Search Results

ENJOY YOUR STARS WEBSITE ; JUST 4 U Latest News Playlist THEUNS JORDAAN View More TOM BECK View More RIANA NEL View More THOMAS ANDERS View More Collections REX GILDO HELENA FISCHER NINO DE ANGELO WINCENT WEISS View More View More View More View More Categories ANTON THOMAS LIANIE MAY BOBBY VAN JAARVELD BLES BRIDGES View More View More View More View More Music You'll Love SCHLAGER MUSIC VANESSA MAI ROLAND KAISER VICKY LEANDROS TOM ASTOR View More View More View More View More WE PRESENT SINGERS ON OUR RADIO Read More JUANITA DU PLESSIE Read More STEVE HOFMEYR Read More FREDI NEST Read More GERHARD STEYN Our Radio Streams WEBSITE RADIO SAM GERMANY RADIO SAM BROADCASTING BLOGGER Singer News on Their Websites WEBSITE ANDREA JÜRGENS WEBSITE CHRISSIE ROSSOUW WEBSITE WEBSITE JURGEN DREWS MARIANNE ROSENBERG WEBSITE BOK VAN BLERK WEBSITE MAITE KELLY FROM OUR PROGRAM PIETER KOEN ROBBIE WESSELS KURT DARREN DEWALD WASSERFALL WEBSITE WEBSITE WEBSITE WEBSITE SOUTH AFRICA’S BIGGEST, FAMILY-FRIENDLY, MUSIC FESTIVAL SERIES ‘GET LUCKY SUMMER’ IS BACK THIS SUMMER HOLIDAY SEASON! Get Lucky Summer has just announced 10 concert dates kicking off in the Mother City with a BRAND NEW venue – Sunningdale Cricket Club on 7th December, then heading up to Plett and Knysna for the Summer holiday season. This year, they’ve knocked it out of the park with some of SA’s biggest acts: GOODLUCK, ZAKES BANTWINI, WILL LINLEY, THE PARLOTONES, PRIME CIRCLE, BOK VAN BLERK, JEREMY LOOPS, JESSE CLEGG & MUCH MORE! View More Provinces Eastern Cape Gauteng KwaZulu-Natal Limpopo Mpumalanga North West The Free State The Northern Cape The Western Cape Neighbouring Countries Botswana Kenya Lesotho Malawi Mozambique Namibia Swaziland Tanzania Zambia Zimbabwe Afrikaans is Groot Never miss another Afrikaans is Groot concert. Get alerts about tour announcements, concert tickets, and shows near you . Afrikaans is Groot is 2024 is back and it is taking over Time Square Arena from Friday, 08 November till Sunday, 17 November 2024. Afrikaans is Groot is as its name says, big. It is one of the country’s biggest annual Afrikaans concerts. Founded in 2012, Afrikaans is Groot sold out nine concerts within 24 hours in 2022. This impressive feat demonstrates the loyalty and love that Afrikaans-speaking people have for their language and the artists who create music in it. Afrikaans is in our hearts! Afrikaans is Groot het 15 jaar gelede ontstaan as ’n idee om die grootste Afrikaanse snitte op een versamelalbum te voeg. Die handelsmerk het ongelooflike ondersteuning van Afrikaanse mense ontvang, uit sy nate gebars en gegroei tot waar dit vandag die grootste konsert in die land is. Afrikaans is Groot gaan oor trots, vol-mond musiek en ’n ervaring vir ons mense, in ons geliefde taal. Dit is ’n feesviering van jou gunsteling Afrikaanse kunstenaars op ’n verhoog wat meeding met enige internasionale konsert. Ons doel is om Afrikaans met musiek uit te bou en groot te hou.

Page Title This is a Paragraph. Click on "Edit Text" or double click on the text box to start editing the content and make sure to add any relevant details or information that you want to share with your visitors. Small Title This is a Paragraph. Click on "Edit Text" or double click on the text box to start editing the content and make sure to add any relevant details or information that you want to share with your visitors. Small Title This is a Paragraph. Click on "Edit Text" or double click on the text box to start editing the content and make sure to add any relevant details or information that you want to share with your visitors. Small Title This is a Paragraph. Click on "Edit Text" or double click on the text box to start editing the content and make sure to add any relevant details or information that you want to share with your visitors.

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 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

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...

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. 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 VISIT OUR OTHER GREAT WEBSITE AND ENJOY . RISEING MOTOR CLASSICS View More View More SOUTH AFRICAN TOURS View More DISCO NIGHT & SCHLAGER NIGHT ON A WEEK END Our Programs View More Live Shows Learn More Podcasts View More Get to Know Us View More OUR RADIO STATIONS 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 WELCOME & TUNE-INTO ONE OF OUR RADIO SERVERS TO LISTERN TO OUR RADIO STATION. RADDIO Radio Kuasark Radio Garden What Our Listeners Say “I love listening to Radio SAM Broadcaster Germany! They always play the best music and the DJs are so friendly and knowledgeable.” Andreas Dezius as DJ nighthawk "Radio SAM Broadcaster Germany is my go-to for discovering new music. They have a great selection of shows and podcasts that keep me coming back for more." Dj Herbert Auto DJ 24/7 when Djs Offline "Radio SAM Broadcaster Germany is the best! I always tune in to their live shows and podcasts. The DJs are amazing and the music is always on point." Dj Herbert Auto DJ 24/7 when Dj Offline BACK TO TOP

Radio SAM Broadcaster Germany - Our Programm when we Broadcasting Hours... Mondays to Fridays DJ HERBERT 24/7 Top Mixed Music Friday DJ Nighthawk 19h30 till 22h00 Afrikaans Music and Germany Schlager Music Saturdays DJ Nighthahwk 19h00 till 21h30 German Schlager Music - Afrikaans Music - Oldies But Goldies Music Music Music to Enjoy were ever you go,your Internet Radio Stations Our Tune-In Downloads for PC for Phone and Ipad. And to Share with friends and Family... Welcome to Radio SAM Broadcaster Germany! We are dedicated to bringing you the best music experience possible. Our platform is designed to make sure you never miss out on your favorite artists, and discover new ones. Click here to start exploring our wide range of music genres, and customize your own playlist today! Radio SAM Broadcaster Germany - Your Ultimate Music Companion Discover Your Unique Music Taste At Radio SAM Broadcaster Germany, we understand that music is personal. That's why we offer a variety of music genres for you to explore, from classic rock to modern pop, and everything in between. Discover your unique music taste today and let us be your ultimate music companion. Professional Music Curation Our team of professional music curators works tirelessly to bring you the best music experience possible. We carefully select each track to ensure that our platform is always up-to-date with the latest hits and hidden gems. Trust us to provide you with the best music curation service around. Peace of Mind Guaranteed At Radio SAM Broadcaster Germany, we strive to provide you with peace of mind. Our platform is user-friendly, reliable and always up-to-date. With us, you never have to worry about missing out on that amazing event or concert again. Let us take the hassle out of finding out where your favorite artist is performing. BACK TO TOP

We Advertise Singers Our Partner Singers We are pleased for your interest in advertising with us. Its now possible to advertise with Radio SAM Broadcaster Germany and Radio SAM Germany based on the following formats ( Both Image and Text Ads ): >>>> Large Leaderboard (970×90) >>>> Wide Skyscraper (160×600) >>>> Large Rectangle (336×280) Its fairly easy to submit your Ads on Radio SAM Broadcaster Germany and Radio SAM Germany , the only thing that is required for this is a Google Adword account.You can always sign up for such an account by Clicking Here. Through this process your Ads can go live in our site with the minimum amount of trouble, without requiring any head scratching Ad setup procedure. In short, after you are done completing you Ad,just get to the step that says “Target Your Ad”, click the “list URLs” radio button,enter “Radio SAM Broadcaster Germany and Radio SAM Germany” and after that you need to click on the “Get available placements” option.Finally by completing the requiring steps, you should be able to Advertise with us. Feel free to tips us with your valuable suggestions on improving the overall experience of Radio SAM Broadcaster Germany and Radio SAM Germany. Contact Us. A bout My Self and my Music...ANTON THOMAS , gebore 1979 in die Suidelike Deel Van Gauteng. Anton het n passie vir sang ontwikkel van n baie jong ouderdom waar hy gesing het in die Turfontein Laerskool as eerste supraan vir 5jaar. Nadat Anton metrikileer het in HOËRSKOOL LINDEN in 1996, het hy sy sang passie weer aangepak nadat hy nerens anders in gepas het nie. Musiek is Anton Thomas se eerste liefde en is sy ware passie as lobaan. Anton het al reg oor die land sy stem laat hoor en is n natuurlike liedjie skrywer, met n GROOT stem. Anton Thomas is n liefdevolle mens en is baie friendelik, behalwe as dit kom by mense wat haatig teenoor die natuur, of mense en kinders kom. Anton Thomas het goei morele waardes en is maklik om mee oor die weg te kom . Oor die algemeen is Anton n kunstige mens, hy hou daarvan om nuwe idees mee verendag te kom. Hy hou van teken, huise ontewerp, tuinmaak, om plante te kweek, veral vrugte boome, en Anton isb aie lief vir die natuur. Anton Thomas was op verskei geleenthede op TV saam met advertensies, en bekende afrikaanse seriese. Anton Thomas het ook advertensies gedoen met sy Goue stem vir Brittos, Sibino's, radio stings ens. Anton Thomas is baie passievol en erenstig oor sy sang lobaan, en is n man wat op staat gemaak kan word. SY WOORD IS SY EER. Die Johannesburg se sanger Anton Thomas se nuutste enkelsnit Soms is ‘n liedjie met ‘n country-skop, maar dit beweeg weg van die meer tradisionele klanke en die resultaat ‘n pure rock/country-plesier. Anton Thomas Met dié liedjie het Anton probeer om verskillende genres te meng. “Ek is mal oor country en ek hou ook van sekere elemente van rock. Ek dink het ek daarin geslaag om met ‘n splinternuwe klank vorendag te kom,” vertel hy. Anton, wat bekendheid verwerf het toe hy aan Patricia Lewis se Supersterre deelgeneem het,saam met talle optredes in kuier plekke,troues en funksie, skryf sy eie liedjies, en Soms , verduidelik hy, is gegrond op emosies wat net in liedjies tot uiting gekom het. Soms is ‘n persoonlike liedjie wat handel oor die swart tye waardeur hy in sy eie lewe moes worstel. Soms is ook in verskeie opsigte ‘n liefdesliedjie. “Dit is ‘n liedjie waarna paartjies kan luister en tevrede voel dat hulle saam die storms trotseer het.” Die titel van die liedjie Soms het ‘n denotatiewe en konnotatiewe betekenis: eerstens, dui dit op die letterlike betekenis dat ‘n vrou soms nie goed genoeg voel vir ‘n man nie en dan ook die omgekeerde. Tweedens, is dit ‘n metafoor wat ‘n platform skep vir ‘n paartjie om hulle gevoelens uit te beeld. Anton beskou homself as ‘n liefdesliedjie skrywer.“My liedjies handel meestal oor situasies, emosies en omstandighede binne ‘n liefdesverhouding. Ek poog altyd om liedjies te skryf wat die positiewe kant van die liefde uitbeeld, en nie die negatiewe nie. Ek glo dat God liefde is, en ek glo ook dat die liefde ‘n werklike teenwoordigheid van God is.” Hy sê die meeste van sy kreatiewe idees word in die vroeë oggendure gebore. “Dit is emosies wat in woorde uitgebring word. Ek sing dit sonder dat ek weet wat die volgende noot of woord gaan wees. Ek neem die rou weergawes op en verwerk dit dan totdat dit reg voel.” Anton, wat homself bedags besig hou met navorsing oor kriptovaluta, het bykans ‘n dekade gelede sy toetrede tot die Suid-Afrikaanse musiekbedryf gemaak. Verskeie liedjies waaronder die gewilde Bokke Bo, wat goed deur plaaslike radiostasies en luisteraars ontvang is, het uit sy pen verskyn. Daar het nog nie ‘n vollengte-album uit die Thomas-stal verskyn nie, maar Anton sê hy het genoeg liedjies vir twee albums. “As die tyd reg is, sal daar wel ‘n album verskyn,” knipoog hy. Anton vertel spottenderwys dat sy musikale rolmodel nog altyd Elvis Presley was. “Mense het my egter Elvis begin noem. Ek weet hulle het dit as kompliment bedoel, maar ek wil net Anton Thomas wees. Niemand anders nie.” SOMS is ‘n radiovriendelike luisterliedjie wat by oud en jonk sal byval vind. Anton se stem is diep en ryk en dit is ook waarom hy perfek binne die liefdesliedgenre pas. Anton Thomas kan bereik word op . Facebook https://www.facebook.com/AntonThomasTOP Youtube en vele ander sosiale netwerke Kontak Anton Thomas: +27628115161 anthonthomasfull@gmail.com Anton Thomas is te ondersteun deur: BRANDMERK EN ONTWERP MET And Many More Artists from Germany and South Africa Christina Betz. Wenn nach Jahren die Beziehung plötzlich endet, ist das die beste Gelegenheit die Gefühle in einem Song zu verarbeiten.Auch wenn es für Christina schwer war den Song zu veröffentlichen, da dieser alle Enttäuschung, Selbstzweifel, Trauer und auch Wut über das unerwartete Aus der Beziehung behandelt, war dieser Schritt wichtig um sich frei zu machen.Die Sängerin sagt selbst zu dem Titel:„Es hat also etwas Mut gebraucht das öffentlich zu machen.Da aber fast jeder Mensch schon solch eine Erfahrung im Leben machen musste, wollte ich damit sagen dass es immer weiter geht im Leben und Anderen damit Trost zu spenden und natürlich auch Mut zu machen. Man muss sich neu sortieren und weitermachen. Also nie vergessen ….das Leben geht weiter und bleib wo du bist….“Die Musik begleitet die Künstlerin schon ihr ganzes Leben und war immer für sie da. Aus einer kindlichen Leidenschaft wurde ein Hobby, welches durch Unterricht und Training bald zu den ersten Songs führte.Die Melodie wurde von der Berliner Musikerin Bernadette La Hengst inspiriert und der Text stammt von Christina Betz. Anton Thomas gebore 1979 in die Suidelike Deel Van Gauteng. Anton het n passie vir sang ontwikkel van n baie jong ouderdom waar hy gesing het in die Turfontein Laerskool as eerste supraan vir 5jaar. Nadat Anton metrikileer het in HOËRSKOOL LINDEN in 1996, het hy sy sang passie weer aangepak nadat hy nerens anders in gepas het nie. Musiek is Anton Thomas se eerste liefde en is sy ware passie as lobaan. Anton het al reg oor die land sy stem laat hoor en is n natuurlike liedjie skrywer, met n GROOT stem. Anton Thomas is n liefdevolle mens en is baie friendelik, behalwe as dit kom by mense wat haatig teenoor die natuur, of mense en kinders kom. Anton Thomas het goei morele waardes en is maklik om mee oor die weg te komI'm a Music Artist with a passion for good meaningful music, making a good difference in peoples lives is my first priority in life, contact me on (+27)62 811 5161 or find me on Facebook KayCee(Karla Christene) Karla Christene is a 22 year old singer from Bellville, Western Cape, South Africa. She started singing lessons at the age of 5 and won her first competition at the age 6. She entered and won numerous singing competitions throughout the years until the last one she did in 2012 - which she won and was also overall winner of the competition. In 2011 she launched her debut cd, “Amper Daar” (translated to "Nearly there"). It had her favourite cover songs as well as 4 originals on. The song that became an immediate hit was “Blou-oog engel” (translated to "Blue eyed angel"). Her fans started calling her the “Blou-Oog Engel” – because of her beautiful blue eyes and loving, caring personality. Karla Christene launched her 2nd CD - Eerste liefde (translate to "First love") on 7 March 2015. This was also the name of her tour to Belgium (18 - 30 March) where she will introduced the cd. The title song was 9th on the HOSA Radio's Top100 for 2014. Since 2012 Karla Christene is a full time/professional singer. She shared the stage with many of South Africa's top performers i.e. Blackie Swart, Wynand & Cheree, Manie Jackson, Matt Hurter, Mark Haze and also most of the local super stars i.e. Desmond Wells, Hugo Nieuwoudt etc. Coenie Claassen Coenie de Villiers has changed the landscape of South African music and in particular Afrikaans music over the past 40 years. His first recording (an own composition for EMI and released in 1978/9) won a SARIE Award and the originality of the song foreshadowed what has become one of the most radical and important creative careers in South African music. FOUR DECADES His career has subsequently spanned nearly four decades and nearly 20 albums of his own material, garnered three SAMA awards and numerous other accolades, including the medal of honour by the South African Council of Arts and Sciences. His creative work and recordings have been banned by the previous regime, but he has consistently broken down barriers in the face of adversity and shunned commercial credit in the process. Coenie has performed in Canada, England, Holland, Belgium and New Zealand. Artists who have appeared with him and worked with him on his critically-acclaimed albums include Dave Koz, Jonathan Butler, Hugh Masekela, Sibongile Khumalo, Sipho Gumede, Amampondo, Gloria Bosman, David Kramer, Robbie Jansen, Basil “Mannenberg” Coetzee, and a plethora of the greatest names in quality Afrikaans music, including Karen Zoid, Laurika Rauch and Kurt Darren. His previous album, Hart van Glas (Heart of Glass) reached gold status and was critically acclaimed. His opera Maximilan (with lyrics by John Jackson) was performed in Austria in 2009 as part of the Klagenfurt Summer Festival. Chrissie Rossouw Chrissie Rossouw aka Chrissie Kletz, Vocal artist, Songwriter and Composer, Radio Presenter, Sound, and Film Producer. Co-Owner of Angel Music Studio Productions. Chrissie Rossouw is a country music singer, director, video editor, songwriter and radio DJ from Potchefstroom, South Africa. Rossouw grew up in a rural village called Koster in North West. Her love for music was deeply rooted in her childhood but her music career only got shape and kicked off when she married Phillip Rossouw, a keen musician who had been involved in many different projects. She released her debut album 'Pappa se Meisiekind' that featured Ray Dylan, Andries Botha and Deon Vd Merwe, Renaldo Taute, Sez Adamson, Denny Laloutte and Vinnie Henrico. Rossouw is the co-owner of a production house called Angel Music Studio Productions, a company that specialises in audio, video and broadcast productions. Rossouw was also the production leader of two successful television series of 13 episodes each titled 'Die Ekstra Myl' and 'Springbok stories' that broadcast on Kyknet. Rossouw and Martiza joined forces and released their first country Gospel album and DVD, with 12 tracks and 12 music videos called 'Gospel From The Heart'. Magdel Spanellis I am a singer and performer in Cape Town South Africa, and live in a small town called Gansbaai. Music is my passion and I cannot wait for the world to hear my music. I love entertaining and performing live. There is just nothing that makes my heart beat faster than performing and connecting with people on a different level.... a spiritual level because I believe music touches the soul. This is what I love doing, I love touching souls and if that means I can do what I love most and still be able to do what I am destined to do then my life if complete...... This is only the beginning, and I am looking forward to my future in the music industry.... yes there is a new girl on the block and her name is Magdel Spanellis..... BE PART OF MY JOURNEY! I am available for bookings, you can send me an email to selectaccomtourism@gmail.com Sàmy Viviers OUR STREAMS RADIO OLDIE-ROCK RADIO COUNTRY WORLDWIDE RADIO AFRIKAANS STUDIO BOEREVOLK STEREO RADIO SAM GERMANY RADIO SAM BROADCASTER GERMANY RADIO INTERNATIONAL MUSIC RADIO EENDRAG GERMANY RADIO SAM STEREO RADIO VOORTREKKER STEREO RADIO SAM MUSIC CLUB RADIO SPRINGBOK GERMANY RADIO GBM-LIVE GERMANY RADIO AFRIKAANS STEREO OUR PARTNERS RADIO EENDRAG NAMIBIA MRPTV-LIVE GERMANY ZENO ONLINE RADIO BOX STREEMA LIVE ONLINE RADI OUR BLOGGER RADIO OLDIE-ROCK RADIO COUNTRY WORLDWIDE RADIO AFRIKAANS STUDIO BOEREVOLK STEREO RADIO SAM GERMANY RADIO SAM BROADCASTER GERMANY RADIO INTERNATIONAL MUSIC RADIO EENDRAG GERMANY RADIO SAM STEREO RADIO VOORTREKKER STEREO RADIO SAM MUSIC CLUB RADIO SPRINGBOK GERMANY OUR WEBSITES RADIO OLDIE-ROCK RADIO COUNTRY WORLDWIDE RADIO AFRIKAANS STUDIO BOEREVOLK STEREO RADIO SAM GERMANY RADIO SAM BROADCASTER GERMANY RADIO INTERNATIONAL MUSIC RADIO EENDRAG GERMANY RADIO SAM STEREO RADIO VOORTREKKER STEREO RADIO SAM MUSIC CLUB About RADIO SPRINGBOK GERMANY ADVERTISEING OUR TEAM OUR RADIO STATIONS OUR PROGRAMM BACK TO TOP

