A timely reissue of Simon Schama's landmark study of the Netherlands from 1780-1813, this is a tale of a once-powerful nation's desparate struggle to survive the treacheries and brutality of European war and politics. Between 1780 and 1813 the Dutch Republic - a country once rich enough to be called the cash till of Europe and powerful enough to make war with England - w A timely reissue of Simon Schama's landmark study of the Netherlands from 1780-1813, this is a tale of a once-powerful nation's desparate struggle to survive the treacheries and brutality of European war and politics.

Between 1780 and 1813 the Dutch Republic - a country once rich enough to be called the cash till of Europe and powerful enough to make war with England - was stripped of its colonies, invaded by its enemies, driven to the edge of bankruptcy, and, finally, reduced to becoming an appendage of the French empire - an appendage not even the French seemed to value overmuch. Out of these events Simon Schama has constructed a gripping chronicle of revolution and privateering, constitutions and coups, in a tin y nation desperately struggling to stay afloat in a sea of geopolitics. Like his classics The Embarrassment of Riches and Citizens, Patriots and Liberators combines a mastery of historical sources with an unabashed delight in narrative. The result confirms Schama as a historian in the finest tradition - one whose study of the past reveals volumes about the present.

This is one of our most revered historians greatest works, and this new Perennial edition will reintrod. This extraordinary book which won the Wolfson Prize in 1977 is still by far the best thing that Simon Schama has ever written and he has written some very good books since.

The rest of Europe tends to be forgotten when one considers the French revolution. The reasons are fairly obvious. The first is that the participants in the events in Paris included many highly articulate people who left behind memoires, diaries and other documentation that have allowed historians to write wonderful histories This extraordinary book which won the Wolfson Prize in 1977 is still by far the best thing that Simon Schama has ever written and he has written some very good books since. The rest of Europe tends to be forgotten when one considers the French revolution. The reasons are fairly obvious. The first is that the participants in the events in Paris included many highly articulate people who left behind memoires, diaries and other documentation that have allowed historians to write wonderful histories with great literary qualities.

The second reason for the focus on Paris, is that Paris produced Napoleon who managed to total disrupt all of Europe from Lisbon to Moscow. However, the Revolutionary movement was a pan European phenomenon of conflict between many local aristocracies and their bourgeois counterparts who wanted a greater share of power and privileged positions in the civil service. It is for this reason that the French fire spread so widely. Simon Schama shows us how the process worked by presenting his exhaustively researched history of the Netherlands during the period. By zeroing in on the Netherlands Schama on obtains a better perspective on the drama that played out on a continental scale.

The old oligarchy of aristocrats who possessed a complex set of privileges in the Netherlands that made them wealthy and powerful had successfully managed to resist the efforts of the Patriot faction to concede a larger share of the perquisites to the bourgeois. Thus, the goals of the French invaders coincided with the interests of an important section of the Dutch population. Moreover, Napoleon's brother Louis who was made King had a very progressive program for the country and a strong desire to make the Netherlands more prosperous. The big problem was that Napoleon's irrational love of armed combat forced taxes so high in all the countries he controlled including the Netherlands, that the benefits of progressive politics were more than offset by the brutal payments to the Imperial Treasury. Not surprisingly when Napoleon fell, everyone tried to push the clock backwards as far as possible. Patriots and Liberators by its long and detailed study of the Revolutionary and then the Napoleonic experience in the Netherlands greatly enhances our understanding of the events that took place throughout the continent.

Simon Schama has very rightfully been considered one of the leading historians of our time since it was published. Simon Schama was born in 1945. The son of a textile merchant with Lithuanian and Turkish grandparents, he spent his early years in Leigh-on-Sea in Essex. When his parents moved to London he won a scholarship to Haberdashers’ Aske’s School where his two great loves were English and History.

Forced to choose between the two he opted to read history at Christ’s College, Cambridge. Here he was taught Simon Schama was born in 1945. The son of a textile merchant with Lithuanian and Turkish grandparents, he spent his early years in Leigh-on-Sea in Essex. When his parents moved to London he won a scholarship to Haberdashers’ Aske’s School where his two great loves were English and History. Forced to choose between the two he opted to read history at Christ’s College, Cambridge. Here he was taught by Sir John Plumb whose other students: Linda Colley, Roy Porter and John Brewer are now central to British historical thought. It was Plumb’s influence which instilled in him the importance of narrative and written style in order to gain an audience for history outside academia.

One of the hallmarks of Schama’s work is his flair for description: ‘he gets arcane matters to walk, in fact dance, off the page’ according to fellow historian Peter Hennessy. However, his approach is contentious and invites criticism of subjectivity and populism from academic circles.

