Why So Many Songs Pay Homage to Berlin

SPOMENIKS Yugoslavian Monuments (Cinematic Drone Reel) Lost & Abandoned ...

VIDEO DRIVEN ART Worldwide ☑️

Melanie De Biasio Blackened Cities 2016

Melanie De Biasio Blackened Cities 2016

DAF - Der Sheriff [Superstar Recordings Classics]

Beograd- T. V. ( ULTRA RARE TV BEOGRAD 1 VIDEO, 1982)

Blade Runner 2049 Baseline Test (Both Scenes)

7 Days in Entebbe | Final Battle | Raid & Rescue Scene | 1080p

Boys Noize & Pussy Riot - "Chastity" feat. Alice Glass [Official Video]

Boys Noize & Pussy Riot - "Chastity" feat. Alice Glass [Official Video]

#MUSIC #ART #NOIZE

Socio-Genetic Experiment

The song "Socio-Genetic Experiment" by The Disposable Heroes of Hiphoprisy is a protest song about the social and economic injustices that exist in the world. The song's lyrics criticize the rich and powerful for exploiting the poor and marginalized, and they call for a revolution to overthrow the existing system.

The song's title refers to the idea that the current social and economic system is a kind of experiment that is being conducted on the poor and marginalized. The song's lyrics suggest that this experiment is failing and that it is causing great suffering.

The song's chorus is a call for revolution:

"It's time for a revolution A socio-genetic revolution To overthrow the system And liberate the human race"

The song's lyrics also criticize the media for its role in perpetuating the status quo. The song suggests that the media is complicit in the exploitation of the poor and marginalized, and that it is used to manipulate public opinion.

The song's lyrics are challenging and provocative, but they are also important and timely. The song's message is that we need to change the current system if we want to create a more just and equitable world.

Here are some additional thoughts on the song's meaning:

• The song can be seen as a critique of capitalism and its negative impacts on society.
• The song can also be seen as a call for social and economic justice.
• The song's lyrics are relevant to many different parts of the world, where people are struggling against poverty, inequality, and oppression.
• The song is a powerful reminder that we have the power to create a better world, if we are willing to fight for it.

Vince Clarke - The Lamentations of Jeremiah (Official Video)

Vince Clarke's new song, "The Lamentations of Jeremiah", is an instrumental piece of ambient music. It is the first single from his upcoming debut solo album, Songs of Silence.

Clarke has said that the song is inspired by the book of Lamentations in the Bible, which is a collection of poems that mourn the destruction of Jerusalem by the Babylonians in 586 BC. However, Clarke has also said that the song is not specifically about religion, but rather about the universal human experience of grief and loss.

The song is a slow and somber piece of music, with a haunting melody and a minimalist arrangement. It is a beautiful and moving piece of music that is sure to resonate with listeners.

Here are some additional thoughts on the song's meaning:

• The song's title suggests that it is a lament, or a song of mourning.
• The song's instrumental arrangement creates a sense of atmosphere and emotion.
• The song's slow tempo and haunting melody can evoke feelings of sadness and loss.
• The song's minimalist arrangement can also be seen as a way of conveying the universality of grief.
• The song is a powerful and moving piece of music that can be interpreted in many different ways.

Overall, "The Lamentations of Jeremiah" is a beautiful and haunting piece of music that is sure to stay with listeners long after they have heard it.

How to cool a warming world | The Economist

Ugradnja: How to cool a warming world | The Economist

They're Coming To Take Me Away, Ha​-​Haaa!

The song "They're Coming To Take Me Away, Ha-Haaa!" by Napoleon XIV is a novelty song that was released in 1966. The song is about a man who is being institutionalized for mental illness, and it is sung from the man's perspective.

The song's lyrics are humorous and absurd, but there is also a dark undercurrent to the song. The song suggests that society is quick to label people as mentally ill, and that it is difficult to escape once you have been labeled.

The song's catchy melody and silly lyrics made it a hit with listeners, but it was also controversial. Some people criticized the song for making light of mental illness. However, others defended the song, arguing that it was simply a harmless bit of satire.

The song's composer and performer, Jerry Samuels, has said that he wrote the song as a way to cope with the stress of his own life. He has also said that he did not intend to make light of mental illness.