Next Page Site Maps RADIO PARTNERS Explore Radio Partnership How it Works Success Stories Connect With Us Let’s Partner In the dynamic Internet radio, the role of media partners is pivotal in fortifying the strength and impact of a nonprofit station. Collaborations with media partners extend the reach of our message, amplify our community’s voice, and foster meaningful connections. By joining forces with like-minded organizations, we enhance our ability to engage, inform, and inspire. These partnerships empower us to navigate the ever-changing media with resilience, ensuring that our nonprofit radio station remains a vibrant hub of local expression and connection. Radio SAM Broadcasting Studio Germany, Radio works with and can be seen or heard through multiple outlets and through the World. View our affiliations and partnerships here. Click Here Welcome! You’ve been given an amazing platform. Your radio station influences more people in a week than the largest in your city. How are you using the platform given you? What if you could influence your audience to think more globally ? And to see the world the way sees it? What if you could encourage your audience members to sponsor ? You’re invited to join Radio SAM Broadcasting Studios Germany . We work with radio stations Servers around the nation in mutually beneficial partnerships to create radio events that will minister to your audience in a powerful way and help find caring sponsors ! Become a Radio Partner Today! Please fill out the form below. One of our Engagement Leads will contact you. How it Works Your radio audience comes to you for music, and growth. Radio SAM Broadcasting Studios Germany event will accomplish all of that. We’ll work with your air team and your format to share your station’s heart for reaching the world. Together, we’ll discover the point where vision intersect to give a bright future! Radio SAM Broadcasting Studios Germany are 7-day on-air events with the theme One Moment for Radio SAM Broadcasting Studios Germany . We will send a Radio SAM Broadcasting Studios Germany representative to the station for your event and provide your station with every piece of audio production you will need, fully customized to your station, including; fully-produced sweepers and imaging, compelling audio pieces that feature radio theatre, and social and digital resources. Our radio partners tell us that we offer some of the most compelling audio they have ever heard, the easiest campaign to execute, and a truly fun and meaningful event that is unforgettable and moving. Be inspired by these comments from listeners! Listen to audio samples of One Moment for Radio SAM Broadcasting Studios Germany Samples are with music bed; for use with Live Announcer. . Together, we are hope builders, moving forward with courage toward a beautiful future we know is possible. We see poverty being defeated. We see young people thriving. And we celebrate all of it. YOU are invited to join us on this exciting journey! Success Stories “Working with Radio SAM Broadcasting Studios Germany has been fantastic because they understand partnership. It’s not about the numbers. It’s not about the money. It’s about relationship and partnership between each other, between the radio station and its audience, and between the listeners and Viewers.” IF YOU LIKE OUR RADIO STATION JOIN US TODAY Let's Go BACK TO TOP

OUR POLLS 2 Polls to click on below to take your Votes. Thankyou and Enjoy our Voteing Polls 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 . The most prolific composers of "tiekie draai" Afrikaans music were lyricist Anton De Waal who wrote many hit songs with songwriters, pianist Charles Segal ("Hey Babariebab Se Ding Is Vim", "Kalkoenjie", "Sy Kom Van Kommetjie" and many others) and accordionist, Nico Carstens . Bushveld music based on the Zulu were reinterpreted by such singers as Marais and Miranda . Melodramatic and sentimental songs called trane trekkers (tearjerkers) were especially common. In 1973, a country music song won the coveted SARI Award (South African Music Industry ) for the Song of the Year – "My Children, My Wife" was written by renowned South African composer Charles Segal and lyricist Arthur Roos . In 1979 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 Anton Goosen , David Kramer (singer) , Koos du Plessis , Fanie de Jager , Flaming Victory and Laurika Rauch . Afrikaans music is currently one of the most popular and best selling industries on the South African music scene. Welcome to Radio SAM Broadcaster Germany Polls, where we bring you the ultimate showdown of South Africa's most famous Afrikaans singers! As the home of thousands of polls and rankings on diverse topics, we invite you to join in on the excitement and cast your vote for the most iconic voice that resonates with your soul. From heartfelt ballads to foot-tapping rhythms, these Afrikaans artists have captivated audiences and left an indelible imprint on the music scene. So, don't miss your chance to make a difference in this melodious battle! Dive into our ranking of "Who is the most famous Afrikaans singer in South Africa?" and be a part of the melodic journey. Don't see your favorite artist on the list? Don't fret! You can always suggest a missing option and rally support for your preferred musical maestro. Let's celebrate the rich tapestry of Afrikaans music together! SOUTH AFRICAN SINGERS To play, press and hold the enter key. To stop, release the enter key. More information on most famous afrikaans singer in south africa Afrikaans music is a vibrant and integral part of South Africa's cultural landscape. With its roots in the Dutch language and the country's colonial past, Afrikaans music has evolved into a unique genre that blends traditional folk music with contemporary styles. In recent years, there has been a surge of interest in Afrikaans music, with a growing number of talented singers and musicians gaining popularity both locally and internationally. One of the most prominent figures in the Afrikaans music scene is the legendary singer, songwriter, and composer, Steve Hofmeyr. With his powerful voice and emotive lyrics, Hofmeyr has captured the hearts of millions of fans across South Africa and beyond. However, there are several other talented Afrikaans singers who have made a significant impact on the music industry, and the question of who is the most famous Afrikaans singer in South Africa is a subject of much debate and discussion. Link to the Page BACK TO TOP

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

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 German Hits German Hits Video abspielen Teilen Ganzer Kanal Dieses Video Facebook Twitter Pinterest Tumblr Link kopieren Link kopiert Video suchen... Wird abgespielt Marina Marx - Steh auf und leb 03:30 Video abspielen Wird abgespielt DISCO SCHLAGER 2024 💖 Hit Mix 01:26:45 Video abspielen Wird abgespielt My live stream 00:00 Video abspielen 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

Music Links WELCOME To Radio SAM Germany: A South African German Music Homepage based with a Online Music Radio Station Radio SAM Germany ,that is stationed in Germany ,and is also a South African Music Time shareing Homepage to share with People all around the World for Young and Old,It was founded in March 2014 in Germany. The Facebook Group was founded at the same time - South African Music, then got bigger and greater with our supporters ,friends and also visitors .Youtube Videos that we were shareing through Youtube . In April 2014 the Google Blogger was openened ,through the high visit of friends and visitors, Online around the world and Thankyou to our supporters AND FRIENDS We are Great Radio Station, With alot of Good Music ,and Great Websites and Partners we would like to Share for all Music Lovers. The Radio Station and, myself , We exploring the worldwide web of unknownment. We have a heart of love and an interest of Partners. We would want to share on our Website with you. . Country Music Links https://holler.country/playlists/the-best-60s-country-songs/ Oldies but Goldies Links https://springbok.bandcamp.com/album/springbok-hit-parade-7 Rock Music Links https://www.terrasound.de/musikkatalog/ German Music Links https://open.spotify.com/intl-de/album/3XzYl9w9eoxbJjd4IBqjQC Disco Music Links https://www.disco.ac/ Oldies Music Links https://www.thepeoplehistory.com/80smusic.html Country Music Links https://holler.country/playlists/the-best-60s-country-songs/ 60s - 2024 Music Links https://www.internet-radio.com/stations/dance/ Boere Music Links https://www.youtube.com/playlist?list=PLTuKswLYHiXkRhYoYpU451fQNYZJDIksf Radio SAM Germany Radio Springbok Germany Radio sam Germany face book International Music Live Radio Facebook Dj Nighthawk Entertainment Facebook Riseing Motor Classics Homepage Riseing Southernstar -Africa Truck Drivers Worldwide Boerevolk staan saam BACK TO TOP

