed to be successful for a longer period. The best known are the punk bands Die Ärzte and Die Toten Hosen . Both were formed in the early 1980s but have very different approaches to punk. As successful as those two bands in number of sales and number one albums but much lesser accepted by the public and normally not played by German media because of their affiliation with right-wing politics but with a huge fan community were the Oi!-Band Böhse Onkelz . Digital hardcore band Atari Teenage Riot is particularly well known in the United Kingdom and Japan as well as in German autonomist circles. Heavy metal See also: Teutonic thrash metal The Scorpions were the first German heavy metal band to be highly successful overseas, ultimately selling more than 100 million albums worldwide. Germany has a long and strong history with heavy metal . It is considered by many[who? ][weasel words ] to be one of Europe's heaviest contributors to the scene.[citation needed ] The genre is quite popular and mainstream within the country. Early hard rock /heavy metal was brought to German soil with the success of Scorpions and Accept . Germany is today known for its large metal festivals including Wacken Open Air and Summer Breeze Open Air . Germany has a strong tradition of speed metal and power metal . Early speed metal bands include Running Wild , Grave Digger , Rage , and to some extent Warlock and Stormwitch . The European style of power metal, developed in Germany, was popularized by German bands like Blind Guardian , Helloween , Gamma Ray , Freedom Call , Iron Savior , Avantasia , Edguy and Primal Fear gained international recognition. In many cases these bands initially started out playing speed metal, but later switched to power metal. More recently, a new generation of power metal-influenced bands like Masterplan , Orden Ogan , Kissin' Dynamite and Powerwolf is becoming more and more popular in Germany and abroad. Running Wild are also considered a pioneer of the pirate metal genre with the release of their 1987 album Under Jolly Roger , which was one of the first pirate-themed heavy metal albums. Three local variants of metal subgenres exist in Germany. The Teutonic thrash metal scene is represented by such groups as Kreator , Sodom , Destruction , Tankard and Exumer . Medieval metal , incorporates German traditional music with industrial metal . Notable bands include Subway to Sally , In Extremo , Corvus Corax , Saltatio Mortis and Schandmaul (the last is considered folk rock in Germany). Another variant, Neue Deutsche Härte , a form of industrial metal , is detailed below. Bands from the genres of death metal , deathcore , metalcore , doom metal , black metal and folk metal are: Absurd , Agathodaimon , Annisokay , Any Given Day , Atrocity , Bethlehem , Caliban , Crematory , Dark Fortress , Deadlock , Debauchery , Desaster , Die Apokalyptischen Reiter , Disbelief , Endstille , Electric Callboy , Equilibrium , Falkenbach , Finsterforst , Fleshcrawl , Golem , Heaven Shall Burn , His Statue Falls , Katharsis , Leaves' Eyes , Midnattsol , Morgoth , Mystic Circle , Nagelfar , Nargaroth , Neaera , Necrophagist , Nocte Obducta , Obscura , The Ocean , Our Mirage ,Powerwolf ,The Ruins of Beverast , Secrets of the Moon , Saltatio Mortis , Suidakra , Van Canto , VENUES , War From a Harlots Mouth , We Butter the Bread with Butter and Wolfchant . Neue Deutsche Härte Rammstein at Madison Square Garden , New York City Neue Deutsche Härte (engl. "New German Hardness") is a term for an extremely popular German variant of Industrial metal . It combines the common sound of metal with elements of gothic and industrial music as well as electronic samples and is mostly sung in German. It is known for morbid and provocative lyrical themes and over-the-top stage shows often featuring fire, pyrotechnic, stunts and other special effects. It draws its audience from both the metal and goth scene. Some bands, especially Rammstein and Oomph! have gained mainstream success and, despite their lyrics being mostly in German, have also found success in non-German-speaking countries. Other famous artists include Stahlhammer (from Austria), Megaherz , Unheilig , Eisbrecher , Tanzwut , and Joachim Witt . Medieval metal Medieval metal or medieval rock is a subgenre of folk metal that blends hard rock or heavy metal music with medieval folk music. Medieval metal is mostly restricted to Germany where it is known as Mittelalter-Metal or Mittelalter-Rock. The genre emerged from the middle of the 1990s with contributions from Subway to Sally , In Extremo , Schandmaul and Wolgemut . The style is characterised by the prominent use of a wide variety of traditional folk and medieval instruments. Goth Germany is the home of a vivid Goth scene, and has a large scene of musicians from the spectrum who are typically known as Goth musicians. Most notable artists are Lacrimosa , Lacrimas Profundere , Xmal Deutschland , Das Ich , Deine Lakaien , Illuminate , Untoten , Erben der Schöpfung (from Liechtenstein), No More , Girls Under Glass or Project Pitchfork . Leipzig is home of the largest event of this subculture worldwide called the Wave-Gotik-Treffen , regularly hosting 25,000 attendants. The WGT is closely followed by the annual M'era Luna festival in Hildesheim . Neue Deutsche Todeskunst (engl. "New German Death Art") is a German death-obsessed Dark Wave style of music that blends Death rock , German Rock , Gothic Rock , and neo-classical music with German philosophical texts and a theatrical stage show. It is restricted to Germany where it emerged in the early 1990s from bands such as Das Ich , Lacrimosa , Relatives Menschsein and Goethes Erben . Many NDT artists are known for their use of Classical Latin . Electronic music and techno Grammy-winner Zedd Robin Schulz Germany has the largest electronic music scene in the world [citation needed ] and has a long tradition in and influence on almost all genres of electronic music. The band Kraftwerk was one of the first bands in the world to make music entirely on electronic equipment, and the band Tangerine Dream is often credited as being among the originators and primary influences of the "Berlin School" of electronic music, which would later influence trance music . Some other bands like Liaisons Dangereuses , Tyske Ludder , Deutsch