. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "1991 v hudb\u011B"@cs . . . . "1991 \u0433\u043E\u0434 \u0432 \u043C\u0443\u0437\u044B\u043A\u0435"@ru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "1991 var \u00E5ret som grungerocken fick sitt stora genombrott. \"Nevermind\" av gruppen Nirvana, med hitsingeln Smells Like Teen Spirit, blev det mest popul\u00E4ra albumet i USA det \u00E5ret. Mer Popliknande hair metal-grupper som Def Leppard, M\u00F6tley Cr\u00FCe, Poison och Ratt, som varit popul\u00E4ra i slutet av 1980-talet. Dock erh\u00F6ll h\u00E5rdrocksgruppen Guns N' Roses fortsatt popularitet. Grungerockens \u00F6kade popularitet gjorde att Seattle \u00F6vertog Los Angeles tidigare position som dominerande rockort."@sv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "This is a list of notable events in music that took place in the year 1991."@en . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "1991 \u00E9 considerado pela cr\u00EDtica especializada como um dos anos mais produtivos na hist\u00F3ria da m\u00FAsica, n\u00E3o s\u00F3 pela quantidade de discos lan\u00E7ados mas tamb\u00E9m pelo fato de que estes discos mudaram profundamente o modo como a m\u00FAsica vinha sendo feita at\u00E9 ent\u00E3o, tendo um impacto muito grande em sua \u00E9poca e nas gera\u00E7\u00F5es seguintes at\u00E9 os dias de hoje. Alguns exemplos s\u00E3o os discos: Achtung Baby do U2, Ten do Pearl Jam, Nevermind do Nirvana, Black Album do Metallica, Loveless do My Bloody Valentine e Dangerous de Michael Jackson. Foi tamb\u00E9m em 1991 que a m\u00FAsica eletr\u00F3nica saiu do underground (onde se difundia e se abria para novas possibilidades) e se consolidou no mainstream. Um dos respons\u00E1veis por isto foi o disco Screamadelica da banda brit\u00E2nica Primal Scream, que tornou a Dance Music e o techn"@pt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u0418\u0441\u043F\u043E\u043B\u043D\u0438\u0442\u0435\u043B\u0438: \n* The Byrds (\u0414\u0436\u0438\u043D \u041A\u043B\u0430\u0440\u043A, \u041C\u0430\u0439\u043A\u043B \u041A\u043B\u0430\u0440\u043A, \u0414\u044D\u0432\u0438\u0434 \u041A\u0440\u043E\u0441\u0431\u0438, \u0420\u043E\u0434\u0436\u0435\u0440 \u041C\u0430\u043A\u0433\u0443\u0438\u043D\u043D \u0438 \u041A\u0440\u0438\u0441 \u0425\u0438\u043B\u043B\u043C\u0430\u043D) \n* Ike & Tina Turner (\u0410\u0439\u043A \u0422\u0451\u0440\u043D\u0435\u0440 \u0438 \u0422\u0438\u043D\u0430 \u0422\u0451\u0440\u043D\u0435\u0440) \n* The Impressions (\u0414\u0436\u0435\u0440\u0440\u0438 \u0411\u0430\u0442\u043B\u0435\u0440, \u0410\u0440\u0442\u0443\u0440 \u0411\u0440\u0443\u043A\u0441, \u0420\u0438\u0447\u0430\u0440\u0434 \u0411\u0440\u0443\u043A\u0441, \u0421\u044D\u043C \u0413\u0443\u0434\u0435\u043D, \u0424\u0440\u0435\u0434 \u041A\u044D\u0448 \u0438 \u041A\u0451\u0440\u0442\u0438\u0441 \u041C\u044D\u0439\u0444\u0438\u043B\u0434) \n* \u041B\u0430\u0432\u0435\u0440\u043D \u0411\u0435\u0439\u043A\u0435\u0440 \n* \u0423\u0438\u043B\u0441\u043E\u043D \u041F\u0438\u043A\u0435\u0442\u0442 \n* \u0414\u0436\u0438\u043C\u043C\u0438 \u0420\u0438\u0434 \n* \u0414\u0436\u043E\u043D \u041B\u0438 \u0425\u0443\u043A\u0435\u0440 \u0420\u0430\u043D\u043D\u0435\u0435 \u0432\u043B\u0438\u044F\u043D\u0438\u0435: \n* \u0425\u0430\u0443\u043B\u0438\u043D \u0412\u0443\u043B\u0444 \u041D\u0435\u0438\u0441\u043F\u043E\u043B\u043D\u0438\u0442\u0435\u043B\u0438: \n* \u0414\u044D\u0439\u0432 \u0411\u0430\u0440\u0442\u043E\u043B\u043E\u043C\u044C\u044E \n* \u0420\u0430\u043B\u044C\u0444 \u0411\u0430\u0441\u0441 \u0416\u0438\u0437\u043D\u0435\u043D\u043D\u044B\u0435 \u0434\u043E\u0441\u0442\u0438\u0436\u0435\u043D\u0438\u044F: \n* \u041D\u0435\u0441\u0443\u0445\u0438 \u042D\u0440\u0442\u0435\u0433\u044E\u043D"@ru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Tento \u010Dl\u00E1nek obsahuje ud\u00E1losti souvisej\u00EDc\u00ED s hudbou, kter\u00E9 prob\u011Bhly v roce 1991."@cs . . . . . . . . . . . . . "Cette liste pr\u00E9sente, par ordre chronologique, tous les titres s'\u00E9tant class\u00E9s \u00E0 la premi\u00E8re place du Top 50 durant l'ann\u00E9e 1991. \n* Fran\u00E7ois Feldman : Petit Frank \n* F\u00E9lix Gray et Didier Barbelivien : Il faut laisser le temps au temps \n* Enigma : Sadeness (Part I) \n* Scorpions : Wind of change \n* Myl\u00E8ne Farmer : D\u00E9senchant\u00E9e \n* Les Inconnus : Auteuil Neuilly Passy \n* Lagaf' : La Zoubida \n* Bryan Adams : (Everything I do) I do it for you \n* Patrick Bruel : Qui a le droit..."@fr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u0418\u0441\u043F\u043E\u043B\u043D\u0438\u0442\u0435\u043B\u0438: \n* The Byrds (\u0414\u0436\u0438\u043D \u041A\u043B\u0430\u0440\u043A, \u041C\u0430\u0439\u043A\u043B \u041A\u043B\u0430\u0440\u043A, \u0414\u044D\u0432\u0438\u0434 \u041A\u0440\u043E\u0441\u0431\u0438, \u0420\u043E\u0434\u0436\u0435\u0440 \u041C\u0430\u043A\u0433\u0443\u0438\u043D\u043D \u0438 \u041A\u0440\u0438\u0441 \u0425\u0438\u043B\u043B\u043C\u0430\u043D) \n* Ike & Tina Turner (\u0410\u0439\u043A \u0422\u0451\u0440\u043D\u0435\u0440 \u0438 \u0422\u0438\u043D\u0430 \u0422\u0451\u0440\u043D\u0435\u0440) \n* The Impressions (\u0414\u0436\u0435\u0440\u0440\u0438 \u0411\u0430\u0442\u043B\u0435\u0440, \u0410\u0440\u0442\u0443\u0440 \u0411\u0440\u0443\u043A\u0441, \u0420\u0438\u0447\u0430\u0440\u0434 \u0411\u0440\u0443\u043A\u0441, \u0421\u044D\u043C \u0413\u0443\u0434\u0435\u043D, \u0424\u0440\u0435\u0434 \u041A\u044D\u0448 \u0438 \u041A\u0451\u0440\u0442\u0438\u0441 \u041C\u044D\u0439\u0444\u0438\u043B\u0434) \n* \u041B\u0430\u0432\u0435\u0440\u043D \u0411\u0435\u0439\u043A\u0435\u0440 \n* \u0423\u0438\u043B\u0441\u043E\u043D \u041F\u0438\u043A\u0435\u0442\u0442 \n* \u0414\u0436\u0438\u043C\u043C\u0438 \u0420\u0438\u0434 \n* \u0414\u0436\u043E\u043D \u041B\u0438 \u0425\u0443\u043A\u0435\u0440 \u0420\u0430\u043D\u043D\u0435\u0435 \u0432\u043B\u0438\u044F\u043D\u0438\u0435: \n* \u0425\u0430\u0443\u043B\u0438\u043D \u0412\u0443\u043B\u0444 \u041D\u0435\u0438\u0441\u043F\u043E\u043B\u043D\u0438\u0442\u0435\u043B\u0438: \n* \u0414\u044D\u0439\u0432 \u0411\u0430\u0440\u0442\u043E\u043B\u043E\u043C\u044C\u044E \n* \u0420\u0430\u043B\u044C\u0444 \u0411\u0430\u0441\u0441 \u0416\u0438\u0437\u043D\u0435\u043D\u043D\u044B\u0435 \u0434\u043E\u0441\u0442\u0438\u0436\u0435\u043D\u0438\u044F: \n* \u041D\u0435\u0441\u0443\u0445\u0438 \u042D\u0440\u0442\u0435\u0433\u044E\u043D"@ru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Wydarzenia muzyczne w 1991 roku."