Schama remained at Christ’s for 10 years after his degree, becoming a fellow and then director of Studies, before moving to Brasenose College Oxford. While at Oxford he wrote Patriots and Liberators: Revolution in the Netherlands 1780-1813 (1977), which won the Wolfson Literary Award, and Two Rothschilds and the Land of Israel (1979).

At Oxford he met his wife, Ginny Papaioannou a geneticist from California. Tired of the Oxford system (he once described his experience as being ‘like a gerbil on a treadmill’) and enticed by the freedom of US Academic life, he moved to America in 1980, becoming Professor of History at Harvard.

Here he wrote The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age (1987), Citizens: A Chronicle of the French Revolution (1989) and Dead Certainties (Unwarranted Speculations) (1991): an a unusual linking of the death of General Wolfe at Quebec in 1759 and the murder of a doctor, George Parkman, by a Harvard Professor in 1849. Citizens, which was written at lightening speed: 900 pages in only 18 months, won the 1990 NCR Book Award. However, Schama’s emphasis on the terror and violence of the revolution and his argument, that from its beginning it was a ‘ sacrament of blood’, ensured it has never found a publisher in France. He is now professor in history and art history at Columbia where he has written Landscape and Memory (1996) which received the W H Smith Literary Award and Rembrandt’s Eyes (1999). The latter is a controversial reassessment of the artist which attempts to reinstate the notion of Rembrandt the genius, aiming to invoke the atmosphere as well as the historical context.

In Schama’s view, as he tells David D’Arcy in Art Newspaper ‘ There are some passages of sublime reinvention for which history has absolutely no answersit seems to me pointless and trivial to pretend that it does.’ Simon Schama has also worked for the BBC on a 16 part series: ‘ A History of Britain’ and has been an art critic and cultural essayist for The New Yorker and Talk magazine. He lives in New York with his wife and their two children Chloe and Gabriel.

's debut is largely impulsive, frayed, and capable of creating an affecting, almost inactive atmosphere. Sandwiched in between the on-stage self-destruction of and the creation of, underplayed indie traditionalism as it took an unexpected, interesting tenure into dream-based ambient pop. And 's compositions were frequently free of guitars, lyrics, or drums. By avoiding an emphasis on found sound, however, songs like 'Glitter Spheres' and 'Skylight' were also connective and built from melody, while 'Dreams and Stars and Sleep' seemed to anticipate the predatory, childlike dub gospel of 's and 's.

Would break up soon after its release, but 's better moments, its quieter moments, were some of the more memorable, most overlooked yields of all of 's offshoots. Moped mines territory on their debut; a trio with a sharp melodic sense and alternating reedy male/wispy female vocals, they kick up a joyously noisy pop racket on superior moments like 'Stephaen Hero' and 'Window Shopping.' The group certainly doesn't break any new ground, but what they do, they do well. Tracklist 1 Mouthsore 2 Stephaen Hero 3 Window Shopping 4 Turkey 5 Vague 6 Does Your Back Hurt 7 Hotel 8 Cheap Strings 9 Bangs And Booms 10 Roadtrip 11 Sibling 12 Bottle 13 Through The Cracls 14 Keep In Touch. Despite taking their name from one of the 50 United States of America and adopting several American-sounding musical styles, the Scottish pop/rock band found nearly all its success in Europe starting in the late '80s, including the multi-million selling albums, and, and a series of hit singles such as 'Say What You Want,' 'In Our Lifetime,' and 'Summer Son.' Bass player (born April 21, 1963, Glasgow, Scotland) organized the band in Glasgow in 1986., a veteran of the bands and, brought in singer and rhythm guitarist (born November 7, 1967, Glasgow, Scotland), lead guitarist (born October 31, 1968, Glasgow, Scotland), and drummer (born March 16, 1963, Glasgow, Scotland).

The group took its name from the film Paris, Texas, which had boasted a score by, whose slide guitar playing heavily influenced, and sang without any discernible Scottish accent, giving the band a distinctly American sound. Made its concert debut in March 1988 at Dundee University in Scotland. 's previous connection with Mercury Records through led to the label's signing the band, which initially tried to record with of as producer before settling on instead.

The first result of this association was the single 'I Don't Want a Lover,' the initial effort of the writing team of and, which Mercury released in the U.K. In January 1989.

On March 4, it peaked at number eight. (the title referring to a neighborhood of Glasgow), the debut album, was released in March and peaked at number three at the end of the month. As Texas toured the U.K. And Europe, three more singles were released from the album, but failed to reach the Top 40; nevertheless, eventually sold more than two million copies worldwide. Meanwhile, Mercury released 'I Don't Want a Lover' and in the U.S. The single broke into Billboard's Album Rock Tracks and Modern Rock Tracks radio charts before finally entering the Hot 100, where it peaked at number 77 on September 30; the album peaked at number 88 a week later. Continued to tour Europe in 1990 before beginning work on their second album.