Amerikanische Freundschaft and Die Krupps created a style later called Electronic body music . Recently a few electronica artists have become successful in the mainstream, such as Monika Kruse , Marusha , Blümchen and MIA. Artists on the cutting edge of German-language techno include Klee . Both Einstürzende Neubauten (collapsing new buildings, translated literally) and KMFDM (no pity for the majority, translated literally) are considered by many industrial and electronic music fans as the godfathers of their genre. Their sounds developed the modern styles of groups such as NIN, Marilyn Manson, Rammstein, and New Order. Einstürzende Neubauten can be recognized by their Prince-esque logo, which has been subliminally fused into several mainstream American movies (such as a tattoo in the movie Bug, directed by William Friedkin, starring Harry Connick Jr.). KMFDM has released many songs in English, making them more accessible to their huge American and worldwide audience. In the 1990s, Germany was one of the most successful contributors to the Eurodance genre, with notable German-based acts including Real McCoy , Snap! , Culture Beat , La Bouche , Captain Jack , Captain Hollywood Project , Fun Factory , Masterboy and Haddaway . Since 2006 producer and DJ Paul Kalkbrenner gained popularity in Germany. He nowadays is one of the most famous performers of electronic music. Trance music is a style of electronic music that originated in Germany in the very late 1980s and early 1990s, upon German unification. Following the development of trance music in Germany, many Trance genres stemmed from the original trance music and most trance genres developed in Germany, most notably "Anthem trance " or also called "uplifting" or "epic" trance, progressive trance , and "Ambient trance" . One of the most notable event referring to this scene was the Love Parade festival with up to 1.5 million participants from all over the world. Scooter are by far the most successful German dance act, having found huge national and international success. In recent years, German DJs have found worldwide success in the popular edm genre, most notably Paul Kalkbrenner, Cascada , Felix Jaehn and Robin Schulz . Other popular and influential German DJs and dance projects include Paul van Dyk , WestBam , DJ Quicksilver , ATB , Ian Pooley , Jam & Spoon , Lexy & K-Paul , Blank & Jones , Sven Väth , Dune , ItaloBrothers , Groove Coverage , Novaspace , International Pony and Anthony Rother . Klezmer in Germany and Eastern Europe Klezmer is a musical Jewish genre that consists of mainly instrumental songs. In Germany, Klezmer expanded significantly after the fall of the Berlin Wall in the mid-1980s. As Klezmer was expanding, so was the Yiddish folk movement, and the two genres became intertwined to a certain extent. In the 1980s while Klezmer was seeing tremendous growth, many Jews in Eastern Europe turned to Klezmer as a means of understanding their communist backgrounds and showing their remembrance to those who experienced the Holocaust . Once Klezmer groups started to tour outside of Europe in the 1980s, Americans gained immediate interest in the music genre. Henry Sapoznik created the first American Klezmer band, known as Kapelye, which toured all around Europe. The spread of Americans playing Klezmer brought a new tone to the genre which captured large audiences. Most American groups who played Klezmer added a hint of American rock into their performances, which was different from the traditional sound of Klezmer in Eastern Europe. It was uncomfortable at first for many of the American Klezmer bands to play in Germany because of the trauma that had occurred there. Despite Germany's background, the American Klezmer groups knew Germany was a place they had to play because of Klezmer's popularity there. Over time, Klezmer's audience expanded in Germany and the American Klezmer bands were able to adjust. Giora Feidman is arguably one of the most influential Klezmer musicians.[citation needed ] Feidman created a new perspective for Klezmer, and shared a new ideology for how the music genre could be viewed and appreciated. Feidman gained a large amount of popularity from his work on the musical play, Ghetto, which associated him and his style with the Holocaust. He brought a new theme to Klezmer music which focused on the remembrance of the Holocaust, and a way of "healing" the trauma caused by the Holocaust. Feidman turned Klezmer into a form of personal expression, in which he tried to unite all people (especially the Jews and Germans) and all things through Klezmer. He completely shifted the ideology of Klezmer and explained how Klezmer is in everything, it is even a way to get in touch with religion and communicate with God. However, some people believe Feidman took his ideology too far and turned Klezmer into something that it never intended to become. During the 1980s Klezmer underwent significant transformation, and by the middle-late 1990s Klezmer experienced a new wave of change. Klezmer became a name for many different trends far from where it originated. Klezmer was known as a political statement, a method of healing, amateur musicians getting together and playing music, a way to reconnect with lost traditions. BACK TO TOP

Goeie dag, en dankie vir u besoek, na ons Webwerf. Boeremusiek (Afrikaans for Boer music) is a kind of South African instrumental folk music. Its was made to go with social dancing at parties and festivals.Boeremusiek is from Europe. It was brought to South Africa and changed into its own style. It is thought to have got to South Africa by British Empire military bands. Every artist or band comes up with their own sound and style. They make up their own style by playing different types of concertinas and using different instruments in the band.A concertina is similar to an accordion and is the lead instrument in most Boeremusiek bands. There are many different types of concertinas, which is why Boeremusiek has so many sounds and styles, and the construction the concertina is what makes the different sounds in the Boeremusiek band; it depends on where the slots and holes are put makes the difference on the sound that the concertina makes.Other instruments that might be in a Boeremusiek band are piano accordions , button harmonicas , accordions , pianos , harmoniums and the guitar . Sometimes, a cello or bass guitar may be seen.Today, there are many successful Boeremusiek bands that have recorded albums. Some famous bands and individual artists today are Klipwerf Boereorkes, Danie Grey, Nico Carstens, Taffie Kikkilus, Brian Nieuwoudt, Samuel Petzer, Worsie Visser and Die Ghitaar Man: Die Wals Die wals is 'n dansvorm in drieslagmaat, wat die gewildste balsaaldans in Europa geword het gedurende die 19de eeu. Die dans het vir langer as 'n eeu gewild gebly en het ook die belangstelling gewek van die komponiste van klassieke musiek gedurende die 19de en die begin van die 20ste eeu, wat die opgewekte walsmusiek in baie van hulle komposisies ingeweef het. As 'n dansvorm is die musiek tot 'n buitengewone hoë peil verhef.Alhoewel daar 'n vroeë musiekstuk van 1754 in die walsvorm bestaan, het die dans op walsmaat eers teen die einde van die 18de eeu ontwikkel. In die suide van Duitsland, in Beiere, Oostenryk en Bohemië was danse in drieslagmaat wat bekend was onder name soos Deutscher, Dreher, Weller, en Ländler, gedans. Die eenvoudige, ongesofistikeerde Duitse danse, in teenstelling met die statige minuet, het toegeneem in gewildheid. Die gly- en draaibewegings van die dansvorm het mettertyd gelei tot die naam waltz vir die besondere dansvorm.In die balsale was 'n onderskeid gemaak tussen die wals en die versamelnaam deutscher vir verskillende danse in drieslagmaat. Amadeus Mozart, wat baie deutscher-en Ländlerwerke gekomponeer het, het nie na een daarvan as waltz verwys nie. In 1786 het egter 'n publikasie met 'n versameling danse, wat ook walse insluit, verskyn.Gedurende die laaste dekade van die 18de eeu het baie verslae in nuusblaaie verskyn oor die gewildheid van die wals. Daar word op gewys dat die wals die kontradans vervang het. Die gewildheid van die wals het, soos verwag kan word, ook besware van sekere kringe uitgelok.Weenen, die hoofstad van Oostenryk, het die stad van die wals geword, want daar het die dans alle ander danse in gewildheid oortref. Die wals het alle nasionale grense oorgesteek, en in 1804 is berig dat die Franse dolverlief is op hierdie ligtende, swewende dans. " 'n Wals, 'n wals!" was telkens die uitroep vanaf die dansvloer, want die Franse kon net nie genoeg van hierdie dans kry nie. Sommige sedewagters oor die openbare moraliteit het natuurlik hulle afkeur oor hierdie "malle gedraaiery" van die wals uitgespreek en dit het eers in 1812 in Engeland posgevat. In die Pruisiese Hof in Berlyn was dit verbied en is eers in 1818 toegelaat, alhoewel Koningin Luis dit reeds in 1794 gedans het terwyl sy nog 'n prinses was. Toestande in Europa gedurende die laaste kwart van die 18de eeu was maar bra onstabiel en dit is onwaarskynlik dat die dans voor die einde van die eeu na die Kaap sou gekom het. Daar word nie in enige literatuur van die vroee 19de eeu wat oor die Kaap handel na die wals verwys nie. Soos hierbo aangedui, is die wals eers in 1812 in Engeland bekend gestel en dit is hoogs waarskynlik dat die Britse militêre orkeste dit kort na die datum in die Kaapkolonie bekend sou gestel het. Die eerste skrywer wat na die wals verwys is Bird. Hy skryf dat die wals daardie tyd (1822) baie gewild was. Van die beroemdste komponiste van die 19de eeu, onder andere Beethoven, Schubert, List, en Von Weber, het walse in hulle komposisies ingesluit. Von Weber se meevoerende "Uitnodiging tot die dans" (1819) is welbekend. Hulle komposisies is egter verhoogwerke en nie vir die dansvloer bedoel nie. Joseph Lanner (1801 - 1843) en Johann Strauss sr. (1804 - 1840) was twee komponiste van die nuwe orde wat werke gekomponeer het wat die wals op 'n hoë vlak geplaas het, wat musikale komposisie sowel as dansvorm betref. Hulle het 'n aantal jare saamgewerk maar die venootskap is in 1825 beëindig. Voordat hulle paaie geskei het, was Lanner se komposisies hoofsaaklik in die Ländlerstyl. Nadat hulle geskei het, het albei hulle op die wals toegelê. In Weenen het die gewildheid van dans so toegeneem dat groot danssale soos die Sperl in 1807 en die Apollo in 1808 geopen is, laasgenoemde met dansruimte vir 6000 dansers. Gedurende die dertigerjare het Johann Strauss sr. toere onderneem, na ander Europese lande en sodoende is die wals in al die lande wat hy besoek het goed gevestig. Na Lanner se dood in 1843 is sy mededinger, J. Strauss sr., se plek geneem deur laasgenoemde se seun Johann jr., wat spoedig die bekendste komponis en aanbieder van ligte musiek geword het, wat daar ooit geleef het. Sy musiekstyl het moontlik meer ooreengestem met die van Lanner as die van sy Vader, met die klem oorwegend op melodie instede van op ritme. Na die dood van J. Strauss sr. is die Strauss-familie tot nog 'n groter mate met die wals verbind met die toetrede van die ander twee seuns, Joseph in 1853 en Eduard in 1859. 'n Menigte komposisies is deur die broers geskep maar dit was onder Johann en Joseph dat die wals gedurende die sestigerjare 'n hoogtepunt bereik het, beide wat die dansvorm en musikale komposisie betref het, en ook as simbool van 'n vrolike en elegante eeu. Johann Strauss jr. se "Blou Donou" en "Verhale van die Weense Woude" is twee musiekwerke wat waarskynlik meer as enige ander klassieke komposisie oor die hele wêreld opgevoer word. Richard Strauss (11 Junie 1864 - 8 September 1949) het tot gedurende die eerste kwart van die 20ste eeu meesterlike werke wat op die walsvorm gebaseer is gekomponeer, en wat hoë lof verdien as verhoogwerke. Hierdie komponis was nie verwant aan bogemelde "walskonings" nie. Die goue tydperk van die wals as 'n dansvorm het ten einde geloop toe die Oostenryk-Hongaarse monargie gedurende die eerste wêreldoorlog vernietig is. Die historiese agtergrond van die wals, met beklemtoning van die bydrae van die Strauss-walskonings, word enigsins volledig geskets, aangesien daar waarskynlik 'n spesiale betekenis geheg kan word aan die feit dat geeneen van hulle mooi walse en ander musiekstukke in die boere-musiekrepertorium opgeneem is nie. Die wals het 'n groot verskeidenheid afstammelinge deur die hele Europa gehad. In Duitsland is sulke variante as die schottische ontwikkel, met draaibewegings soos die van die wals. Frankryk het sy eie balance valse gehad. In Amerika het later hulle eie Boston-waltz ontwikkel- 'n stadiger, swewende variasie. Ongeveer 1840 het die wals 'n sterk mededinger gekry in die polka; die naam is afgelei van die woord polka, 'n "halwe pas". Dit was 'n vurige dans. NUWE, JONG EN OPKOMENDE SANGERS Nuwe, jong en opkomende sangers - Neem kennis: Ons het die afgelope tyd geweldig baie navrae gekry van nuwe, jong en opkomende sangers om hulle te bemark. Daarom het ons besluit om soos volg te werk te gaan: Stuur vir ons 'n e-pos na: AndreC27.demo@gmail.com en heg asseblief nie meer as 2 demo snitte daarby aan nie. Die e-pos moet asseblief die volgende bevat: Naam en kontaknommer; e-pos adres; Stad en Provinsie woonagtig; Repertoire. OF Pos 'n demo CD met nie meer as 8 snitte daarop nie, aan ons met al die bogenoemde kontakbesonderhede, ens daarby ingesluit, na: AndreC27 Promotions Posbus 50286 Hercules Pretoria 0030 Van ons kant, sal ons dan na julle demo snitte luister. 