@pl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "1991 w muzyce"@pl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "160801"^^ . . . . . . . . . . . . . . . . . . . . . . . . . . . "111924"^^ . . . . . . . . "Muziek in 1991"@nl . . . . . . . . . "Dit artikel gaat over muziek uit het jaar 1991."@nl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Wydarzenia muzyczne w 1991 roku."@pl . . . . . . . . "1991 in music"@en . . . . . . . . . . . "1991\u5E74\u306E\u97F3\u697D"@ja . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Tento \u010Dl\u00E1nek obsahuje ud\u00E1losti souvisej\u00EDc\u00ED s hudbou, kter\u00E9 prob\u011Bhly v roce 1991."@cs . . . . . . . . . . . "1991 \u00E9 considerado pela cr\u00EDtica especializada como um dos anos mais produtivos na hist\u00F3ria da m\u00FAsica, n\u00E3o s\u00F3 pela quantidade de discos lan\u00E7ados mas tamb\u00E9m pelo fato de que estes discos mudaram profundamente o modo como a m\u00FAsica vinha sendo feita at\u00E9 ent\u00E3o, tendo um impacto muito grande em sua \u00E9poca e nas gera\u00E7\u00F5es seguintes at\u00E9 os dias de hoje. Alguns exemplos s\u00E3o os discos: Achtung Baby do U2, Ten do Pearl Jam, Nevermind do Nirvana, Black Album do Metallica, Loveless do My Bloody Valentine e Dangerous de Michael Jackson. Foi tamb\u00E9m em 1991 que a m\u00FAsica eletr\u00F3nica saiu do underground (onde se difundia e se abria para novas possibilidades) e se consolidou no mainstream. Um dos respons\u00E1veis por isto foi o disco Screamadelica da banda brit\u00E2nica Primal Scream, que tornou a Dance Music e o techno mais diger\u00EDveis para a cr\u00EDtica (que, naquela \u00E9poca, era um tanto relutante a estes novos movimentos que surgiam). 1991 foi muito importante em especial para o rock alternativo, podendo, este, ser dividido entre pr\u00E9 e p\u00F3s-1991. Bandas de garagem que procuravam viver independentes da ind\u00FAstria da m\u00FAsica antes de 1991 estavam concentradas em pequenos nichos, como: pequenos selos; dentro das faculdades com o college rock; e envolvidas com a cena underground nova-iorquina do No Wave/Noise rock. Havia, tamb\u00E9m, no Reino Unido, alguns movimentos como a Cena de Manchester. Ap\u00F3s 1991, devido \u00E0 grande qualidade dos discos lan\u00E7ados por essas bandas e a ca\u00E7a que as grandes gravadoras iniciaram em busca da \"nova banda de garagem\" (o \"novo Nirvana\") do momento, este g\u00EAnero ganhou o mainstream. Houve a explos\u00E3o do Grunge, o lan\u00E7amento de \"Loveless\" (marco para o Shoegaze), o Pixies lan\u00E7ou seu \u00FAltimo disco e em seguida se dissolveu, R.E.M. lan\u00E7ou seu Out of Time, o Smashing Pumpkins lan\u00E7ou seu disco de estreia, Gish, a banda Blur lan\u00E7ou tamb\u00E9m seu disco de estreia, Leisure, e foi lan\u00E7ado Screamadelica, da banda brit\u00E2nica Primal Scream, entre muitos outros acontecimentos."