Music Information Music Played in the 1980's Popular Music From the 80s Music Played in the 1980's Popular Music From the 80s Music Styles, Bands And Artists during the 1980's Music in the 1980s was all about image and with the advent and popularity of MTV, the images that accompanied artists became more important than ever. When it came to music during the decade, nothing was understated, not the sound, not the fashion, not even the charity . The 1980s reflected the beginning of a period of great income disparity and a focus on affluence was reflected in the music. There were also several new genres that popped up including, Hip Hop, New Wave and Hair Metal, all of which have influenced music today. Popular Music Genres of the 1980's Pop Musicians Madonna, Cyndi Lauper, Prince, Michael Jackson, Don Henley, Tiffany, Janet Jackson, Whitney Houston, Lionel Richie, Cher, John Mellencamp, New Kids on the Block, Hall & Oates, David Bowie, Bruce Springsteen, George Michael, Debbie Gibson, Wham! -- Hip Hop / Rap Musicians Run DMC, Beastie Boys, Grandmaster Flash, Africa Bambaata, LL Cool J, Kurtis Blow, Salt-n-Pepa, Boogie Down Productions, Public Enemy, Biz Markie, Eric B. & Rakim, Ice-T, NWA, Jungle Brothers, Gang Starr -- New Wave Musicians Culture Club, Duran Duran, Devo, A Flock of Seagulls, Blondie, Talking Heads, The Cars, Spandeau Ballet, The Pretenders, Elvis Costello, The B-52s, The Go-Gos, The Beat, Soft Cell, Depeche Mode, The Police, The Clash, Billy Idol, The Cure, The Bangles Hair Metal Musicians Van Halen, Poison, Twisted Sister, Motley Crue, Warrant, Cinderella, Europe, Guns n' Roses, Skid Row, Metallica, Anthrax, Ratt, Pantera, Bon Jovi, Whitesnake, Quiet Riot, Iron Maiden, Ozzy Osbourne, Def Leppard, Aerosmith MTV Arguably the most important event to influence music during the 1980s was the creation of the cable network MTV (Music Television). MTV was the first network to exclusively showcase music videos, making its debut on August 1, 1981. The first music video to be played on the channel was, appropriately, the Buggles' "Video Killed the Radio Star," as music would forever change and the focus would shift from music and lyrics to fashion and theatrics, at least in the world of pop music. The original concept of the network was to play music videos twenty-four hours a day, every day. And, while this has obviously changed since then, the innovative concept created a whole new breed of pop star. New Pop Superstars Pop stars and their music changed in the 1980s with the help of MTV and a greater focus on image. A new breed of mega-stars emerged, becoming iconic mascots for the genre and defining the decade through fashion, talent and persona. Some of the superstars to emerge were Madonna, Michael Jackson, Whitney Houston and Prince. They experienced a level of fame and success not seen since Elvis Presley and the Beatles. These stars influenced fashion through their music videos, giving fans a first hand glimpse into emerging trends. Their songs set the gold standard for what pop music should be, and through constant reinvention they were able to navigate the pop culture world and keep themselves relevant. Thirty years on, they are still the standard that today's pop stars get compared to. There are several reasons they these pop mega-stars emerged, the main one being they were genuinely talented artists. Other reasons include a greater public interest in celebrity gossip, fashion and and increased obsession with pop culture. It also was related to the public having an increased disposable income and a want to imitate celebrity affluence. Changes in technology also contributed to the availability of music (MTV), better ways to listen (CDs and cassettes), and portability of music (the Walkman and boom-boxes). Lastly, a lot of these superstars' success can be accounted for through smart marketed by record companies and the artists' ability to look at themselves as brands. Old Pop Stars and Their New Solo Careers One trend in pop music during the decade was the re-emergence of older musicians who had once been popular as a part of a group or duo into their own solo careers. Some examples include Diana Ross, Cher, Lionel Richie, Tina Turner and Paul McCartney. These artists had already experienced success during the 1960s and 1970s and a few of them had even tried becoming actors during that time. They also came into successful solo careers after adapting to the new musical landscape. Cher, Tina Turner and Diana Ross all updated their looks to keep up with fashion, Lionel Richie made memorable music videos and adapted his soulful sound into the new style of pop music and Paul McCartney collaborated with other successful musicians to keep himself relevant. Part of the reason these artists were successful had to do with the fact that the Baby Boom generation was coming into adulthood and had an influx of disposable income to spend on the records of artists they had grown up listening to. They brought a sense of nostalgia for the good old days of music and yet their songs and styles were updated, combining the best of both worlds. One Hit Wonders The eighties was the decade of one hit wonders, where an artist would achieve massive success with one or two extremely popular songs and then seemingly fade away, never able to re-create their success. Part of this had to do with the expansion of the music industry, facilitated by MTV and technology. Record companies could now make just as much money by manufacturing one-hit artists in succession while not having to invest the time and money that would make a mediocre musician into a star with more longevity. Trends were also changing more quickly and many artists could not keep up and adapt fast enough. As the world's society became more globalized, the pool of talent became bigger, making it easier to move onto the next new artist. The changes in technology and societal attitudes also meant that consumers' attention spans got shorter. Some of the most memorable one hit wonders from the decade include, a-ha's "Take On Me," Soft Cell's "Tainted Love," Toni Basil's "Mickey," Nena's "99 Luftballoons," and Dexy's Midnight Runners' "Come On Eileen." Hip Hop & Rap Hip Hop/Rap music originated in African American communities in New York City in the 1970s and became more mainstream and part of popular culture in the mid to late 1980s. Hip hop music originally had a difficult time breaking into the mainstream due to MTV's reluctance to show music videos of black artists. After much criticism, the network started to embrace black musicians like Michael Jackson, whose videos were amongst the most popular, paving the way for hip hop artists like Run DMC and LL Cool J to usher in the era of commercialized rap music. As the genre gained traction on MTV, it gave the white middle class a glimpse into inner city culture and many conservative parents of the time were disapproving of the genre that had been called the "new rock n' roll." Key elements of the genre include sampling old records, rapping lyrics, fun sounds with an underlying message, beat-boxing and electronic sounds. Hip hop music sounded like nothing that had been heard before in mainstream music and the late 1980s was thought of as the Golden Age, were everything seemed original and innovative. By the end of the decade MTV started airing the program "Yo! MTV Raps" making the hip hop and rap music a global phenomenon. Important hip hop acts like Run DMC and LL Cool J made the genre commercial and were style icons, the Beastie Boys made the music "white friendly" and added elements of rock music, and Salt-n-Pepa were female pioneers of the genre. New Wave The New Wave genre began in the 1970s and was popular until the mid-1980s. The focus of this music was on artistic themes and the sound was tied to punk rock, dance music, synthesizers and other electronic instruments. New Wave eventually became tied to pop music as music videos from the genre were heavily promoted on MTV. The term "New Wave" is meant as an all encompassing term that allows a variety of highly diverse artists to fit into the same category. Some artists had a futuristic sound while others were closer to punk rock. New Wave bands and artists had an impact on fashion with their unique clothing and hairstyles that the youth culture would adopt. Many of the decades one hit wonders fell into this genre. Some of the definitive New Wave bands were Duran Duran, Blondie, Billy Idol, the Talking Heads, and Culture Club. Hair Metal Hair Metal had its roots in the 1970s Glam Rock. Popular bands in the genre often came from the L.A. Sunset Strip music scene and the United Kingdom. Hair metal bands would pull influences from heavy metal, punk rock, and traditional rock music to develop their sound. Lyrically, songs had catchy hooks and a pop sensibility. Songs were often party anthems or power ballads and would focus on themes of being an outlaw, drugs and women. Groups from this genre were called "Hair Bands" because members of these male-dominated bands would often have long and big-styled hair and would wear makeup and spandex clothing, creating an androgynous look. Bands in this genre fell on large spectrum from being almost pop music/soft rock to a heavier and grittier sound and nearly all of them had a flamboyant and outgoing lead singer. Hair metal bands were also associated with a hard-partying lifestyle, groupies and drug-use. Notable hair bands from the decade include Bon Jovi, Van Halen, Aerosmith, Def Leppard, Guns n' Roses, and Poison. Charity Music As many pop stars became excessive and affluent during the eighties, they wanted to show that they could be generous and have a serious purpose by taking up causes. The best way for many of them to do so was to create or contribute to charity concerts and recordings. These were bigger and better than ever during the decade and there were plenty of causes from which to choose. Musicians would organize these songs and televised concerts and contribute the profits to the cause. Others would hold the concerts solely to increase public awareness of an issue. Bob Geldof's "Band Aid" super-group recording of "Do They Know It's Christmas?" and subsequent "Live Aid" concert were amongst the most memorable and arguably the largest of these charitable events. Both Band Aid's recording and Live Aid's July 13th, 1985 concert aimed at raising funds for victims of famine in Ethiopia. The group featured mainly British artists which would influence its American equivalent, USA for Africa, created by Michael Jackson and Lionel Richie. USA for Africa recorded the charity song "We Are the World" and their May 25th, 1986 benefit was called "Hands Across America," both aiming to raise money for victims of famine, poverty and homelessness in African countries. Another notable musical charity event during the decade was hosted by Willie Nelson, John Mellencamp and Neil Young. It was held on September 22nd in 1985 and was called Farm Aid. The concert was held to raise money for struggling farmers in the United States. There were various other charitable events formed by musicians in the 1980s and the enduring popularity and seemingly effective outcomes of these events have made them a lasting fixture in public charity. Hits From The 1970s 1970 - Close to You - The Carpenters, (-) American Woman - The Guess Who, (-) I’ll Be There - The Jackson 5, (-) War - Edwin Starr, (-) Let It Be - The Beatles, 1971 - Joy to the World - Three Dog Night, (-) Maggie May - Rod Stewart, (-) My Sweet Lord - George Harrison, (-) It’s Too Late - Carole King, (-) Imagine - John Lennon, 1972 - Lean On Me - Bill Withers, (-) School’s Out - Alice Cooper, (-) Heart of Gold - Neil Young, (-) Let’s Stay Together - Al Green, (-) American Pie - Don McLean, 1973 - Bad, Bad Leroy Brown - Jim Croce, (-) You’re So Vain - Carly Simon, (-) Let’s Get It On - Marvin Gaye, (-) Crocodile Rock - Elton John, (-) Superstition - Stevie Wonder, 1974 - The Way We Were - Barbra Streisand, (-) Jungle Boogie - Kool and the Gang, (-) The Loco-Motion - Grand Funk Railroad, (-) Band On the Run - Wings, (-) Come and Get Your Love - Redbone, 1975 - Shining Star - Earth, Wind and Fire, (-) Rhinestone Cowboy - Glen Campbell, (-) Fame - David Bowie, (-) Lady Marmalade - Patti LaBelle, (-) Black Water - Doobie Brothers, 1976 - Bohemian Rhapsody - Queen, (-) Dancing Queen - ABBA, (-) Love to Love You Baby - Donna Summer, (-) You Should Be Dancing - Bee Gees, (-) More Than a Feeling - Boston, 1977 - Hotel California - Eagles, (-) Best of My Love - The Emotions, (-) Car Wash - Rose Royce, (-) Go Your Own Way - Fleetwood Mac, (-) You Light Up My Life - Debbie Boone, 1978 - Stayin’ Alive - Bee Gees, (-) YMCA - The Village People, (-) Baker Street - Gerry Rafferty, (-) Three Times a Lady - The Commodores, (-) Just the Way You Are - Billy Joel, 1979 - Le Freak - Chic, (-) Hot Stuff - Donna Summer, (-) Heart of Glass - Blondie, (-) My Sharona - The Knack, (-) I Will Survive - Gloria Gaynor Hits From The 1960s 1960 - The Twist - Chubby Checker (-) It’s Now or Never - Elvis Presley (-) Georgia On My Mind - Ray Charles (-) Cathy’s Clown - Everly Brothers (-) I’m Sorry - Brenda Lee, 1961 - Stand By Me - Ben E. King (-) Blue Moon - The Marcels (-) At Last - Etta James (-) Runaway - Del Shannon (-) The Lion Sleeps Tonight - The Tokens, 1962 - Love Me Do - The Beatles (-) Sherry - The Four Seasons (-) Surfin’ Safari - The Beach Boys (-) The Wanderer - Dion (-) Soldier Boy - The Shirelles, 1963 - Louie Louie - The Kingsmen (-) It’s My Party - Lesley Gore (-) Ring of Fire - Johnny Cash (-) Hey Paula - Paul & Paula (-) She Loves You - The Beatles, 1964 - Twist and Shout - Chubby Checker (-) Oh, Pretty Woman - Roy Orbison (-) You Really Got Me - The Kinks (-) House of the Rising Sun - The Animals (-) Where Did Our Love Go - The Supremes, 1965 - Satisfaction - The Rolling Stones (-) My Generation - The Who (-) Sounds of Silence - Simon & Garfunkel (-) My Girl - The Temptations (-) Like a Rolling Stone - Bob Dylan, 1966 - Good Vibrations - The Beach Boys (-) Eleanor Rigby - The Beatles (-) Wild Thing - The Troggs (-) Last Train to Clarksville - The Monkees (-) Mellow Yellow - Donovan, 1967 - Happy Together - The Turtles (-) For What It’s Worth - Buffalo Springfield (-) Light My Fire - The Doors (-) Respect - Aretha Franklin (-) Somebody to Love - Jefferson Airplane, 1968 - The Dock of the Bay - Otis Redding (-) Piece of My Heart - Janis Joplin (-) Hey Jude - The Beatles (-) Wonderful World - Louis Armstrong (-) Born to Be Wild -- Steppenwolf, 1969 - Sugar Sugar - The Archies (-) Aquarius - The Fifth Dimension (-) My Way - Frank Sinatra (-) Space Oddity - David Bowie (-) Sweet Caroline - Neil Diamond Hits From The 1990s 1990 - Vogue - Madonna, (-) Nothing Compares 2 U - Sinead O'Connor, (-) Ice Ice Baby - Vanilla Ice, (-) It Must Have Been Love - Roxette, (-) U Can't Touch This - MC Hammer 1991 - Losing My Religion - R.E.M., (-) Black or White - Michael Jackson, (-) Gonna Make You Sweat - C+C Music Factory, (-) Emotions - Mariah Carey, (-) Enter Sandman - Metallica 1992 - I Will Always Love You - Whitney Houston, (-) Smells Like Teen Spirit - Nirvana, (-) End of the Road - Boyz II Men, (-) Under the Bridge - Red Hot Chili Peppers, (-) Jump - Kris Kross 1993 - All That She Wants - Ace of Base, (-) Dreamlover - Mariah Carey, (-) That's The Way Love Goes - Janet Jackson, (-) What Is Love? - Haddaway, (-) Informer - Snow 1994 - All I Wanna Do - Sheryl Crow, (-) The Power of Love - Celine Dion, (-) I Swear - All-4-One, (-) Loser - Beck, (-) Zombie - The Cranberries 1995 - Gangsta's Paradise - Coolio, (-) Waterfalls - TLC, (-) Kiss from a Rose - Seal, (-) You Oughta Know - Alanis Morissette, (-) Take a Bow - Madonna 1996 - Wannabe - Spice Girls, (-) Macarena - Los Del Rio, (-) Killing Me Softly - The Fugees, (-) Wonderwall - Oasis, (-) Un-Break My Heart - Toni Braxton 1997 - Mmmmbop - Hanson, (-) Don't Speak - No Doubt, (-) Quit Playing Games - Backstreet Boys, (-) Men In Black - Will Smith, (-) Barbie Girl - Aqua 1998 - My Heart Will Go On - Celine Dion, (-) Believe - Cher, (-) The Boy Is Mine - Brandy & Monica, (-) Never Ever - All Saints, (-) Truly Madly Deeply - Savage Garden 1999 - Baby One More Time - Britney Spears, (-) Livin' La Vida Loca - Ricky Martin, (-) No Scrubs - TLC, (-) Genie in a Bottle - Christina Aguilera, (-) If You Had My Love - Jennifer Lopez Music Played in the 1990's Popular Music From the 90s Music Played in the 1990's Popular Music From the 90s Music Styles, Bands And Artists during the 1990's The musical era of the 1990s was one filled with a variety of pop, rap, and alternative music artists as well as a plethora of one-hit wonders. It was a time when musical taste was as varied as the events that were happening at the time. Many of the most popular acts that emerged in the 1990's were bands and artists who enjoyed a type of resurgence in the mainstream music scene after their popularity had dwindled for a decade or so. Other artists were just starting out during this decade and make a huge impact on the musical scene. The early years of the 1990s began with a surge in popularity for music genres like techno (often called dance or house music) and hip-hop that continued throughout the decade. Groups like Technotronic entered the Billboard charts with big hits like “Pump Up the Jam” and “Get Up (Before the Night is Over)”. Others will undoubtedly remember the hits from C+C Music Factory, including “Gonna Make You Sweat (Everybody Dance Now)” that is still a popular dance song at many of the dance clubs across the country. Similarly, the hip-hop music scene achieved popularity with artists like MC Hammer, Tone Loc, and Vanilla Ice. The subject matter that these artists chose to use in their music was as varied as their audiences. Popular Music Genres of the 1990's Grunge/Alternative Rock Nirvana Pearl Jam Soundgarden Sonic Youth The Pixies Alice in Chains Stone Temple Pilots Dinosaur Jr. Smashing Pumpkins R.E.M. Beck Hole Pop Divas Céline Dion Mariah Carey Whitney Houston Janet Jackson Toni Braxton Shania Twain Gloria Estefan Sade Madonna Sinead O'Connor Brandy Monica Golden Era Hip Hop Cypress Hill Ice Cube Snoop Dogg 2Pac Wu Tang Clan Jay-Z Nas Notorious B.I.G. Busta Rhymes Public Enemy Dr. Dre The Fugees Electronic Dance Music The Chemical Brothers Fatboy Slim Aphex Twin Deee-Lite Erasure The Prodigy Happy Mondays DJ Ron The Crystal Method Daft Punk Moby Paul Oakenfold Grunge/Alternative Rock Alternative rock music, and its sub-genres, dominated popular culture in the early to mid-1990s. The less commercialized music resonated with Generation X known for its nihilistic and cynical sensibilities. Grunge music in particular stood out in particular as an emblematic Nineties genre. Grunge can be described as a mixture of punk and heavy metal. It features a slower pace than punk, distorted guitars, heavy bass lines, dark and angsty lyrics, dissonance, terraced dynamics, and often a stop/start song structure. Also known as the "Seattle Sound," the