'n Afspraak sal met julle gereel word om bemarkingsopsies en terme met julle te bespreek en ooreenkom. Ons hoop om gou van julle te hoor. Groete Andre & AndreSee more by: André Craucamp Boere musiek View More BOERE MUSIEK BOERE MUSIEK Nou op Youtube Boeremusiek, also known as Boeremusik, is a traditional Afrikaans folk music genre that originated in South Africa. It is characterized by the use of instruments such as the concertina, accordion, and violin, and features lively, upbeat rhythms that are perfect for dancing. Boeremusiek has a rich history and is still enjoyed by many today as a celebration of South African culture and heritage. Click Here Boeremusiek Boeremusiek (Afrikaans: ‘Boer music’) is a type of South African instrumental folk music. Its original intent was to be an accompaniment to social dancing at parties and festivals.Boeremusiek is originally European, but once it was brought to South Africa and Namibia, it gradually changed and became its own style. A concertina is similar to an accordion and is the lead instrument in most Boeremusiek bands. There are many different types of concertinas, which is why Boeremusiek has so many unique sounds and styles, and the construction the concertina is what makes the different sounds in the Boeremusiek band; it depends on where the slots and holes are put makes the difference on the sound that the concertina makes. A Boeremusiek band may include piano accordions , button harmonicas , accordions, pianos , harmoniums and the guitar , and sometimes, a cello or bass guitar may be seen.The sound of a Boeremusiek band may depend on what region the band is from (for example, Boeremusiek in Potchefstroom can differ from ones in Stellenbosch ), seeing that Boermusiek's intent is to be informal, instrumental dance music. Today, there are many successful Boeremusiek bands that have recorded albums. Some famous bands and individual artists today include Klipwerf Boereorkes, Danie Grey, Nico Carstens, Taffie Kikkilus, Brian Nieuwoudt, Samuel Petzer, Worsie Visser and Die Ghitaar Man. What is boermusic? This is a question that has experts pondering for years and can not be answered without a measure of controversy. In short we, The Traditional Boer Music Club, can define Boermusic as instrumental folk music, dating from the period during which the people who practiced it where internationally know as "Die Boere" (The Boers) of South Africa. It is informal music that is played in a distinctive way and was primarily intended as accompaniment for social dancing. For the purpose of this conversation we exclude other kinds of Afrikaans music from the same period like ballads, serenades and music aimed at passive audiences. What is the Character of Boermusic? It is nearly impossible to put the rich variety of feeling elements, nuances and sounds that form the essence of Boermusic into words. It is an "experience" of strong and unique character that can not be described in music science terms. The concertina was, and is still to this day, the top lead instrument in Boermusic. Apart from the different types of concertinas that are found in Boer music, there are different dance rhythms and variations in accompaniment. It is striking how each artist often develops a unique and recognizable style. Just as amazing is how the different types of concertinas as well as the different geographical regions created divergent disciplines within Boermusic. What are the origins of Boermusic? The origins of Boermusic is like a vine with entangled roots and the development has to be distilled from history and myth. The earliest writings contained no reference to the term "Boermusic" or "Boere orkes" (Boermusic band). It is therefor necessary to search for clues that point to the music in question as light, cheerful, informal and indigenous dance music and not formal or classical music. For that we have to follow references to music-, dance- and song habits during the course of history to determine the inception of Boermusic and how it developed. Boermusic is largely European in origin and it would be a misconception to think that it was brought to South Africa by the early settlers. Most of it was imported fairly recently but aquired a flavour of its own and remained in vogue here long after it went out of fashion abroad. How did it get to South Africa? Whenever a certain dance became popular in Europe or anywhere else, it was not long before it was introduced in the Cape by military bands of the British Empire. Whenever they were off duty, they hired themelves out for parties, weddings and other social events. There where dance masters who taught the new dances to the locals and from there it spread into the hinterland. It acquired a local flavour and character of it's own in the process. A large volume of Boermusic was consequently composed by local musicans, as is still the case today. There where also music teachers who noted down local tunes. The first person to do this was Charles Etienne Boniface (1787-1853) who arrived in the Cape in February 1807 1. Short exerpts from the book by Wilhelm Shultz, "Die ontstaan en ontwikkeling van Boeremusiek" Welkom Hartlik welkom by die webtuiste van die Tradisionele Boeremusiekklub van Suid-Afrika [TBK] wat sedert 1981 toegewy is aan Tradisionele Boeremusiek, ons volkskat en kleinnood. Ons nooi almal uit om meer oor die TBK en ons tradisionele boeremusiek te wete te kom en dan tradisionele boeremusiek saam op te pas en uit te bou. Lees meer oor