@pt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Dit artikel gaat over muziek uit het jaar 1991."@nl . . . . . . . . . . . . "1123589929"^^ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Musik\u00E5ret 1991"@sv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "1991 na m\u00FAsica"@pt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "1991 en musique"@fr . . . . . . . "1991 var \u00E5ret som grungerocken fick sitt stora genombrott. \"Nevermind\" av gruppen Nirvana, med hitsingeln Smells Like Teen Spirit, blev det mest popul\u00E4ra albumet i USA det \u00E5ret. Mer Popliknande hair metal-grupper som Def Leppard, M\u00F6tley Cr\u00FCe, Poison och Ratt, som varit popul\u00E4ra i slutet av 1980-talet. Dock erh\u00F6ll h\u00E5rdrocksgruppen Guns N' Roses fortsatt popularitet. Grungerockens \u00F6kade popularitet gjorde att Seattle \u00F6vertog Los Angeles tidigare position som dominerande rockort."@sv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "1991\u5E74\u306E\u97F3\u697D\uFF081991\u306D\u3093\u306E\u304A\u3093\u304C\u304F\uFF09\u3067\u306F\u30011991\u5E74\uFF08\u5E73\u62103\u5E74\uFF09\u306E\u4E16\u754C\u306E\u97F3\u697D\u30B8\u30E3\u30F3\u30EB\u3064\u3044\u3066\u8A18\u8FF0\u3059\u308B\u3002\uFF08\u5404\u56FD\u8A9E\u7248\u3067\u58F2\u308A\u4E0A\u3052\u91D1\u984D\u306E\u8A18\u8F09\u304C\u306A\u3044\u305F\u3081\u3001\u65E5\u672C\u8A9E\u7248\u3067\u3082\u8A18\u8F09\u306F\u3057\u306A\u3044\uFF09\u3002 1990\u5E74\u306E\u97F3\u697D-1991\u5E74\u306E\u97F3\u697D-1992\u5E74\u306E\u97F3\u697D"@ja . . . . . . . . . . . . . . . "This is a list of notable events in music that took place in the year 1991."@en . . . "1991\u5E74\u306E\u97F3\u697D\uFF081991\u306D\u3093\u306E\u304A\u3093\u304C\u304F\uFF09\u3067\u306F\u30011991\u5E74\uFF08\u5E73\u62103\u5E74\uFF09\u306E\u4E16\u754C\u306E\u97F3\u697D\u30B8\u30E3\u30F3\u30EB\u3064\u3044\u3066\u8A18\u8FF0\u3059\u308B\u3002\uFF08\u5404\u56FD\u8A9E\u7248\u3067\u58F2\u308A\u4E0A\u3052\u91D1\u984D\u306E\u8A18\u8F09\u304C\u306A\u3044\u305F\u3081\u3001\u65E5\u672C\u8A9E\u7248\u3067\u3082\u8A18\u8F09\u306F\u3057\u306A\u3044\uFF09\u3002 1990\u5E74\u306E\u97F3\u697D-1991\u5E74\u306E\u97F3\u697D-1992\u5E74\u306E\u97F3\u697D"@ja . . . . . . . . . . . . . . . . . . . . . . . . . "Cette liste pr\u00E9sente, par ordre chronologique, tous les titres s'\u00E9tant class\u00E9s \u00E0 la premi\u00E8re place du Top 50 durant l'ann\u00E9e 1991. \n* Fran\u00E7ois Feldman : Petit Frank \n* F\u00E9lix Gray et Didier Barbelivien : Il faut laisser le temps au temps \n* Enigma : Sadeness (Part I) \n* Scorpions : Wind of change \n* Myl\u00E8ne Farmer : D\u00E9senchant\u00E9e \n* Les Inconnus : Auteuil Neuilly Passy \n* Lagaf' : La Zoubida \n* Bryan Adams : (Everything I do) I do it for you \n* Patrick Bruel : Qui a le droit..."@fr .