genre has strong roots in the city's unique underground music scene from that era and specifically bands promoted by the Sub-Pop record label. The grunge scene drew inspiration from other more experimental alternative rock bands like the Pixies, Sonic Youth, Dinosaur Jr., and the Melvins. The most well-known examples of grunge bands are Nirvana, Pearl Jam, and Soundgarden. As grunge reached the mainstream, commercialization meant many bands adopted a similar but softer sound and imitated the looks of the scene. As with many music trends, fashion played an important role in establishing the popularity of the genre. Grunge had a specific look associated with long hair, flannel shirts, oversized clothing, ripped jeans, combat boots, and a generally disheveled appearance. While the grunge fashion is still popular, many music fans believed the genre faded with the tragic suicide of Nirvana's lead singer Kurt Cobain in 1994. Another popular sub-genre of alternative rock from the decade was what became known as "College Rock." College rock was a loosely defined genre that encompassed a variety of rock music styles that did not fit into the mainstream, similar to indie rock. Many of the bands shared similarities and were often more melodic than grunge and metal, but there was not necessarily a specific sound to define this genre. College rock evolved as a genre more so out of circumstances than a particular look or sound. These bands were often played at college radio stations, particularly in places like Athens, Georgia and Boston, Massachusetts. Some of the most well-known examples of college rock from the Nineties include R.E.M., Smashing Pumpkins, Red Hot Chili Peppers, Weezer, Jane's Addiction, Radiohead, Beck, and Pavement. Many of the bands that got their start on college radio stations would go on to experience massive mainstream success, becoming some of the most popular rock bands in the world. Pop Divas The Nineties was the decade of Pop Music Divas, these powerhouse singers with incomparable voices and dynamic stage presence dominated the decade. Spanning different genres, female singers like Whitney Houston, Céline Dion, Mariah Carey, Toni Braxton, Madonna, Cher, Brandy, Monica, and Janet Jackson dominated the carts. With her unique vocal range and talents as a songwriter, Mariah Carey was one of the top divas of the decade, breaking Billboard records and accumulating the highest accolades throughout the 1990s. In 1995, Carey became the first female artists to debut at number 1 on the Billboard Hot 100 with her single "Fantasy." Another tremendous talent, Whitney Houston dominated the decade. The gospel singer turned pop-star and dance hit maker is considered to be one of the greatest vocalists of all time. She saw huge success in 1992 with her version of Dolly Parton's "I Will Always Love You" a song from the soundtrack of her film debut, The Bodyguard. Céline Dion, only rivaling Carey and Houston in terms of success, was another 1990s pop diva with a unique voice. Dion is known for her power ballads, in particular the 1997 hit "My Heart Will Go On" from the film Titanic. After her the start of her career in the 1980s as part of the Miami Sound Machine, Gloria Estefan became a formidable solo artist in the 1990s. The Cuban-American artist won three Grammy Awards between 1993 and 2001, all for her Spanish-language albums. Another popular pop diva, Shania Twain, emerged during the decade, coming out of it as one of the best-selling female singers and songwriters of all time. She saw great success with Country-Pop crossover hits like "You're Still the One" and "Man, I Feel Like a Woman" from her 1997 album Come On Over. One of the best-selling R&B artists of all-time, Toni Braxton, also emerged as a popular musician during the decade. Braxton released her self-titled album in 1993 and it won three of her seven Grammy Awards. Already a mega-superstar from the 1980s, Janet Jackson saw continued success in the 1990s as she evolved into a more mature artist, exploring new themes in her albums and contributing more with songwriting. Jackson reached a new level of artistry with her 1997 album The Velvet Rope, an experimental album with huge mainstream success that touched on themes not often seen in pop music, a milestone in her career that many critics believed marked her emergence from the shadow of her pop-star brother Michael Jackson. Several other solo female artists achieved pop superstardom during the decade and their success even inspired an annual televised concert, VH1 Divas which premiered in 1998. Golden Era Hip Hop The 1990s are considered the Golden Age of Rap and Hip Hop. The decade saw massive shifts and diversification of the genre, as well as an increase of mainstream recognition and respect for artists. Distinctive styles emerged from the US coasts and various regions throughout the country. Some of the sub-genres that enjoyed popularity during this decade include gangster rap, party rap, and political rap. Because the genre was still considered new, there was constant evolution and innovation happening. Rappers representing different styles and regions saw massive mainstream and critical success. Examples include Tupac, Notorious B.I.G., Queen Latifah, Salt-n-Pepa, De La Soul, NWA, Snoop Dogg, LL Cool J, A Tribe Called Quest, Public Enemy, Eric B. & Rakim, Outkast, Geto Boys, Missy Elliott, and Big Daddy Kane. By the end of the decade many of these artists were considered some of the most popular and successful musicians in the pop music world, transforming rap and hip hop from a fledgling genre into one of the most influential musical movements within pop culture. Many critics believe the Golden Age started to come to an end in the middle of the decade as softer more commercialized hip hop acts gained popularity, signaling a drop in overall artistic quality. Many fans also believe the the era came to an end after the murders of Tupac Shakur in 1996 and the Notorious B.I.G. in 1997, musical rivals and two the brightest stars to emerge from the genre during the decade. In addition to several popular sub-genres within rap and hip hop, several fusion genres became popular as well such as New Jack Swing, Neo-Soul, and Hip Hop Soul. One of the most popular genres was New Jack Swing which combined the production of hip hop with the sound of R&B. The genre was performed by predominantly Black artists and often mixed elements of funk, soul, and jazz with hip hop and rap. Within this genre there was a strong focus on production, sampling, and creating hit singles. Teddy Riley, Bernard Belle, and Babyface were songwriters and music producers that often associated with the genre. Some of the artists and groups that found success in this sub-genre include Janet Jackson, Bell Biv DeVoe, Bobby Brown, Boyz II Men, Hi-Five, Jade, TLC, Montell Jordan, and Color Me Badd. Another popular sub-genre, Neo-Soul, was also a fusion genre. It began gaining popularity in the 1980s with artists like Prince and Sade but had a much stronger mainstream breakthrough in the mid-1990s with artists like Maxwell, Erykah Badu, Lauryn Hill, D'Angelo, Me'Shell Ndegéocello, Aaliyah, Macy Gray, Eric Benét, and Tony! Toni! Toné!. This genre attracted more singer-songwriter types, focused more on musicianship of the artists, and whole albums in comparison to other popular R&B based genres that focused on producers and singles. Hip Hop Soul was another popular fusion genre within contemporary Hip Hop and R&B that was prominent in the Nineties. This genre was a more straightforward fusion between R&B and soul singing styles with hip hop production. Popular artists that exemplified this sub-genre include Mary J. Blige, Faith Evans, Jodeci, Blackstreet, and TLC. This genre is often associated with music producer Sean "Puff Daddy" Combs. Electronic Dance Music Electronic Dance Music (EDM) was a new genre that emerged during the 1990s, proving popular among the club scene particularly across Europe, the United Kingdom, and the United States. The music is characterized by having between 120 and 150 beats per minute (bpm), drum machines, synthesizers, and other electronic instruments. It was originally created in the 1980s and saw its origins in Chicago House, Electro music, and the New York Club scene. The genre has roots in African American artists creating dance music in a post-disco world and it saw an expansion in popularity and the proliferation of various sub-genres during the nineties. It was the music of choice for early-1990s "Raves" - sometimes illegal underground dance parties hosted by DJs, often in warehouses. These raves turned into larger more mainstream gatherings with specialized clubs and festivals catering to artists and fans of the EDM genres. Some of the most notable genres within EDM that were popular during the decade include techno, trance, drum and bass, big beat, and breakbeat. By the mid-1990s, EDM had strayed from its American origins and was largely driven by European and British musicians, popularized by pirate radio in the UK. Some of the most popular EDM-associated musical acts of the decade include The Chemical Brothers, the Crystal Method, Fatboy Slim, Deee-Lite, Aphex Twins, Daft Punk, The Prodigy, and Happy Mondays. Some of these artists broke through to mainstream pop music include Fatboy Slim with his 1998 hit "Praise You," Deee-Lite with their 1990 hit "Groove is in the Heart," and The Prodigy's 1996 hit "Firestarter." As the genre gained influence, large commercialized festivals and clubs were organized for fans including several Spiral Tribe dance events, The Eclipse (England's first legal all-night club), Electric Daisy Carnival (1991), the Castlemorton Common Festival (1992), and the Ultra Music Festival (1999). Bubblegum Pop The late-1990s saw the introduction of the highly commercialized and over-produced bubblegum pop groups and stars. Groups and singers like the Spice Girls, All Saints, NSync, the Backstreet Boys, LFO, 98 Degrees, Destiny's Child, Britney Spears, Christina Aguilera, Robyn, Jessica Simpson, Mandy Moore, and Hanson all saw early success during the decade. The genre really gained momentum in the new millennium, dominating the early 2000s music scene. There was a heavy influx of bubblegum pop artists from about 1997 to 2002. These artists used many other popular genres to draw influence including R&B, Hip Hop, and Dance music. The genre was characterized by the use of autotune, a focus on appearance and fashion, choreography, repetitive lyrics, and the use of sexual innuendo. These artists were often heavily influenced by music producers and record labels, and often featured talents who got their start as children. These artists were typically marketed to teenagers. Many of these pop artists continued to have lucrative careers beyond the 1990s and several who were in groups embarked on successful solo careers or ventured into other realms of the entertainment world outside of music. Popular Songs Each Year in the 90's Popular songs from the Nineties Decade, arranged by year but in no particular order. Do you remember listening to these songs on the radio? Music Played in the 1970's Popular Music From the 70s Music Played in the 1970's Popular Music From the 70s Music Styles, Bands And Artists during the 1970's The 1970s created a perfect musical bridge from the rebelliousness of the 1960s and the happy songs that are characteristic of the 1980s. Following the counterculture of the 60s, the and the 70s created a trend of relaxing music as well as dance music. People may have grown tired of the fighting that happened the previous decade and many of them sought a refuge in dance clubs and other places to enjoy a good time. Out of this idea emerged the Disco movement. Of course, there were still the bands and artists that continued to speak of the ills of society, typically characterized by the punk music in the latter part of the decade. Although the rebellious idea had died down shortly following Woodstock in 1969, there were still many people that disagreed with the establishment and the way the country was being run. Most people, though, were just looking for another way to vent their frustrations, which helped to give rise to the fun that disco music provided. The 1970's was not a unique decade in terms of creating innovations in musical styles and genres, but it was unique in that it was a musical bridge connecting the hippie lifestyle of the 1960s with the characteristic yuppie lifestyle that was about to occur in the 1980s. Popular Music Genres of the 1970's Disco/Club Musicians The Bee Gees, Gloria Gaynor, ABBA, K.C. and the Sunshine Band, Yvonne Elliman, Thelma Houston, The Village People, Donna Summer, Chic, The Jacksons, Diana Ross -- -- Progressive Rock Musicians Kansas, Pink Floyd, Rush, Electric Light Orchestra, Yes, Genesis, Emerson, Lake & Palmer, Supertramp, Queen, Grand Funk Railroad -- -- Punk Rock/New Wave Musicians New York Dolls, Patti Smith, The Ramones, Blondie, Sex Pistols, The Clash, Buzzcocks, Generation X, The Misfits, The Cars, Talking Heads, David Bowie -- Funk & Soul Musicians Sly and the Family Stone, Parliament-Funkadelic, Rufus Chaka Khan, Kool & the Gang, The Isley Brothers, The Commodores, The Jackson 5, The Ohio Players, Earth, Wind & Fire, Chic, James Brown Disco and Dance Music If ever a musical style defined a decade, Disco was the definition of the 1970s. Although its popularity was relatively short-lived, the genre hosted a great deal of songs and artists that people are still dancing to today and had a large influence on the fashions of the decade, too. Van McCoy's "The Hustle" has often been referred to as the definitive disco track and many people say it was the first disco song created. Gloria Gaynor also enjoyed disco popularity with her anthem "I Will Survive." The Bee Gees also helped to define the disco genre with their hit "Jive Talkin'" and their blockbuster "Stayin' Alive" is often synonymous with the disco musical era. The Village People’s "YMCA" and "Macho Man" also helped to add to the popularity of this style of music. This style of music became so popular that well respected artists like Rod Stewart and Diana Ross jumped on the bandwagon by adding Disco elements to their new music or creating their own disco albums. Unfortunately, it did not take long for the public to see disco's silliness and commercialization - something that they had just rebelled against a few years earlier. Its lack of attention to musical significance helped add to its downfall after only a short time of popularity. When disco fell from grace, it fell fast, and many radio stations held public events dedicated to ridding the world of disco music with symbolic album burnings. Youths rebelled against the genre as well and it was not uncommon to see a few music fans sporting "Disco Sucks" T-shirts. Progressive Rock Progressive rock was another popular genre during the 1970s. This type of music was typically characterized by rock music combined with another genre, such as classical or opera, to create a hybrid genre. Songs from this genre were often longer and bands tended to be more spontaneous and experimental while they were playing live. Many progressive rock albums were also concept albums, meaning that they followed a theme throughout the entire album or series of albums. The band Pink Floyd were known for their concept albums and were considered some of the best in the genre. Their concept album – The Wall – was a psychedelic album that explored the loneliness that one feels due to the metaphorical walls that they build up around them. This 1979 album used philosophical lyrics and a variety of musical styles throughout the songs to exhibit the message that they were trying to get across to the listeners. Jethro Tull was another British rock band that also created concept albums for their audience. They had a unique vocal style combined with the dreamlike sound of a flute to help the listener immerse themselves into the songs that are being played. Their "Thick as a Brick" album was composed of essentially one track on two side of the album. This track consisted of repeating themes and movements that helped to mesmerize the listener. They also used a variety of genres to create their one-of-a-kind sound, including blues, jazz, rock, and classical music. Other bands that became popular in the progressive rock genre included Rush, Queen, Grand Funk Railroad, Kansas, and Electric Light Orchestra. Punk Rock and New Wave The punk rock genre also emerged in the 1970s. This was a style that continued on the legacy of the 1960s but with a more upbeat and harder style. Heavy guitar riffs and more decibels helped to motivate those who were still upset about the status quo in the country. The Ramones are often referred to as the original punk band. This band consisted of a group of family members that based their image on The Beatles but their music was much harder. On the lists that rate the greatest rock bands of all-time, The Ramones are often listed as #2, behind only The Beatles at #1. Their song "I Wanna Be Sedated" became a generational anthem depicting the feeling that society is so screwed up that the only way to get through life with your sanity is to be sedated for the entire experience. The Sex Pistols also enjoyed a short-lived success as a punk rock band of the 1970s. Band members heavily used drugs and alcohol which eventually led to their dissolution shortly after forming, but not before releasing two hit albums, "God Save the Queen" and "Never Mind the Bullocks", that created a wave of rebellion throughout the United States and the UK. New Wave, similar to punk music but more radio friendly and with an electronic flair, also emerged in the late seventies and went on to become a predominant genre in the next decade. Bands like The Cars and Blondie straddled the line between punk rock and new wave music and started producing hits in the late 1970s. Some popular punk and new wave bands from the seventies included the New York Dolls, The Clash, Generation X, Talking Heads, David Bowie, and Patti Smith. Funk and Soul Music Funk music came out of the R&B, Jazz and Soul music of the late 1960s after artists added more beats and psychedelic tones to their songs. This genre saw the height of its popularity encompass the 1970s with artists like James Brown, Parliament-Funkadelic, Sly and the Family Stone and Kool and the Gang dominating the music charts. Funk was known for its danceable beats, strange costumes, outrageous personalities and often socially conscious lyrics. James Brown, "the hardest working man in show business", is often thought of as the creator of funk music and his 1967 album Cold Sweat is thought to feature some of the first main stream funk songs. Brown developed the funk sound into the 1970s and paved the way for many of the other popular funk groups like Sly and the Family Stone to make it big in the decade. Funk music was known to have no boundaries with psychedelic sounds coming from the likes of George Clinton and his ragtag gang of freaky musicians in Parliament to a more soulful and smooth yet funky sound coming from Rufus and Chaka Khan. In the middle of the seventies many artists, including James Brown and the group Earth, Wind and Fire, added some elements of the popular disco genre to their funk albums and saw even greater mass appeal. **It is important to note that these were not the only popular genres during the decade. For example, Singers and Songwriters were quite popular in the 1970s as well, with artists like Joni Mitchell, Carly Simon, Elton John, Carole King and Billy Joel, sharing time in the spotlight too. Their music reflected deep themes with simpler musical arrangements and many of these artists had been prominant in the songwriting scene but relatively unknown as they were not often the face of their own music. The seventies more than any other decade gave them a chance to go solo and gain recognition.