hierdie besonderse styl van konsertina spel asook die verskillende ander instrumente. Daar word ook verwys na verskillende orkeste, hulle opnames en die geskiedenis van die Tradisionele Boeremusiekklub van Suid-Afrika. U word uitgenooi om nuus of biografiese inligting van persone en orkeste by te voeg – Vandag se algemene kennis en alledaagse gebeurtenis vorm die grondslag van môre se geskiedenis. Stuur gerus u bydrae aan info@boeremusiek.org om te keer dat hierdie erfenis vir ewig verlore gaan. Boeremusiek - Ou Waenhuis Vastrap BOERE MUSIEK VIDEO Dagbreek Boereorkes by die Voortrekkermonument BOERE MUSIEK VIDEO Bosveld Vastrap BOERE MUSIEK VIDEO Kosie Beukes BOERE MUSIEK VIDEO Boeremusiek: Die Kalfie Wals BOERE MUSIEK VIDEO Boeremusiek - Vir Ons Ysters BOERE MUSIEK VIDEO Jakarandameisie BOERE MUSIEK VIDEO Kosie Beukes speel die Blou Bul liedjie BOERE MUSIEK VIDEO Kaapland Boereorkes - Blomtyd in Namakwaland BOERE MUSIEK VIDEO Die Magalies Boereorkes BOERE MUSIEK VIDEO BACK TO TOP

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Welcome to Radio SAM Broadcaster Germany Welcome to our entertainment radio station, Radio Sam broadcasting live from Germany. Tune in to enjoy the best music and stay up-to-date with latest news and events. Thank you for choosing us as your go-to source entertainment.Connect with your audience and community by offering local news, events calendar, contesting and local business landing pages. Our setup includes importing your initial content, on-air schedules, events, contests, etc. We also include up to 10 client banner ads so that your site will be ready to start grabbing new listeners and advertisers the day it launches.Welcome to Radio SAM Broadcastering Studios Germany another Internet Radio Station ,with top music to enjoy,broadcasting Live from Germany on a weekend with Dj Nighthawk and a Auto Dj ,that Entertains you 24/7 around the clock,were ever you are you can tune-in and enjoy our music,with Top Singers from South Africa and Top Singer from Germany. Music that we play on Radio SAM Broadcaster Germany.Welcome to our Radio Station , From a small Village Called Dehrn in Hessen in Germany... Listen Now Music is something to which everyone admires and loves invariably. Irrespective of culture, tradition and political boundaries it is music that binds every human being and provides great mental satisfaction. Anyone, invariably around the globe loves some form of music and its wonderful enjoying. The taste of music is cherished by all ranging from a kid of eight years to an old octogenarian. Music is a healer, a soother and a revitalizer that rejuvenates the soul and motivates the body. Moreover, practically it is the only art form where we can get all the expressions of the human mind that is we can get music perfectly blended to our mind state at that instant. Be it on a journey, on a picnic, party, festival or anything it is music to which everyone adheres and connected emotionally and mentally.Afrikaans music was primarily influenced by Dutch folk styles, along with French and German influences, in the early twentieth century. Zydeco-type string bands led by a concertina were popular, as were elements of American country music, especially Jim Reeves. Melodramatic and sentimental songs called trane trekkers (tear jerkers) were especially common. In 1996 the South African Music scene changed from the Tranetrekkers to more lively sounds and the introduction of new names in the market with the likes of Nádine, Kurt Darren and Nicolis Louw. Afrikaans music is currently one of the most popular and best selling industries on the South African music scene. Afrikaans music saw a surge in new artists, album releases and sales after 2000. In 2004 an Afrikaans album (by balladeer Steve Hofmeyr was named best-selling album of the year. The massive purchasing power of the Afrikaner minority is partly to thank for this. In 2007 an Afrikaans song about Boer War general Koos de la Rey by Bok van Blerk became a hit amid fierce debate on whether it represented a call to arms for the reinstatement of Afrikaner rule or just expressed cultural nostalgia. While the boom in the Afrikaans pop industry has continued from the previous decade as the popularity of the arts festivals and dance halls have stayed strong, other Afrikaans music genres experienced a revival of sorts in the new millenium. Rock and alternative Afrikaans music had stagnated somewhat after the heady days of the "Voelvry" tour and the alternative movement. Signs of a revival could be found in the arrival of Karen Zoid on the music scene with her attention grabbing alternative sound. CDs YOU CAN SUPPORT OR BUY WELCOME TO OUR CHILDRENS FUN PAGE View More View More PAGE 1 View More PAGE 2 VISIT OUR OTHER GREAT WEBSITE AND ENJOY . RISEING MOTOR CLASSICS View More View More SOUTH AFRICAN TOURS View More View More THE WHITE KNIGHTS & TEMPLAR KNIGHTS DISCO NIGHT & SCHLAGER NIGHT ON A WEEK END Our Programs View More Party Time Live Shows Learn More Fan Page Podcasts View More Get to Know Us View More OUR RADIO STATIONS MUSIC & WEBSITES JUST 4U TO LOOK AT 2 . View More View More View More View More View More View More View More View More View More View More Keeping You Free While the Dance Floor Is Busy Our team of experienced DJs and producers work hard to bring you the best in radio broadcasting. We are passionate about music and we want to share that passion with you. Whether you're looking for the latest chart-toppers or classic hits, we've got you covered. Tune in to Radio SAM Broadcaster Germany and let us take you on a musical journey! Listen Live OUR PARTNERS & MEET US MY TUNE-IN RADIO WELCOME & TUNE-INTO ONE OF OUR RADIO SERVERS TO LISTERN TO OUR RADIO STATION. RADDIO Radio Kuasark Radio Garden fmstream.org RADIO BELLS MY RADIOBOX RADIO HOREN HI GREETINGS FROM RADIO SAM BROADCASTING STUDIOS : IF YOU LOVE TO ADD THE RADIO STATION ON YOU WEBSITE - JUST LET US KNOW PER E-MAIL : a.dezius@gmail.com BACK TO TOP