Left and was replaced on the drums by (born June 17, 1965, Aberdeen, Scotland), and keyboard player (born July 6, 1965, Glasgow, Scotland), who had been playing with them live, became an official member of the band. Was released in September 1991 and proved to be a commercial disappointment, peaking at number 32 in the U.K. On October 5. In the U.S., the track 'In My Heart' reached the Modern Rock Tracks chart as made its first visit to the country in November, but the album failed to chart.

'Alone with You,' the album's third single, returned them to the British Top 40, reaching number 32 on February 15, 1992, but their first substantial hit single since 'I Don't Want a Lover' was a one-off cover of 's 'Tired of Being Alone,' which peaked at number 19 on May 9. Again, after touring primarily in Europe, retired to write and record another album, this time turning to as producer and recording at Bearsville Studio in Woodstock, NY, which gave them their title, the name of the dirt road leading to the studio. 'So Called Friend,' released in advance of the album in August 1993, peaked at number 30 in the U.K. On September 11. (It was later used as the theme song for the U.S.

Television series Ellen, starring 1994-1998, and in the 1996 feature film Last Dance, starring.) A second single, 'You Owe It All to Me,' reached number 39 on October 30, before finally appeared in November, hitting number 18 on November 13. The album was not released initially in the U.S., but it eventually came out in 1994 as the band made several trips - in March, May-June, and August-September - to tour in North America. Despite this effort, like, failed to chart in the U.S., selling a meager 38,000 copies. The band wrote off the American market thereafter, concentrating primarily on Europe. One more single from, 'So in Love with You,' made the British Top 40, peaking at number 28 on February 12, 1994. But by the time closed its touring in support of the album in December, it was ready for an extended break, and little was heard from the band over the next two years, while they worked on their fourth album with producer. They re-emerged with a hometown concert in Glasgow on December 5, 1996, and in January 1997 came the advance single 'Say What You Want,' which became their biggest hit yet, peaking at number three on January 25.

That surprising comeback was followed by the album, which entered the British chart at number one on February 15, 1997. It remained in the charts nearly two years, selling 1.7 million copies in the U.K. Alone and throwing off three more Top Ten hits: 'Halo,' 'Black Eyed Boy,' and 'Put Your Arms Around Me.' The band spent the year touring extensively in Europe and made its first trip to Australia in May. (They did not tour the U.S., where finally was released on August 5, 1997, as 'Say What You Want' appeared in the film comedy Picture Perfect, starring, although they did find time for a promotional trip in October. The album did not chart, but Hollywood continued to favor the group, with 'Put Your Arms Around Me' appearing in the 1998 film Ever After, starring Drew Barrymore.) On February 9, 1998, appeared at the BRIT Awards, performing 'Say What You Want' in the company of rapper of. The seemingly unlikely pairing led to a new recording of the song, and the single 'Say What You Want (All Day and Every Day)' by featuring (actually, just and ) entered the U.K.

Charts at number four on March 21. The band played shows periodically during 1998 while working on its next album. That fifth album was prefaced by the lead-off single 'In Our Lifetime,' which entered the British charts at number four on May 1, 1999., which followed within weeks, showed the band as consisting of, and; soon after, it was announced that was the new drummer.

The album entered the charts at number one on May 22, 1999. Second single 'Summer Son' reached number five in August, but 'When We Are Together' stopped at number 12 in November, capping ' run of consecutive Top Ten British hits at seven. Touring continued throughout 1999. ' next single was 'In Demand,' a Top Ten hit released in October 2000 that prefaced, which hit number one in Britain in November and spawned a second new track, 'Inner Smile,' that reached the Top Ten in January 2001, and the band launched an extensive European tour.

(By this time, Mercury wasn't even bothering to release ' records in the U.S.) In July, they issued a remixed version of their first hit, 'I Don't Want a Lover,' which made the Top 20. Then took time off to have a baby, giving birth to a daughter on September 9, 2002.

So, more than two more years passed before the October 2003 release of the sixth album, which was prefaced by the single 'Carnival Girl,' featuring, a Top Ten hit. (The credits announced that was the new drummer, replacing, and that a new guitarist, Tony McGovern, had joined.) The album peaked at number five and also featured the Top 40 hit 'I'll See It Through.' By November 2005, when the seventh album, was released, ' commercial fortunes had declined, but the disc was still able to debut in the Top Ten in France, the band's most reliable market. (The album marked the addition of keyboard player.) 'Sleep,' a duet between and of, was excerpted as the album's third single in January 2006 and made the U.K. Bryn Jones was not a practicing Muslim and never went to the Middle East. His recordings as, however, qualified him as one of the Western artists most explicitly slanted in his favor of the Palestinian liberation movement. Since the Manchester-native's works were instrumental, most of the political statement was inherent in the packaging: Witness titles such as,.