** Popular Songs Each Year in the 70's Popular songs from the Seventies Decade, arranged by year but in no particular order. Do you remember listening to these songs on the radio? Music Played in the 1960's Popular Music From the 60s Music Played in the 1960's Popular Music From the 60s Music Styles, Bands And Artists during the 1960's The 1960's were a time of upheaval in society, fashion, attitudes and especially music. Before 1963, the music of the sixties still reflected the sound, style and beliefs of the previous decade and many of the hit records were by artists who had found mainstream success in the 1950s, like Elvis Presley, Ray Charles, Dion, and The Everly Brothers. In 1963 and the years to follow, a number of social influences changed what popular music was and gave birth to the diversity that we experience with music today. The assassination of President Kennedy, the escalation of the war in Vietnam and the forward-progress of the Civil Rights Movement all greatly impacted the mood of American culture and the music began to reflect that change. The "British Invasion" also began around 1963 with the arrival of The Beatles on the music scene and the type of rabid fandom that followed them would change the way people would view and interact with music and musicians forever. In this section we will cover the history of the "British Invasion", Motown and R&B, Folk and Protest music, and the large amount of variation that emerged in Rock music throughout the sixties. Popular Music Genres of the 1960's British Invasion Musicians The Beatles, The Who, The Rolling Stones, Cream, The Yardbirds, Donovan, Manfred Mann, The Kinks, Herman's Hermits, Tom Jones, Dusty Springfield, The Animals Motown/R&B Musicians The Marvelettes, The Supremes, Marvin Gaye, The Four Tops, The Drifters, The Temptations, The Miracles, Stevie Wonder, Gladys Knight & the Pips, The Spinners, Aretha Franklin, Canned Heat Surf Rock and Psychedelic Rock Musicians The Beach Boys, The Ventures, The Champs, The Doors, The Grateful Dead, The Jimi Hendrix Experience, Jefferson Airplane, Jan and Dean, The Kingsmen, The Trashmen -- -- Roots Rock and Hard Rock Musicians Janis Joplin, Creedence Clearwater Revival, Steppenwolf, Roy Orbison, Procol Harum, The Rolling Stones, The Who, The Animals, The Band, The Troggs -- -- Folk Rock and Protest Music Musicians Bob Dylan, Simon & Garfunkel, The Mamas & the Papas, Buffalo Springfield, Crosby, Stills & Nash, The Lovin' Spoonful, The Byrds, The Turtles, Gordon Lightfoot, Peter, Paul and Mary -- Acappella Musicians The Persuasions The Heartaches The Concepts The Five Jades The Notations The Chessmen The Five Sharks The Royal Counts The Zircons The Five Fashions The Del Capris The Shells British Invasion The "British Invasion" is the name given to the period of time in the early to mid-1960's, during which many British rock bands and pop artists found mainstream success in the United States and worldwide. Many of these bands first started by covering American songs and showcasing an American Rock 'n' Roll and R&B influence in their sounds. As these bands gained popularity, many of them ventured into new music territory and created their own unique styles. The one band that comes to mind when speaking of the British Invasion is The Beatles, who first broke into the US music scene in 1963, but really became popular in 1964 after appearing on the Ed Sullivan Show. The Beatles dominated worldwide charts from that point in time until they broke up in 1970. The phenomenon that surrounded them was known as Beatlemania and many up and coming music acts emulated their "Liverpool Sound". The band holds many musical records to this day reflecting album sales and number one singles and they're music remains some of the most popular of all time. They can be easily described as the most influential group of the 1960's. Some other notable British Invasion acts include The Rolling Stones, The Animals, The Who, Herman's Hermits, Tom Jones, and Donovan, some of whom reached comparable success levels to the Beatles but had different influences on music all together. Motown and R&B The "Motown Sound" and popular R&B music had a major significance in terms of the Civil Rights movement and integration in American society during the sixties. Motown started as a Detroit-based record label in the late fifties and early sixties, but it quickly turned into much more as the acts gained popularity worldwide. Motown records consisted mainly of African-American groups, singers, songwriters and management and their musical and business success proved in breaking down the barriers of segregation and granted African-American performers and musicians a chances to reappropriate much of the success that had been credited to white rock 'n' rollers and pop artists who had success in singing "black music" during the previous decade. Two of the most influential groups to come out of the Motown sound were Smokey Robinson and the Miracles and Diana Ross and the Supremes, both of which had as much chart success as any of the rock groups that dominated the airwaves during the sixties. The success of Motown also paved the way for R&B singers and groups who were not necessarily a part of the movement to also enjoy mainstream success. Some other popular Motown and 60's R&B artists include The Temptations, The Marvelettes, The Four Tops, Stevie Wonder, Marvin Gaye, Aretha Franklin, and the Jackson Five. Rock and its Subgenres While rock 'n' roll music entered the popular music spectrum in the 1950s, rock music really came into its own in the 1960s. Rock music dominated the popular music scene during the decade and as the genre grew and changed, many diverse and new subgenres emerged, all tied to original rock but each with their own unique style and purpose. These specific subgenres also had varying levels of popularity throughout the decade and many are still popular today. Quite a few rock bands and musicians oscillated between these genres depending on what was popular at the time and used it as a way to experiment with finding their own true sound. Some of the rock subgenres that we will touch upon are surf, psychedelic, roots, and hard rock. It is important to remember that the specific artists we discuss in these various sections often fall into more than one category and it is up for debate amongst their fans what genre they best represent. We have tried our best to categorize these artists and realize there was much cross-over during the decade. Surf Rock and Psychedelic Rock Surf rock began in Southern California as a type of dance music that was mostly instrumental and it became quite popular in the early to mid sixties, until the British Invasion took over the music scene. The subject matter for surf rock was quite literally surfing, however, that expanded as the genre grew in popularity to songs about girls, cars and general teenage antics. The most influential and popular group to come out of the genre were The Beach Boys, whose vocal harmonies and well-crafted compositions came to define the genre. The Beach Boys were one of the only bands to come out of the genre and sustain their success. Some other important surf rock acts include Jan and Dean, The Ventures and The Champs. Psychedelic rock was popular during the latter half of the 1960s and reached its peak at the end of the decade. Psychedelic music was associated with the hippie counter-culture and hallucinogenic drug use and it was created with the intention of "enhancing" the experience of listeners who were using LSD or other mind-altering substances. The lyrics were often strange and made reference to drugs and bands would often use instruments that were not usual, like the sitar, tabla, harpsichord and organ. There was much experimentation in the sound and much of it was influenced by Eastern and Indian music. Psychedelic rock along with Folk rock became two of the most recognizable sounds associated with 1967's "Summer of Love" phenomenon. Many popular rock bands experimented with this genre, including The Beatles, The Doors, The Jimi Hendrix Experience, Jefferson Airplane, Cream, Pink Floyd, and The Yardbirds. Roots Rock and Hard Rock Roots rock emerged in the mid to late 1960s as a combination of several genres and subgenres of rock music that were popular at the time. Roots rock combined elements of folk music, blues, country and rock 'n' roll. And, the genre was exemplified by its "back to basics" sound. Bob Dylan is thought to have pioneered the genre with the release of his 1966 album Blonde on Blonde that demonstrated what roots rock was to become. Many of the most popular bands of the time joined the "roots revival" and crafted albums of their own that featured and experimented with a roots sound. Some of the bands that created music in the style of this broad genre included The Rolling Stones, The Doors, The Beatles, The Band, and Creedence Clearwater Revival. Hard rock took the elements of rock 'n' roll and made them heavier as the genre formed in the middle of the decade. The sound is characterized by more aggressive tones and delivery. Hard rock vocalists are identified by their higher range and distinct and often raspy voices. The music was influenced heavily by blues rock, garage rock, and rhythm and blues. This style became associated with rebellious youth and an anti-authority demeanor, with a few acts even destroying their own instruments on stage (like The Who). Due to their hard-partying lifestyles, many musicians that were a part of the hard rock scene developed drug and alcohol problems. As a result of these problems, quite a few influential musicians died at a young age from substance abuse or accidents related to substance abuse like Janis Joplin and Jimi Hendrix. Notable hard rock bands form the 1960s include The Who, Deep Purple, Led Zeppelin, The Rolling Stones, The Kinks and Steppenwolf. Folk Rock and Protest Music Folk rock came onto the scene as a popular genre in the mid-sixties and much of it grew out of the protest movements that were active during those turbulent times. Much of the folk rock and protest movement was born out of the emerging group of singer-songwriters that were influenced by the folk musicians of the 1930s. Bob Dylan became one of the most prominent songwriters of the decade with many popular groups such as The Byrds and Peter, Paul and Mary covering his songs successfully. Dylan even saw success as a solo performer and was recognized by his unusual voice. This genre was characterized by its melodic sound and did not necessarily have to connect to the protest movements at the time, although lyrically a lot of the folk rock contained protest messages. Protest music was distinctly different in that it always had a message and was not confined to the sound and style of folk rock. This music was often a reaction to social injustice, cultural changes, and news events. And, in many cases, it brought awareness to the younger generation who would then join the protest, therefore growing the movements. This genre was not necessarily specific to certain artists either, as many mainstream musicians decided to contribute to the cannon with their own feelings. For example, R&B and Soul singer Same Cooke wrote and recorded "A Change Is Gonna Come" in 1963, a song that became an anthem for the Civil Rights movement in America, along with others like Bob Dylan's "Blowin' in the Wind" and James Brown's "Say It Loud - I'm Black and I'm Proud" from 1963 and 1968 respectively. Another issue that protest music was used to address was the war in Vietnam and its escalation during the decade. As more and more American troops were being sent to Vietnam with virtually no progress being made, an anti-war movement began to gain steam in the mid-sixties and protest music accompanied it. Some examples of anti-Vietnam songs were Pete Seeger's "Waist Deep in the Big Muddy from 1967, The Door's "The Unknown Soldier" from 1968, and Bob Dylan's "Masters of War" from 1963. Both folk music and protest music were connected to the "hippie" movement at the time and greatly influenced and were influenced by the feelings of freedom, love and peace that characterized the hippies. Some examples of folk rock and protest musicians from the 1960s include Peter, Paul and Mary, Cat Stevens, Buffalo Springfield, Simon and Garfunkel, and Pete Seeger. Acappella The Golden Age of Acappella 1963-1973 exploded in urban America along the acappella corridor that stretched from Boston to Philadelphia; a regional sound that captured the heart and minds of young people in the inner cities. The birth of Acappella as a new urban music genre began in New York City in a small record shop called Times Square Records run and operated by Irving "Slim" Rose. The term Acappella was the word that Slim Rose came up with to promote music that was made without music. Recordings made without music was played on the radio by vocal groups, vinyl acappella records were sold in record stores and Acappella Shows drew hundreds of teenagers throughout New Jersey and New York. Thus a new urban sound created a niche in the music industry competing with Motown, British Invasion, folk and many other musical genres. Acappella became the starting point and catalyst for oldies radio programing, reissues of records of the late 40's and 50's and the preservation and promotion of rhythm and blues vocal groups. Amid the social and cultural revolution taking place during the 1960's acappella as a whole rose above ethnic and racial barriers and became a dynamic musical movement in American history. I would like to thank Abraham Santiago who wrote the paragraph about Acappella Music for us Popular Songs Each Year in the 60's Popular songs from the Sixties Decade, arranged by year but in no particular order. Do you remember listening to these songs on the radio? The Best 60s Country Songs The 60s - a decade that saw Loretta Lynn sign her first ever record deal, the Country Music Hall of Fame and Museum open in Nashville and the first-ever CMA Awards ceremony. It was all going on, and the music was on fire! Here's Holler's selection of 100 of the best country songs from the decade. Check out the full tracklisting below: 1. Jackson (Feat. Lee Hazelwood) Nancy Sinatra 2. Ring Of Fire Johnny Cash 3. Harper Valley P.T.A Jeannie C. Riley 4. Kay John Wesley Ryles, I 5. Just Because I'm A Woman Dolly Parton 6. Skip A Rope Henson Cargill 7. Mama Tried Merle Haggard 8. Only Daddy That'll Walk The Line Waylon Jennings 9. Gentle On My Mind Glen Campbell 10. Stand By Your Man Tammy Wynette 11. Ode To Billie Joe Bobbie Gentry 12. Just Between You And Me Charley Pride 13. Homecoming Tom T. Hall 14. Crazy (Feat. The Jordanaires) Patsy Cline 15. Hello Walls Faron Young 16. The Race Is On George Jones 17. May The Bird Of Paradise Fly Up Your Nose Little Jimmy Dickens 18. King Of The Road Roger Miller 19. Big Bad John Jimmy Dean 20. Saginaw, Michigan Lefty Frizzell 21. Act Naturally Buck Owens 22. She Thinks I Still Care George Jones 23. The Carroll Country Accident Porter Wagoner 24. Don't Touch Me Jeannie Seely 25. (Margie's At) The Lincoln Park Inn Bobby Bare 26. The Last Thing On My Mind (Feat. Dolly Parton) Porter Wagoner 27. Once A Day Connie Smith 28. Wine Me Up Faron Young 29. Don't Come Home A-Drinkin' (With Lovin' On Your Mind) Loretta Lynn 30. I Fall To Pieces (Feat. The Jordanaires) Patsy Cline 31. D-I-V-O-R-C-E Tammy Wynette 32. Six Days On The Road Dave Dudley 33. A Six Pack To Go Hank Thompson 34. Okie From Muskogee Merle Haggard 35. Touch Me Willie Nelson 36. My Big Iron Skillet Wanda Jackson 37. Dang Me Roger Miller 38. Folsom Prison Blues Johnny Cash 39. Wichita Lineman Glen Campbell 40. Eleven Roses Hank Williams, Jr. 41. Walk Through This World With Me George Jones 42. Sea Of Heartbreak Don Gibson 43. It's Such A Pretty World Today Wynn Stewart 44. I've Got A Tiger By The Tail Buck Owens 45. Bright Lights And Country Music Bill Anderson 46. I've Been Everywhere Hank Snow 47. Pop A Top Jim Ed Brown 48. Phantom 309 Red Sovine 49. Flowers On the Wall The Statler Brothers 50. Almost Persuaded David Houston 51. Burning Memories Ray Price 52. Still Bill Anderson 53. Chug-A-Lug Roger Miller 54. Don't You Ever Get Tired Of Hurting Me Ray Price 55. Statue Of A Fool Jack Greene 56. Walk On By Leroy Van Dyke 57. Ribbon Of Darkness Marty Robbins 58. Crystal Chandelier Carl Belew 59. I Wouldn't Buy A Used Car From Him Norma Jean 60. The Bridge Washed Out Warner Mack 61. Distant Drums Jim Reeves 62. Stateside Mel Tillis 63. Me & Mr. Hohner Bobby Darin 64. The Weight Jackie DeShannon 65. Don't Let Me Down Dillard & Clark 66. LA - Memphis - Tyler Dale Hawkins 67. Detroit City Bobby Bare 68. We'll Get Ahead Someday (Feat. Dolly Parton) Porter Wagoner 69. Yakety Axe Chet Atkins 70. The End Of The World Skeeter Davis 71. Send Me The Pillow You Dream On Johnny Tillotson 72. Honey Bobby Goldsboro 73. Wolverton Mountain Claude King 74. The Rubber Room Porter Wagoner 75. Brown Eyed Handsome Man Waylon Jennings 76. Abilene George Hamilton IV 77. Streets Of Bakersfield Buck Owens 78. Drug Store Truck Drivin' Man The Byrds 79. Up On Cripple Creek The Band 80. Sin City The Flying Burrito Brothers 81. Galveston Glen Campbell 82. Rings Of Gold (Feat. Don Gibson) Dottie West 83. Just Someone I Used To Know (Feat. Dolly Parton) Porter Wagoner 84. Life Has Its Little Ups And Downs Charlie Rich 85. Next In Line Conway Twitty 86. Kansas City Star Roger Miller 87. A Tombstone Every Mile Dick Curless 88. Dumb Blonde Dolly Parton 89. A Boy Named Sue Johnny Cash 90. Wings Of A Dove Ferlin Husky 91. The Game Of Triangles (Feat. Norma Jean And Liz Anderson) Bobby Bare 92. Charlie's Shoes Billy Walker 93. The Ballad Of Jed Clampett (Feat. Earl Scruggs) Lester Flatt 94. We Must Have Been Out Of Our Minds (Feat. Melba Montgomery) George Jones 95. There Goes My Everything Jack Greene 96. Laura (What's He Got That I Ain't Got) Leon Ashley 97. Your Good Girl's Gonna Go Bad Tammy Wynette 98. By The Time I Get To Phoenix Glen Campbell 99. How Does That Grab You, Darlin'? Nancy Sinatra BACK TO TOP