Radio SAM Broadcaster Germany is our Main Radio Station in Germany Gone are the days of wondering where to go , or are you going to miss out, Or dare we say, that you missed out on a life changing event Our Sitemaps HOME Meet the Team About Us Radio Stations Our Websites Contact US Music Music Charts Broadcasting Live Videos Podcasts Livestreams Entertainment Services Forum Private Members Links Blogger Links Members Page Links Advertiseing Votes Our Mission Members New Links Radio Links Projects Projects 2 Top Music Website Links Games Our Gallery South Africa Recipes Social Links Facebook Instagramm Youtube Whatsup Bloggers Landing Page Twitter . X Spotify Messager Extras Portfolio Boere Rad News Gestbook Family and Fun Travel Fan Page Radio Newspaper Call Email a.dezius@gmail.com Follow BACK TO TOP

Visits on our Website LISTERNERS ON OUR RADIO STATION Total sessions completed 1,78 K Total unique IPs 430 Average listening minutes 27,47 Total listening hours 802,17 Total ad impressions 30 Total sessions Average Listening Minutes/Session Device Statistics Device Sessions Average Listening Minutes Percentage Others7250,4292.71 Desktop5012,316.39 iPhone40,830.51 Android30,640.38 Regional Statistics 11744744 search Country Sessions Sum of unique IPs per stream TLH % United States 744 109 5,38 95.14 Germany 31 11 9,94 3.96 Azerbaijan 3 3 0,03 0.38 Bangladesh 1 1 0,05 0.13 Finland 1 1 0,03 0.13 Russia 1 1 0,01 0.13 Switzerland 1 1 0,01 0.13 1 Daily Statistics Day Sessions Sum of unique IPs per stream Gigabytes used Total Listening Hours Sessions started Sessions completed Ads Impressions 2024-11-01 66 11 1.39 24,57 65 66 0 2024-11-02 83 14 1.39 24,58 82 83 1 2024-11-03 98 16 1.45 25,71 97 98 3 2024-11-04 66 10 1.45 25,75 65 66 0 2024-11-05 90 13 0.93 16,49 89 90 1 2024-11-06 85 15 1.39 24,61 84 85 1 2024-11-07 135 18 1.50 26,52 134 135 0 2024-11-08 84 14 1.39 24,59 83 84 2 2024-11-09 87 13 1.84 31,24 86 87 0 2024-11-10 78 19 1.72 29,47 77 78 0 2024-11-11 80 11 1.39 24,60 79 80 0 2024-11-12 84 16 1.90 33,70 83 84 0 2024-11-13 21 9 1.38 24,48 20 21 1 2024-11-14 42 13 1.84 32,57 41 42 0 2024-11-15 34 13 1.45 25,73 33 34 2 2024-11-16 31 14 1.54 27,32 30 31 1 2024-11-17 52 15 1.50 26,65 51 52 1 2024-11-18 36 15 1.53 27,09 35 36 4 2024-11-19 22 8 1.37 24,36 21 22 3 2024-11-20 43 15 1.46 25,89 42 43 1 2024-11-21 42 12 1.40 24,88 41 42 6 2024-11-22 35 19 1.62 28,75 34 35 5 2024-11-23 89 18 1.84 31,17 88 89 1 2024-11-24 49 20 1.60 28,42 48 49 1 2024-11-25 57 22 1.96 34,71 56 57 7 2024-11-26 54 12 1.44 25,47 52 54 0 2024-11-27 35 17 1.38 24,43 34 35 1 2024-11-28 24 17 1.47 26,18 23 24 2 2024-11-29 49 10 1.37 24,35 48 49 1 2024-11-30 32 11 1.65 27,90 31 32 0 OUR MONTHLY STREAMING ANALYTICS ONLY ON ZENO Total listeners This Week 191 Last Week 181 APRIL 2024 Total sessions completed 2,36 K Total unique IPs 667 Average listening minutes 28,55 Total listening hours 1,11 K Total ad impressions 246 Regional Statistics United States 919 124 20,86 86.37 Germany 112 24 46,17 10.53 Russia 12 11 0,73 1.13 South Africa 5 4 0,12 0.47 Moldova 4 1 0,13 0.38 South Korea 3 3 0,02 0.28 Canada 2 1 0,04 0.19 Ukraine 2 1 0,09 0.19 Chile 1 1 0,02 0.09 Czechia 1 1 0,01 0.09 Indonesia 1 1 0,06 0.09 Romania 1 1 0,01 0.09 Switzerland 1 1 0,24 0.09 MAY 2024 Total sessions completed 1,93 K Total unique IPs 440 Average listening minutes 24,99 Total listening hours 791,39 Total ad impressions 335 Regional Statistics United States 712 63 6,09 65.08 Germany 302 21 134,65 27.61 Finland 49 5 103,51 4.48 South Africa 11 3 0,32 1.01 Peru 6 3 0,05 0.55 Russia 3 3 0,18 0.27 South Korea 3 3 0,02 0.27 Morocco 3 2 0,02 0.27 Philippines 2 1 0,05 0.18 Bosnia and Herzegovina 1 1 0,03 0.09 Indonesia 1 1 0,01 0.09 Ukraine 1 1 0,02 0.09 BACK TO TOP

Our Music & Tune-ins TUNE-INTO ONE OF OUR RADIO STATIONS ABOVE AND ENJOY THE MUSIC Welcome to our radio station! We're glad to have you here. Tune in to our live music and enjoy the beats. Stay tuned for more updates exciting programs.Top Songs on Radio SAM Broadcasting from Germany. We have music ,of all kinds for you to Enjoy from Dance to Schlager.With songs to listern to.and for you to enjoy.Just Tune-In and Ask your DJ. We play songs on 6 Servers and 15 radio stations here from Germany. German Schlager music has a rich history that dates back to the early 20th century. It as a popular genre of music that was played at dance halls and festivals across Germany. Over the years, it has evolved to become a beloved part of German culture, with many iconic songs and artists that have left a lasting impact on the music industry. From the catchy to the heartfelt lyrics, German Schlager music continues to captivate audiences around the world. Afrikaans music has a rich history that dates back to the early 1900s. It has evolved over the years, blending traditional Afrikaans folk music with modern genres such as rock, pop, and hip-hop. Some of most popular Afrika musicians include Steve Hofmeyr, Juanita du Plessis, and Kurt Darren Today, Afrikaans music continues to be an important part of South African culture, with many talented artists continuing to produce new and exciting music. BACK TO TOP

TUNE - INTO ZENO FM AND ENJOY OUR PODCASTS Radio SAM Broadcaster Germany Radio-SAM-Broadcaster-Germany Kids & Family Podcasting Music Automotive Business News English We love radio! Radio SAM Broadcaster Germany makes life a little easier for everyone who feels the same way. We offer you the opportunity to listen to internet radio from all over the world in a particularly uncomplicated manner and free of charge. With the push of a button, you can also record it very easily thanks to Radio SAM Broadcaster Germany. Don't you ever want to miss your favorite internet radio radio again? Our tools make it possible! You can put together your own program in the Radio SAM Broadcaster Germany player, in the app and directly on our website. This is then conveniently recorded and saved for you. If you just want to listen to your favorite online radio stations, you can of course do so here: You can click through the music genres or topics you want and you will find enough material to stream continuously for days! Here, the many German channels are just a few clicks away from the small regional channel from Italy. Thanks to the radio cloud, you don't even have to turn on your computer or smartphone to record, you don't even have to be at home. The scheduled shows are simply saved in the cloud, where you can easily stream them or download them for later use. Radio programs and tips - radio plays and more That's all well and good, but you don't even know what you want to hear in the wide landscape of internet