Jones could have been a potentially controversial figure if his releases were available in anything except severely limited editions - usually less than one thousand copies of each. Despite their lack of prominence, Jones' blend of found-sound Middle Eastern atmospheres with heavily phased drones and colliding rhythm programs were among the most startling and unique in the noise underground. Formed in 1982 to protest the Israeli invasion of Lebanon, 's first release was the EP, which appeared in 1983 as a response to the Soviet invasion of Afghanistan. During the 1980s, Jones averaged almost two albums per year, plus additional EPs and limited releases (of 500 copies each). With 1990's he earned his first release on Extreme Records, an American label with releases. Five albums followed for Extreme in the next four years, while a half-dozen were released on the Dutch Staalplaat, distributed in the States as well through Soleilmoon.

As the decade progressed, 's output became even more concentrated - five albums in 1994, six a year later, and an unbelievable eight LPs in 1996. The experimental/noise underground increased in visibility during the late '90s, with productions gradually encompassing heavier beats and a style close in execution to post-industrial beat-heads,. The project ended tragically in 1999 when Jones died suddenly of a rare blood disease.

A number of posthumous releases including (partially a collaboration with dub collective ) and the nine-disc Box of Silk and Dogs soon followed. Is the latest entry in the alternative music sweepstakes, their music encompassing a wide range between edgy rock, sunny pop and moodier offerings, all of it wrapped up in catchy hooks and seamless vocal harmonies. Formed in 1989 by core members Jay Memory and Bubba Dean when both were students at the University of Georgia in Athens working as an acoustic duo act, the group grew with the additions of drummer and bassist Mark 'The Shadow' Ross. Constant touring built up a rabid regional fan base, which led to the release of three independently produced albums, 1992's Highway Twenty-Nine, 1993's Memory Dean and 1995's.

All this regional activity eventually caught the attention of Capricorn Records, who signed the band and hooked them up with producer/engineer (, ) for their debut album,. Followed in 1999. 'Although a lot of people tried pigeonholing us,' says Memory, 'we've never fit into any musical category. It would have been easier to say we're a rock band or a pop band, but we're not. All these different elements are important in music, and our goal is to bring them all together.'

Though often associated with the New York City hardcore scene of the mid-'90s, never quite fit in with their contemporaries, and were more apt to play a ballad than to kick over a mic stand. Their sound fuses complex time changes and manic break-outs with blatant pop sensibilities; a combination which won them a loyal underground audience, culminating in a jump to a major label in 1997. Originally formed in their native New York by singer/guitarist Joshua Loucka, bassist, and drummer, went the DIY route, playing shows whenever possible and recording an EP, (1994), and a full-length album, (1995), on indie label Equal Vision Records. While Loucka's monotone voice could grow tiresome at times, both releases showed a firm grasp on the heavier and lighter elements of rock, a combination best realized on 's 'Dress Up,' which veers from ballad to rocker with astonishing ease. Even in such a competitive scene, stood out, and in 1997 were signed to Columbia Records. With the addition of guitarist, the band evened out their sound (the multi-layer guitar work on their first albums was never quite realized in concert), they released in the fall of that year, and continued to tour aggressively.

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Good manners matter. Special thanks to my surrogate blog buddies who've introduced me to some great bands and uploaded them for all of us to enjoy. I truly appreciate all of their hard work and they are now a part of the I Hate the 90s team. Updated 12 April 2018 A Bullet For Fidel Lingers and Dies Bisbee Snacks Big Ass Truck Blue Monday; Purity of Essence Croatan Terror in My Pants Dandruff Deluxe Erase Today Colour Sound & Vibration F lightstar Circles; M.C.K. Flower Gang Junkdrawer EP Greed Seed 20 Years Too Late Horsepower Bareback EP Huge Pristine Icky Boyfriends I'm not Fascinating Kickstand Kill Devil Hill Little John self titled Log 4 song EP on Anyway Records Machinery Hall Herd Mutton Gun III (With Wood) Not Going to Vegas Nub Fall Guy/Harrier 7 inch Orbit Guide to Better Living Pure Blind Panic Redberry Remy Zero Waving Smile Splendid EP Sponge Trendbender Star Hustler self titled Sunbrain Assorted Fruit Flavors The Happily Rejected Hobbledehoy Tutti Tropo Wis hplants Daddy Longlegs Yellowbelly.