Radio SAM Broadcasting Germany Advertise on Radio SAM Broadcaster BACK TO TOP

Get in Touch Welcome to Radio SAM Broadcaster Germany, your go-to source for the latest news, updates, and events in the world of radio broadcasting. Our mission is to keep you informed and entertained, so you never miss out on your favorite shows and DJs. Click here to learn more about our team and our commitment to excellence. Steedener Weg , ,Runkel / Dehrn Germany contact a.dezius@gmail.com Send Message Thank you for contacting Radio SAM Broadcaster Germany! We will get back to you as soon as possible.

Wir können die gesuchte Seite nicht finden Diese Seite gibt es nicht. Die Startseite öffnen und dort umsehen. Zur Startseite BACK TO TOP

Ek glo in God die Vader, die Almagtige, die Skepper van die hemel en die aarde. En in Jesus Christus, sy eniggebore Seun, ons Here; wat ontvang is van die heilige Gees, gebore is uit die maagd Maria; wat gely het onder Pontius Pilatus, gekruisig is, gesterf het en begrawe is en ter helle neergedaal het; wat op die derde dag weer opgestaan het uit die dode; wat opgevaar het na die hemel en sit aan die regterhand van God, die almagtige Vader, van waar Hy sal kom om te oordeel die wat nog lewe en die wat reeds gesterf het. Ek glo in die heilige Gees. Ek glo aan ‘n heilige, algemene, Katolieke kerk, die gemeenskap van die heiliges; die vergewing van sondes; die opstanding van die vlees en ‘n ewige lewe. Audio Bibles '...blessed are they that hear the word of God ...'[Luke 11:28] If using an Android or Apple device please download and use our Bible App to read and listen to the Bible in English and other languages: [Now in a new improved format for the Android version Quick link to: English Audio Bible [KJV] You may listen, from an audio playlist, any Book of the Bible. Choose your language from the list of languages below. [Alphabetical order] Amharic - አማርኛ Arabic للغة العربية Bengali - বাংলা Bulgarian - Библия Burmese - မြန်မာ Chinese - 廣東話 [Cantonese - CUV] Chinese - 中文 [Mandarin - CUV] 思高繁体圣经 [Si Gao Version] 思高繁体聖經 [Si Gao Version] Czech - Český English Audio Bible [kjv] Farsi (Persian) رسدن Finnish - Suomalainen - NT French - Français German - Deutsch Greek - ελληνική - NT Modern Greek - ελληνική Gujarati - ગુજરાતી Hebbrew הקודש במקרא Hindi - हिंदी भाषा [Hungarian Holy Bible] Biblia Indonesian [TB] - Italian - Italiano Japanese - 日本語 Kannada - ಕನ್ನಡ Khmer - ព្រះគម្ពីរបរិសុទ្ធ Korean - 한국의 Latin - Vulgata Latina - NT Luganda Audio Bible Makhuwa - [Macua] - NT Malayalam - മലയാളം Marathi - मराठी Oriya - ଓଡ଼ିଆ Polish - Polski Portuguese - Português Portuguese - Português - BR Punjabi - ਪੰਜਾਬੀ Romanian - Român Russian - русский Serbian - Српски Somali - Soomaaliga Spanish - Español Swahili - Kiswahili Swedish - Svenska - NT Tagalog - Filipino Tamil - தமிழ் மொழி Telugu - తెలుగు Thai - ไทย Turkish - Türk Turkmen - Turkmenistan - NT Ukrainian - Yкраїнський Urdu اردو Uyghur Vietnamese - Tiếng Việt Zulu - isiZulu Important Without proper rendering support, you may see question marks, boxes, or other symbols instead of characters. How to do it: To download audio Bible files into your computer or smartphone, please click on your language, on the next page chose the book you wish to download, and at the end of the resulting page, click on the tab: Zip_ Download will start and you find all files for that book in a ZIP format. Unzip [or uncompress] with a free program such as 7-zip. The resulting directory contains all audio chapters for that Bible book. Beware if you are downloading from your smarthphone or mobile phone, unless you are using Wi-Fi, the volume (size) of certain books may be large, which may result in costly charges on your phone. We suggest that you download the files on a computer and copy them into your smartphone or mobile phone. Hoofstuk 1 In die begin het God die hemel en die aarde geskape. 2 En die aarde was woes en leeg, en duisternis was op die wêreldvloed, en die Gees van God het gesweef op die waters. 3 En God het gesê: Laat daar lig wees! En daar was lig. 4 Toe sien God dat die lig goed was. En God het skeiding gemaak tussen die lig en die duisternis; 5 en God het die lig dag genoem, en die duisternis het Hy nag genoem. En dit was aand en dit was môre, die eerste dag. 6 En God het gesê: Laat daar ‘n uitspansel wees tussen die waters, en laat dit skeiding maak tussen waters en waters. 7 God het toe die uitspansel gemaak en die waters wat onder die uitspansel is, geskei van die waters wat bo die uitspansel is. En dit was so. 8 En God het die uitspansel hemel genoem. En dit was aand en dit was môre, die tweede dag. 9 En God het gesê: Laat die waters onder die hemel hulle op een plek versamel, sodat die droë grond sigbaar word. En dit was so. 10 En God het die droë grond aarde genoem, en die versameling van die waters het Hy see genoem. Toe sien God dat dit goed was. 11 En God het gesê: Laat die aarde voortbring grasspruitjies, plante wat saad gee en bome wat, volgens hulle soorte, vrugte dra, waarin hulle saad is, op die aarde. En dit was so. 12 Die aarde het voortgebring grasspruitjies, plante wat saad gee volgens hulle soorte en bome wat vrugte dra, waarin hulle saad is, volgens hulle soorte. Toe sien God dat dit goed was. 13 En dit was aand en dit was môre, die derde dag. 14 En God het gesê: Laat daar ligte wees aan die uitspansel van die hemel, om skeiding te maak tussen die dag en die nag; en laat hulle dien as tekens sowel vir vaste tye, asook vir dae sowel as jare. 15 Laat hulle ook dien as ligte aan die uitspansel van die hemel om lig te gee op die aarde. En dit was so. 16 God het toe die twee groot ligte gemaak: die groot lig om te heers oor die dag en die klein lig om te heers oor die nag; ook die sterre. 17 En God het hulle aan die uitspansel van die hemel gestel om lig te gee op die aarde 18 en om te heers oor die dag en oor die nag en om skeiding te maak tussen die lig en die duisternis. Toe sien God dat dit goed was. 19 En dit was aand en dit was môre, die vierde dag. 20 En God het gesê: Laat die waters wemel met ‘n gewemel van lewende wesens, en laat die voëls oor die aarde vlieg langs die uitspansel van die hemel. 21 En God het die groot seediere geskape en al die lewende wesens wat beweeg, waar die waters van wemel, volgens hulle soorte; en al die gevleuelde voëls volgens hulle soorte. Toe sien God dat dit goed was. 22 En God het hulle geseën en gesê: Wees vrugbaar en vermeerder en vul die waters in die see, en laat die voëls op die aarde vermeerder. 23 En dit was aand en dit was môre, die vyfde dag. 24 En God het gesê: Laat die aarde lewende wesens voortbring volgens hulle soorte: vee, kruipende diere en wilde diere van die aarde volgens hulle soorte. En dit was so. 25 En God het die wilde diere van die aarde gemaak volgens hulle soorte en die vee volgens hulle soorte en al die diere wat op die grond kruip, volgens hulle soorte. Toe sien God dat dit goed was. 26 En God het gesê: Laat Ons mense maak na ons beeld, na ons gelykenis, en laat hulle heers oor die visse van die see en die voëls van die hemel en die vee en oor die hele aarde en oor al die diere wat op die aarde kruip. 27 En God het die mens geskape na sy beeld; na die beeld van God het Hy hom geskape; man en vrou het Hy hulle geskape. 28 En God het hulle geseën, en God het vir hulle gesê: Wees vrugbaar en vermeerder en vul die aarde, onderwerp dit en heers oor die visse van die see en die voëls van die hemel en oor al die diere wat op die aarde kruip. 29 Verder het God gesê: Ek gee nou aan julle al die plante wat saad gee, wat op die hele aarde is, en al die bome waar boomvrugte aan is, wat saad dra. Dit sal julle voedsel wees. 30 Maar aan al die diere van die aarde en al die voëls van die hemel en al die kruipende diere op die aarde, waarin ‘n lewende siel is, gee Ek al die groen plante as voedsel. En dit was so. 31 Toe sien God alles wat Hy gemaak het, en—dit was baie goed. En dit was aand en dit was môre, die sesde dag. Afrikaanse Teksverse Indien jy wil weet wat die Bybel sê oor sekere kwessies en onderwerpe, is spesifieke teksverse ´n goeie plek om te begin. Dit is altyd goed om die Bybel in sy volle konteks te lees, maar soms help dit ons om sleutel verse beter te onthou. Verse wat fundamenteel is vir ons geloof, vir bemoediging, en vir krag - veral oor spesifieke kwessies of selfs in dringende situasies. Kies uit een van die volgende kategorieë. [1] Redding [2] Gebed [3] Prys [4] Geloof [5] Liefde [6] Rus in die Here [7] Die Woord van God [8] Vryheid van vrees [9] Toevoer [10] Vergifnis en bitterheid [11] Geestelike groei [12] Gee [13] Genesing [14] Beskerming [15]Volharding [16] Die stryd teen die vyand [17] Geluk [18] Sterkte en krag [19] Skepping van die wêreld teenoor evolusie [20] Die Here sal vir julle stry [21] Eerlikheid [22] Dissipline [23] Swangerskap en bevalling [24] Aborsie [25] Resultate van lof [26] Vrede [27] Rus en vakansies [28] Slegs afhanklik van die Here [29] Oorlewing in moeilike tye [30] Om besluite te neem [31] Vrymoedigheid en oortuiging [32] Alkoholmisbruik [33] Trots [34] Skeiding van geliefdes [35] Regs [36] Perversie [37] Die stryd teen die vyand [38] Aanspraak maak op die land [39] Die huwelik en seks [40] Hou dit eenvoudig Geklap in de handen en gejuich voor God Psalmen 28:2 Hoor mijn smeekbede als ik u om hulp roep, als ik mijn handen ophef naar het hart van uw heiligdom. Psalmen 63:4 (63:5) U wil ik prijzen, mijn leven lang, roepend uw naam, de handen geheven. Psalmen 134:1 ¶ Een pelgrimslied. Zegen de HEER, u allen die de dienst van de HEER verricht en in het huis van de HEER staat, nacht aan nacht. Psalmen 134:2 Hef uw handen op naar het heiligdom en zegen de HEER. Psalmen 141:1 Een psalm van David. HEER, u roep ik aan, kom mij te hulp, luister naar mij nu ik tot u roep. Psalmen 141:2 Laat mijn gebed voor u zijn als reukwerk, mijn geheven handen als een avondoffer. Psalmen 47:1 Voor de koorleider. Van de Korachieten, een psalm. (47:2) Klap in de handen, o volken, juich God toe met jubelzang: Psalmen 47:2 (47:3) geducht is de HEER, de Allerhoogste, machtige koning van heel de aarde. Klaagliederen 3:40 Laten we ons leven onderzoeken en doorvorsen, laten we terugkeren naar de HEER, Klaagliederen 3:41 laten we met onze handen ook ons hart opheffen tot God in de hemel. 2 Kronieken 5:13 op dat moment moesten de blazers en zangers samen muziek ten gehore brengen ter ere van de HEER. Zodra het geluid van de trompetten, cimbalen en andere instrumenten opklonk en de zangers de lofzang aanhieven: ‘De HEER is goed, eeuwig duurt zijn trouw, ‘vulde de tempel, het huis van de HEER, zich met een wolk. Nehemia 8:6 Ezra prees de HEER, de grote God, en heel het volk antwoordde ‘Amen, amen, ‘en ze hieven hun handen op, knielden neer en bogen diep voor de HEER. Ezra 9:5 Toen stond ik op, beëindigde mijn boetedoening, en met gescheurde kleren en mantel viel ik op mijn knieën en spreidde mijn handen uit naar de HEER, mijn God. 1 Koningen 8:22 Toen wendde Salomo zich naar het altaar van de HEER, ten aanschouwen van de verzamelde Israëlieten, hief zijn handen ten hemel 1 Koningen 8:23 en zei: ‘HEER, God van Israël, er is geen god zoals u, noch in de hemel daar boven, noch op de aarde hier beneden. U houdt u aan het verbond en blijft trouw aan uw dienaren die u met heel hun hart toegewijd zijn. 1 Koningen 8:54 Tijdens dit hele smeekgebed lag Salomo geknield voor het altaar van de HEER, met zijn handen ten hemel geheven. Toen hij zijn gebed tot de HEER beëindigd had, 1 Koningen 8:55 stond hij op en sprak met luide stem zijn zegen uit over de gemeenschap van Israël: 1 Timotheüs 2:8 Ik wil dat bij iedere samenkomst de mannen met geheven handen bidden, vol toewijding, zonder wrok of onenigheid. Efeziërs 5:18 Bedrink u niet, want dat leidt tot uitspattingen, maar laat de Geest u vervullen Efeziërs 5:19 en zing met elkaar psalmen, hymnen en liederen die de Geest u ingeeft. Zing en jubel met heel uw hart voor de Heer Johannes 4:24 want God is Geest, dus wie hem aanbidt, moet dat doen in Geest en in waarheid.’ God liefhebben en Bekommeren om je medemensen “4 Luister, Israël: de HEER, onze God, de HEER is de enige! 5 Heb daarom de HEER, uw God, lief met hart en ziel en met inzet van al uw krachten. 6 Houd de geboden die ik u vandaag opleg steeds in gedachten. 7 Prent ze uw kinderen in en spreek er steeds over, thuis en onderweg, als u naar bed gaat en als u opstaat. 8 Draag ze als een teken om uw arm en als een band op uw voorhoofd.” (Deuteronomium 6:4-8 NBV) “8 Wanneer u echter het koninklijke gebod volbrengt dat de Schrift geeft: ‘Heb uw naaste lief als uzelf, ‘dan handelt u juist. 9 Maar als u op het uiterlijk afgaat, begaat u een zonde en bestempelt de wet u als overtreders. 