radio? No wonder, after all, there are many of programs on all sorts of genres. Our editorial team therefore studies the radio program every week and always has a few tips ready to make your choice easier: There is also something for the little listeners on a separate page for children. Do you want to let off steam in the wide world of internet radio? Radio SAM Broadcaster Germany makes this particularly easy for you. You can listern completely free of charge and without obligation. In your own account under “Radio SAM Broadcaster Germany” you can start immediately, put together your own program and use the free radio cloud storage of two hours. In the download area you will find the Radio SAM Broadcaster Germany players for PC and Mac and the app is available for free download in the app store for iOS, Android or Windows Phone. PODCASTS PODCASTS PODCASTS PODCASTS 19 September 2021 Dj Nighthawk Top songs 15 January 2022 Dj Nighawk 3 hour recording 2022 good recording.mp3 19 September 2021 DIE DEUTSCHEN HITS 2021 DIE BESTEN SCHLAGER DES JAHRES.mp3 Radio SAM Broadcaster Germany 19 September 2021 Dj Nighthawk Top songs 15 January 2022 Dj Nighawk 3 hour recording 2022 good recording.mp3

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Advertiseing Apps WORLD ANIMAL DAY BREAKING DAILY NEWS SPORT NEWS ENDLESS ROAD ENTERTAINMENT TRAVEL TOURS TRAFFIC REPORTS SOUTH AFRICAN WEBSITES SA ARTISTS REPORTS GLOBAL WEATHER REPORTS CAMPING SOUTH AFRICA SOUTH AFRICAN CUISINES SOUTH AFRICA WEBSITE OLDIES BUT GOLDIES NEWS CAMPING GERMANY FRANKFURT AIRPORT FAMILY ACTIVITIES GERMAN PLAYGROUNDS ONLINE GAMES DAILY HOROSCOPES COUNTRY MUSIC RADIO STATIONS MISSING CHILDREN ALERTS NIGHTCLUBS GERMANY FOMULA ONE NEWS RADIO SAM BROADCASTING STUDIOS MUSIC NEWS RADIO PLAYLIST ALL APPS ARE BELOW THIS PAGE World Animal Day exists to raise the status of animals and improve welfare standards around the globe. It’s a day of celebration for animal lovers like you and me everywhere. On October 4, it’s our chance to mobilise into a global force, to take action against animal cruelty, neglect and unfair treatment and make the world a better place for all animals. 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Discovery. View More The Sporting News is the oldest sporting publication in the United States. Initially known as the essential source for baseball coverage, in the 1940s it began to cover a wider array of sports, including college sports, the NBA, NFL, NHL, motorsports, golf, tennis, boxing and many others.After eight years under DAZN / Perform Group, The Sporting News was acquired by an international investment group, with deep sports, media and gaming experience who are now revolutionizing and energizing one of the world’s most iconic sports brands. View More Truck driving has been an essential part of the transportation industry for over a century. In the early, truck drivers were responsible for delivering goods to local businesses and homes. As the industry grew, so did the need for long-haul truck drivers who could transport goods across the country. In, truck driving has been a vital part of the economy since the 1950s, with the establishment the European Economic Community. 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You Can find Pictures ,Links ,News,Recipes,Joke ,South African Ghost Stories and many other things that mite Intrest you,and also for School Projects,Some Pages are not for childrens View. You will find link banner on top of the webpages,at the bottom of the website,and on the left side of the page,you will also see alot of pages are link to other sites ,on the Net,and as well linked to partner and our own websites and Homepages... View More We're here for you! With an optimistic view of the world around us, our content uplifts others using the cosmos above. No matter which part of your life you want to focus on, we’re here for you. With horoscope topics that range from love, work, health, online streaming, and more, we’ve got fresh, daily content to guide you in the right direction.Our library of Tarot readings and games provide a space to ask your most burning questions. Is your relationship meant to be? Should you ask for a raise? Are you on the right path? From love Tarot to Yes or No Tarot, our readings offer endless entertainment and comfort for those seeking answers. View More This list of famous South African musicians includes both bands and solo artists, as well as many singers/groups/duos of indie and underground status. From Peter Gabriel to Dave Matthews, to various Cape Town and Gqeberha natives, this compilation of older and modern South African artists features a wide range of genres, such as rock, alternative, metal, punk, pop, folk, country, hip-hop/rap, jazz, and even blues. If you're wondering, "What bands or singing groups are from South Africa?" or "Where can I find a good list of popular South African artists?" then look no further! Check out some of the best, local, top artists from Southern Africa's populous nation below. View More All Country News is a country music news and entertainment outlet based in Los Angeles with the hottest country music news, music, interviews, and exclusive content. With a monthly reach of 30 million country music fans, All Country News has the ability to AMPLIFY any country artist or country music event's digital footprint.We partner with brands aiming to reach a country-music-loving audience through innovative campaigns.We capture experiences and share engaging content to promote various country music events on social media.We collaborate with artists to create original content to distribute across our network of country platforms.The weekly All Country News Podcast hosted by Rebecca Porter features the hottest country music news and newest country songs every week, plus an exclusive interview with a country artist. View More Radio Station to Enjoy on Radio SAM Broadcaster Live,with Great Music ,no Matter how old you areRadio Music 24/7 Worldwide for entertainment .Just Click on 1 of the Radio Stations.Links Below it will Tune you in to of our Radio Station or Gide you to our Website.Choose a Radio Station World Wide Just for you to Share with Friends and Family. View More AMBER Alert Europe, the European Centre for Missing Children, is a foundation that strives to improve