10 Wie de hele wet onderhoudt maar op één punt struikelt, blijft ten aanzien van alle geboden in gebreke.” (Jakobus 2:8-10 NBV) “Wees niet partijdig wanneer je rechtspreekt. Trek onaanzienlijken niet voor en zie machthebbers niet naar de ogen. Spreek rechtvaardig recht over je naasten.” (Leviticus 19:15 NBV) “door je te wreken of wrok te blijven koesteren. Heb je naaste lief als jezelf. Ik ben de HEER.” (Leviticus 19:18 NBV) “want de hele wet is vervuld in één uitspraak: ‘Heb uw naaste lief als uzelf.’” (Galaten 5:14 NBV) “Draag elkaars lasten, zo leeft u de wet van Christus na.” (Galaten 6:2 NBV) “36 ‘Meester, wat is het grootste gebod in de wet?’ 37 Hij antwoordde: ‘Heb de Heer, uw God, lief met heel uw hart en met heel uw ziel en met heel uw verstand. 38 Dat is het grootste en eerste gebod. 39 Het tweede is daaraan gelijk: heb uw naaste lief als uzelf. 40 Deze twee geboden zijn de grondslag van alles wat er in de Wet en de Profeten staat.’” (Mattheüs 22:36-40 NBV) “28 Een van de schriftgeleerden die naar hen geluisterd had terwijl ze discussieerden, en gemerkt had dat hij hun correct had geantwoord, kwam dichterbij en vroeg: ‘Wat is van alle geboden het belangrijkste gebod?’ 29 Jezus antwoordde: ‘Het voornaamste is: “Luister, Israël! De Heer, onze God, is de enige Heer; 30 heb de Heer, uw God, lief met heel uw hart en met heel uw ziel en met heel uw verstand en met heel uw kracht.” 31 Het op een na belangrijkste is dit: “Heb uw naaste lief als uzelf.” Er zijn geen geboden belangrijker dan deze.’” (Markus 12:28-31 NBV) “38 U moet dus weten, broeders en zusters, dat het dankzij hem is dat aan u de vergeving van de zonden verkondigd wordt; iedereen die op grond van de wet van Mozes geen vrijspraak kon krijgen, 39 wordt door hem geheel vrijgesproken, mits hij gelooft.” (Handelingen 13:38-39 NBV) “Wij weten dat de wet het werk van de Geest is, maar door mijn natuur ben ik uitgeleverd aan de zonde.” (Romeinen 7:14 NBV) “Is het niet: je brood delen met de hongerige, onderdak bieden aan armen zonder huis, iemand kleden die naakt rondloopt, je bekommeren om je medemensen?” (Jesaja 58:7 NBV) “Of weet u niet dat uw lichaam een tempel is van de heilige Geest, die in u woont en die u ontvangen hebt van God, en weet u niet dat u niet van uzelf bent?” (1 Corinthiërs 6:19 NBV) “‘Dit is, voor altijd, mijn rustplaats, hier verlang ik te wonen.” (Psalmen 132:14 NBV) Tekenen van de laatste dagen wanneer moeilijke tijden zullen komen “De verstandige ziet het ongeluk en verbergt zich; de verstandelozen gaan voort en moeten boeten.” (Spreuken 22:3 LU) “1 Maar dit moet gij weten, dat in de laatste dagen moeielijke tijden zullen komen. 2 Want de mensen zullen zijn vol eigenliefde, geldgierig, laatdunkend, hoovaardig, lasteraars, den ouders ongehoorzaam, ondankbaar, onheilig, 3 liefdeloos, onverzoenlijk, kwaadsprekers, onkuis, wreed, tot het goede ongezind, 4 verraders, overmoedig, opgeblazen, die meer den wellust lief hebben dan God; 5 die den schijn hebben van godzaligheid, maar hare kracht verloochenen. Vermijd dezulken.” (2 Timotheüs 3:1-5 LU) “Doch met de kwade mensen en verleiders wordt het hoe langer hoe erger; zij verleiden en worden verleid.” (2 Timotheüs 3:13 LU) “3 dit allereerst wetende, dat in de laatste dagen spotters zullen komen, die naar hunne eigene lusten wandelen, 4 en zeggen: Waar is de belofte zijner toekomst? Want nadat de vaderen ontslapen zijn, blijven alle dingen gelijk zij van het begin der schepping geweest zijn!” (2 Petrus 3:3-4 LU) “Daarom, geliefden, dewijl gij dit verwacht, benaarstigt u, dat gij onbevlekt en onberispelijk door hem bevonden wordt in vrede;” (2 Petrus 3:14 LU) “17 Gij dan, geliefden, dewijl gij dit te voren weet, zo wacht u, dat gij niet door de dwaling der zedeloze lieden u laat medeslepen, en uit uwe eigene vastheid valt; 18 maar wast in de genade en kennis van onzen Heer en Zaligmaker Jezus Christus. Hem zij eer, èn nu èn tot den dag der eeuwigheid! Amen.” (2 Petrus 3:17-18 LU) “En toen hij op den Olijfberg zat, traden zijne jongeren tot hem afzonderlijk, en zeiden: Zeg ons, wanneer zal dat geschieden? En welk zal het teken zijn van uwe toekomst en van de voleinding der wereld?” (Mattheüs 24:3 LU) “Want het ene volk zal opstaan tegen het andere, en het ene koninkrijk tegen het andere; en er zullen pestziekten en hongersnoden en aardbevingen zijn, hier en ginds.” (Mattheüs 24:7 LU) “10 Dan zullen velen zich ergeren, en elkander verraden en elkander haten. 11 En vele valse profeten zullen opstaan, en zullen velen verleiden. 12 En dewijl de ongerechtigheid de overhand nemen zal, zal de liefde bij velen verkoelen. 13 Maar wie volhardt tot aan het einde, die zal behouden worden. 14 En het evangelie van het rijk zal gepredikt worden in de gehele wereld, tot ene getuigenis voor alle volken; en dan zal het einde komen. 15 Wanneer gij nu den gruwel der verwoesting, waarvan gesproken is door den profeet Daniël wie het leest, lette daarop, zult zien staan in de heilige plaats, 16 alsdan vliede op de bergen, wie in Judéa is;” (Mattheüs 24:10-16 LU) “Want alsdan zal er ene grote verdrukking zijn, hoedanige er niet geweest is van het begin der wereld tot nu toe, en ook niet wezen zal.” (Mattheüs 24:21 LU) “30 En alsdan zal aan den hemel verschijnen het teken van des Mensen Zoon; en dan zullen al de geslachten der aarde weeklagen, en zullen des Mensen Zoon zien komen op de wolken des hemels met grote kracht en heerlijkheid. 31 En hij zal zijne Engelen uitzenden met schelklinkende bazuinen, en zij zullen zijne uitverkorenen vergaderen uit de vier winden, van het ene einde des hemels tot het andere.” (Mattheüs 24:30-31 LU) “33 alzo ook gij, wanneer gij dit alles ziet, zo weet, dat het nabij is, voor de deur. 34 Voorwaar, ik zeg u: Dit geslacht zal niet vergaan, totdat dit alles zal geschied zijn.” (Mattheüs 24:33-34 LU) “37 Maar gelijk het in de dagen van Noach was, zo zal ook zijn de toekomst van des Mensen Zoon. 38 Want gelijk zij waren in de dagen vóór den zondvloed, zij aten en zij dronken, zij trouwden, en zij lieten zich trouwen, tot den dag toe, dat Noach in de ark ging, 39 en zij zagen het niet in, totdat de zondvloed kwam en hen allen wegnam; -zo zal ook de toekomst zijn van des Mensen Zoon. 40 Dan zullen er twee op het veld zijn: de een zal aangenomen en de ander verlaten worden; 41 twee zullen er malen in den molen: de ene zal aangenomen en de andere verlaten worden.” (Mattheüs 24:37-41 LU) “45 En wie is nu de getrouwe en verstandige knecht, dien zijn heer gesteld heeft over zijn huisgezin, om hun spijs te geven ter rechter tijd? 46 Zalig is die knecht, dien zijn heer, als hij komt, zó doende vindt: 47 voorwaar, ik zeg u: hij zal hem over al zijne goederen stellen. 48 Maar zo gene, de ontrouwe knecht, in zijn hart zal zeggen: Mijn heer komt nog lang niet, 49 en beginnen zal zijne medeknechten te slaan, en te eten en te drinken met de dronkaards, 50 zo zal de heer van dien knecht komen ten dage op welken hij het niet vermoedt, en ter ure die hij niet denkt, en hij zal hem in stukken houwen, 51 en zal hem zijn loon geven met de huichelaars: dáár zal geween zijn en geknars der tanden.” (Mattheüs 24:45-51 LU) “31 Als nu des Mensen Zoon komen zal in zijne heerlijkheid, en alle heilige Engelen met hem, dan zal hij zitten op den troon zijner heerlijkheid; 32 en alle volken zullen vóór hem vergaderd worden, en hij zal hem vanelkander scheiden, gelijk een herder de schapen scheidt van de bokken;” (Mattheüs 25:31-32 LU) “3 En toen hij op den Olijfberg zat, tegenover den tempel, vraagden hem Petrus en Jakobus en Johannes en Andréas afzonderlijk: 4 Zeg ons, wanneer zal dit alles geschieden? En wat is het teken, wanneer dit alles zal voleindigd worden?” (Markus 13:3-4 LU) “Het ene volk zal zich verheffen tegen het andere, en het ene koninkrijk tegen het andere, en er zullen aardbevingen zijn hier en ginds, en er zullen hongersnoden zijn en verschrikkingen. Dit is het begin van den nood.” (Markus 13:8 LU) “En het evangelie moet te voren gepredikt worden onder alle volken.” (Markus 13:10 LU) “21 Zo iemand in dien tijd tot u zeggen zal: Ziet hier is de Christus, of: Ziet, hij is daar, zo gelooft het niet. 22 Want er zullen valse christussen en valse profeten opstaan, die tekenen en wonderen doen zullen, om, indien het mogelijk ware, zelfs de uitverkorenen te misleiden.” (Markus 13:21-22 LU) “Voorwaar, ik zeg u: Dit geslacht zal niet vergaan, totdat dit alles zal geschied zijn.” (Markus 13:30 LU) “32 Maar van dien dag en die ure weet niemand, zelfs de Engelen in den hemel niet, ook de Zoon niet, maar alleen de Vader. 33 Ziet toe, waakt en bidt, want gij weet niet, wanneer de tijd daar is.” (Markus 13:32-33 LU) “5 En toen sommigen zeiden van den tempel, dat hij met fraaie stenen en kostbaarheden versierd was, zeide hij: 6 De tijd zal komen, in welken van dit alles, wat gij ziet, geen steen op den anderen zal gelaten worden, die niet in stukken zal worden gebroken. 7 En zij vraagden hem, zeggende: Meester, wanneer zal dit geschieden? En wat is het teken, wanneer dat geschieden zal?” (Lukas 21:5-7 LU) “11 en er zullen zijn grote aardbevingen hier en ginds, hongersnoden en pestziekten; ook zullen er verschrikkingen en grote tekenen aan den hemel geschieden. 12 Maar vóór dit alles zullen zij de handen aan u slaan en zullen u overleveren in hunne synagogen en gevangenissen, en voor koningen en landvoogden leiden, om mijns naams wil; 13 en dit zal u overkomen tot ene getuigenis. 14 Zo neemt nu ter harte, dat gij niet bezorgd zijt hoe gij u verantwoorden zult. 15 Want ik zal u mond en wijsheid geven, welke al uwe wederpartijders niet zullen kunnen tegenspreken noch wederstaan. 16 En gij zult overgeleverd worden door ouders, broeders, bloedverwanten en vrienden, en zij zullen sommigen van u doden, 17 en gij zult gehaat worden door iedereen om mijns naams wil.” (Lukas 21:11-17 LU) “Wanneer gij nu zien zult, dat Jeruzalem belegerd wordt door een heir, zo merkt, dat hare verwoesting nabij gekomen is.” (Lukas 21:20 LU) “En er zullen tekenen geschieden aan zon en maan en sterren, en op de aarde zullen de volken angstig en radeloos zijn, bij het bruisen van zee en watergolven;” (Lukas 21:25 LU) “31 Alzo ook gij, wanneer gij dit ziet geschieden, zo weet, dat het rijk Gods nabij is. 32 Voorwaar, ik zeg u: Dit geslacht zal niet vergaan, totdat het alles zal geschied zijn. 33 Hemel en aarde zullen vergaan, maar mijne woorden zullen niet vergaan. 34 Maar wacht u, dat uwe harten niet bezwaard worden met brasserij en dronkenschap, en met zorgen voor het levensonderhoud, en die dag u niet onvoorziens overkome! 35 Want hij zal als een valstrik komen over allen, die op de aarde wonen. 36 Zo zijt altijd wakker, en bidt, dat gij waardig moogt geacht worden te ontvlieden dit alles, hetgeen geschieden zal, en te staan voor des Mensen Zoon,” (Lukas 21:31-36 LU) “Gij hebt het aardrijk op zijnen bodem gegrondvest, dat het blijve altoos en eeuwig.” (Psalmen 104:5 LU) “Het ene geslacht gaat, het andere komt, maar de aarde blijft eeuwig.” (Prediker 1:4 LU) “En zie, ik ben bij u al de dagen tot aan des werelds einde.” (Mattheüs 28:20 LU) “De rechtvaardigen beërven het land, en blijven er eeuwiglijk in.” (Psalmen 37:29 LU) “Want de bezoldiging der zonde is de dood, maar de gave Gods is het eeuwige leven in Christus Jezus, onzen Heer.” (Romeinen 6:23 LU) “29 Jezus antwoordde en zeide: Voorwaar, ik zeg u: Er is niemand, indien hij verlaat huis, of broeders of zusters, of vader of moeder, of vrouw of kinderen, of akkers, om mijnentwil en om des evangelies wil, 30 die niet honderdvoudig ontvangt, nu in dezen tijd huizen, en broeders en zusters, en moeders en kinderen, en akkers, onder vervolgingen, en in de toekomende wereld het eeuwige leven.” (Markus 10:29-30 LU) “3 Geloofd zij de God en Vader van onzen Heere Jezus Christus, die ons naar zijne grote barmhartigheid wedergeboren heeft tot ene levende hoop, door de opstanding van Jezus Christus uit de doden, 4 tot ene onvergankelijke en onbevlekte en onverwelkelijke erfenis, die weggelegd is in den hemel voor u, 5 die uit Gods macht door het geloof bewaard wordt tot de zaligheid, die bereid is om geopenbaard te worden in den laatsten tijd;” (1 Petrus 1:3-5 LU) “Het einde nu aller dingen is nabij gekomen: daarom zijt matig en nuchter tot het gebed.” (1 Petrus 4:7 LU) “Zo laat ons nu niet slapen, gelijk de anderen, maar laat ons waken en nuchter zijn.” (1 Thessalonicen 5:6 LU) Die Ou Testament - O.T. Genesis Eksodus Levitikus Numeri Deuteronomium Josua Rigters Rut 1 Samuel 2 Samuel 1 Konings 2 Konings 1 Kronieke 2 Kronieke Esra Nehemia Ester Job Psalms Spreuke van Salomo Prediker Hooglied van Salomo Jesaja Jeremia Klaagliedere van Jeremia Esegiël Daniël Hosea Joël Amos Obadja Jona Miga Nahum Habakuk Sefanja Haggai Sagaria Maleagi Die Nuwe Testament - N.T. Matteus Markus Lukas Johannes Die handelinge van die apostels Romeine 1 Korintiërs 2 Korintiërs Galasiërs Effesiërs Filippense Kolossense 1 Tessalonisense 2 Tessalonisense 1 Timoteus 2 Timoteus Titus Filemon Hebreërs Jakobus 1 Petrus 2 Petrus 1 Johannes 2 Johannes 3 Johannes Judas Die openbaring BACK TO TOP