the protection of missing children and to prevent children from going missing by empowering them and raising awareness on the issue of missing children and its root causes. We connect experts from 45 governmental organisations, in particular ministries of the interior and police forces, and non-governmental organisations from 28 countries in our mission towards zero missing children in Europe. Our activities cover training , research, child alerting , and prevention and awareness-raising , as well as launching initiatives aimed at impacting policies and legislation in the area of children’s rights. Our joint efforts with police experts in the field of missing children even paved the way for a European police expert network in this area. All of our activities are implemented in line with the EU Charter of Fundamental Rights and the EU Strategy on the Rights of the Child and with respect for the privacy of children and data protection laws. View More Extreme g-forces. Daring decisions made in the blink of an eye – and at 370km/h. Dramatically battling to be the best, Formula 1 drivers are more like fighter pilots than sportspeople. Only 20 get the chance to compete, and they push themselves – and their incredible machines – to the very limit.Formula 1 is a team sport. It needs to be to change all 4 tyres on a car in under 2 seconds! F1 teams design and build their cars and get them ready to race. Each has their own history. Each has their own unique approach. All want to be the fastest. But who should you root for?Some sports play stadiums. Our 'stadiums' span cities. With 24 races in amazing locations across 5 continents, Formula 1 is truly an international sport.You know the F1 drivers and teams. You know where we race. Now find out how you can be part of the action, and how you can follow Formula 1 and support your heroes from wherever you are in the world. View More We love radio! Radio SAM Broadcaster Germany makes life a little easier for everyone who feels the same way. We offer you the opportunity to listen to internet radio from all over the world in a particularly uncomplicated manner and free of charge. With the push of a button, you can also record it very easily thanks to Radio SAM Broadcaster Germany. Don't you ever want to miss your favorite internet radio radio again? Radio SAM Broadcaster Germany View More Music Assent has been voted TOP MUSIC BLOG, and TOP MUSIC SITE FOR INDEPENDENT ARTISTS in 2017, 2019, 2021, & 2022 by: ontoplist.com THE TOP 200 MOST INFLUENTIAL MUSIC BLOGS OF 2019 by: artistdevelopmentandproduction.com The Top 75 American Music Blogs by: kingsofar.com & The Top 100 Independent Music Blogs Of 2021 by: Musicroo.com Music Assent is a global music news & media platform that provides a wealth of information for music enthusiasts. Global Music News: Music Assent covers a wide range of music-related topics, including album releases, artist news, music videos, and industry updates. You can find articles on artists, events, and trends from around the world. Upcoming Albums: View More South African cuisine is diverse and reflects the country’s culture and palate. Here are some traditional South African dishes: destinavo.com+2 Biltong: a dried, cured, and spiced meat, similar to American beef jerky. 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Whatever your idea of economic justice, you can probably find some revolutionary sentiment to hold on to in these ten classic oldies, all of which protested the power government holds on the people. Though not generally considered his finest work, this ex-Beatle's 1972-1974 period of intense social activism occasionally produced some stirring music, including "Power to the People," which Lennon intended to be sung my marchers in the street, much as he envisioned with "Give Peace a Chance. View More Here are some great options for camping in Germany: Diverse Locations: Germany offers a variety of camping experiences, from the North Sea to the Bavarian Alps, with stunning landscapes and welcoming campsites. Top Campsites: Popular campsites include those near lakes, mountains, and forests, providing family-friendly options and activities. Comprehensive Resources: You can find over 2,100 campsites across Germany, with detailed reviews and photos available online. 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How else will kids learn that there is a consequence to falling? After all, the ground is hard, not a soft, spongy cushion. View More family activities GERMANY From thrilling amusement parks to delicious chocolate factories, and everything in between, we explore the best activities for kids in Germany.When it comes to family entertainment in Germany, nail-biting roller coaster rides are just the tip of the iceberg. There are numerous activities and attractions to generate excitement and adventure for kids – and big kids! Just take a look at these fun things to do with kids in Germany. View More CrazyGames features the latest and best free online games. You can enjoy playing fun games without interruptions from downloads, intrusive ads, or pop-ups. Just load up your favorite games instantly in your web browser and enjoy the experience. You can play our games on desktop and on mobile devices. That includes everything from desktop PCs, laptops, and Chromebooks, to the latest smartphones and tablets from Apple and Android. View More Discover Germany’s nightlife with our ultimate guide! From Berlin’s iconic clubs to Munich’s lively beer halls and Hamburg’s trendy bars, explore the best nightlife destinations. Plan your perfect night out in Germany with our expert recommendations View More Radio SAM Broadcaster Germany is our Main Radio Station in Germany Gone are the days of wondering where to go , or are you going to miss out, Or dare we say, that you missed out on a life changing event….No need to go to different websites, only here, one place….all in one. ‘ Radio SAM Broadcsater Germany’strive to work closely with all different artists and their support to give you up to date fixtures as they happen, so you can plan and attend. ‘ ‘ Radio SAM Broadcaster Germany’’ wants to be part of your journey to that life changing event. Even more, follow us on social media and let’s share that special life changing event. View More a.dezius@gmail.com BACK TO TOP