TOP MUSIC GERMAN SCHLAGER MUSIC Schlager (German: is a style of European popular music generally defined by catchy instrumental accompaniments to vocal pieces of pop music with simple, easygoing, and often sentimental lyrics. Michelle performing in Berlin, 15 March 2017, where she sang schlagers as well as ballads Schlager tracks are typically light pop tunes or sweet, sentimental ballads with simple, catchy melodies. Their lyrics typically center on love, relationships, and feelings. The northern variant of schlager (notably in Finland) has taken elements from Finnic, Nordic, Slavic, and Eastern European folk songs , with lyrics tending toward melancholic and elegiac themes. Musically, schlager bears similarities to styles such as easy listening .[citation needed ] The style has been frequently represented at the Eurovision Song Contest and has been popular since the contest began in 1956, though it is gradually being replaced by other pop music styles. Als Schlager werden allgemein leicht eingängige instrumentalbegleitete Gesangsstücke der populären Musik mit oft deutschsprachigen Texten bezeichnet. Das Spektrum reicht dabei von ernsten und sentimentalen Texten bis hin zu fröhlichen und humorvollen Texten. Manche Schlager entwickeln sich zu sogenannten Gassenhauern. Ausgehend von populären Operettenmelodien machte sich seit den 1920er Jahren der Einfluss von jazzigen Rhythmen und Harmonien in der Schlagermusik bemerkbar. Seit den 1950er Jahren wird Schlager als „schwer zu umgrenzender Begriff in der neueren Unterhaltungsmusik“ sowie als „Kurzform für leicht eingängige Tanz- und Unterhaltungsmusik “ beschrieben. Microsoft Encarta definierte 2003 Schlager als „einerseits kommerziell erfolgreiches Musikstück, andererseits als eine Gattung der Unterhaltungsmusik“. Kennzeichnend seien „einfachste musikalische Strukturen und triviale Texte, die an das Harmonie- und Glücksverlangen des Zuhörers appellieren“. Dabei seien „die Grenzen zur Popmusik und volkstümlichen Musik fließend“ TOP MUSIC AFRIKAANS MUSIC 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 . The most prolific composers of "tiekie draai" Afrikaans music were lyricist Anton De Waal who wrote many hit songs with songwriters, pianist Charles Segal ("Hey Babariebab Se Ding Is Vim", "Kalkoenjie", "Sy Kom Van Kommetjie" and many others) and accordionist, Nico Carstens . Bushveld music based on the Zulu were reinterpreted by such singers as Marais and Miranda . Melodramatic and sentimental songs called trane trekkers (tearjerkers) were especially common. In 1973, a country music song won the coveted SARI Award (South African Music Industry ) for the Song of the Year – "My Children, My Wife" was written by renowned South African composer Charles Segal and lyricist Arthur Roos . In 1979 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 Anton Goosen , David Kramer (singer) , Koos du Plessis , Fanie de Jager , Flaming Victory and Laurika Rauch . Afrikaans music is currently one of the most popular and best selling industries on the South African music scene. The South African music scene includes both popular (jive) and folk forms like Zulu isicathamiya singing and harmonic mbaqanga . Other popular genres are marabi , kwaito ,house music , pop music, isicathamiya , gqom , rock music , hip hop and amapiano . Among the most prominent South African singers are Miriam Makeba , Brenda Fassie , Hugh Masekela , Yvonne Chaka Chaka and Lucky Dube . BACK TO TOP

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

Videos to Share. Music to Share Music to Share Video abspielen Teilen Ganzer Kanal Dieses Video Facebook Twitter Pinterest Tumblr Link kopieren Link kopiert Video suchen... Wird abgespielt Maite Kelly - Einfach Hello (Offizielles Musikvideo) 03:54 Video abspielen Wird abgespielt Schlager Charts Top 20 - 07. März 2024 29:40 Video abspielen Wird abgespielt Marina Marx - Steh auf und leb 03:30 Video abspielen BACK TO TOP

About Radio SAM Broadcaster Germany Radio SAM Broadcaster Germany is your go-to destination for the freshest and hottest music from around the world. Our team of experienced DJs and music producers work tirelessly to bring you the best of the best, so you can worry less and dance more. Tune in to our radio station and never miss a beat! The Team who runs this Radio Station ! We started off with Radio sam germany Andreas Dezius Radio Host & DJ Music Curator Executive Board member, Co-founder and former of Radio SAM Broadcaster Live Andre Radio Host & Social Media Manager Board member, Supporter and Advertiser. Designer Pamela Coetzee Radio Host & Social Media Manager Board member, Web Designer Andrew May Radio Host & Program Advertiser Board member,Advertiser Supporter. Welcome Tune-Into One of our Radio Stations and Enjoy the Music Were ever you GO... BACK TO TOP

OUR GALLERY Welcoome to Our Radio Stations Gallery with Links to their Websites and Tune-ins to the Radio Stations in Germany ... RADIOVOORTREKKER5 Radio Voortrekker Stereo RADINTERMUSIC3 Radio Springbok Germany radiovoortrekkerstudois6 Radio Afrikaans Music radio sam musics main banner4 Radio SAM Music Germany introbanner6 Radio SAM Broadcasting Germany radiosamgermanynew2c Radio SAM Germany oldiesbutgoldeisraBANNER3 Radio SAM Oldies Rock radiogmbbannermedium Radio GBM Live newcountrysambanner Radio SAM Country Germany radiovoortrekkerstudois6 Afrikaans Radio Studios introbanner8 Radio SAM Broadcaster Germany Radio SAM Broadcaster2022c Radio SAM Broadcasting Studio radioafrikkansstereobanner4 Radio Afrikaans Germany RADINTERMUSI1 Radio International Music visit our websites Riseing Southernstar Africa radiosamvideocount3 Radio SAM Broadcaster Music textmusicbanner1 Radio SAM Broadcasting Studios Live newsambannerradiostation2 Radio SAM Broadcaster Germany radioeendrag233 Radio EENDRAG Germany BACK TO TOP