Here are some additional thoughts on the song's meaning:

• The song can be seen as a critique of society's treatment of people with mental illness.
• The song can also be seen as a commentary on the pressures of conformity and the difficulty of being different.
• The song's catchy melody and silly lyrics make it easy to forget that it is actually about a serious topic.
• The song is a reminder that we should not be quick to judge people, and that we should be more understanding of those who are struggling.

Overall, "They're Coming To Take Me Away, Ha-Haaa!" is a complex and thought-provoking song that can be interpreted in many different ways. It is a song that is both funny and sad, and it is a song that has stood the test of time.

Ivica Vdovic Vd o imidzu

Ivan Ivica Vdović, better known as Vd, was a member of the cult bands Sharlo Acrobat and Katarina II, and one of the best and most important drummers of Yugoslavia, the native John Bonham, as some call him. Vd was the vanguard, the first to replace the sticks with a rhythm machine; he was completely dedicated to creating and driving a new wave in the rock and roll music scene - a wave that no one could or dared to stop. When Vda was once asked who is the audience of his bands, he answered that they are young people who are fed up with what they have been listening to so far. According to the testimonies of his friends, he was rebellious and fascinating, somewhat mysterious, and above all, charismatic and witty. There is almost no drummer from this area who does not put him in the foreground.

Vd was born on February 23, 1961 in Belgrade. He started his musical career in the third grade of high school in the band Limunovo drvo, which was formed in the late seventies by singer and guitarist Milan Mladenović and guitarists Dragomir Gagi Mihajlović and Milan Mikica Stefanović. The band often changed members, and the last line-up consisted of Milan and Gaga from the old ones and bassist Dušan Kojić Koja and Vd as new members. After the concert with the band Pankrti in SKC (April, 1980), Gaga leaves the band, and the remaining three continue to form the band Charlo Acrobats.

Few bands managed to leave an indelible mark on the Yugoslav rock and roll scene in such a short time, like Charles the Acrobat, with just one album - "Bistriji ili tuplji čovek biva kad..." The name for it was chosen by Vd (according to the quote from the book "Pelagic's National Teacher" Vasa Pelagić). Jugoton released the album in July 1981 in today's unimaginable and then not too big 10,000 copies. Even today, he represents the most significant thing that the Belgrade rock scene has ever produced. The public will remember Šarlo the acrobat for his cult hits with "A brighter or duller man becomes when...", such as "Ona se wake", "No one like me", "Oko moje glava" and "Little man". They were also on the cult compilation "Package Arrangement", together with the famous hits of Idol and Electric Orgasm. Koja once stated that this album was released too late, because the trio was already deeply in disagreements, both musically and privately, and that two fronts were created: Milan and Ivica on one side, and he on the other. However, he only had words of praise for Vda:

Vd was an incredibly talented drummer, perhaps the most talented of all, he was also educated, he loved, but also knew how to play jazz, which is quite important. We got along really well and got along as musicians, it always actually kept the band together when we had a fight.

There is an interesting story from the tour of Charles the Acrobat in Poland. Namely, the Poles were so enthusiastic about the band that the audience carried Vda on their backs after one concert. The acrobats then managed to break up trained jazzers at the jam session of the Warsaw Jazz Festival. It was one of their last performances, because after returning home, the band held a farewell concert in Ljubljana in October 1981.

I tried to create a space for some open forms, where I would manage to create a situation where we could communicate with the instruments during the concert itself. And that was somehow, at least for me, the best part of the music that Charlo made... To some extent, the organized chaos that Charlo managed to create (VD about Charlo the acrobats)

Sharlo the acrobat did the music for one of the best films of Yugoslav cinematography in the early eighties - "The Boy Who Promises" by Miša Radivojević. Three songs recorded for the film ("Slobodan", "Ballad of hard chest" and "Depression", with which the film ends), have never been published, and they are true masterpieces. Koja and Vd played members of the band VIS Dobri dečaci in the film. The acting actor played the role of a silent musician. His friends often said that he was like that in private too. A good boy, with a kind and good-natured boyish appearance, who spoke little but wisely.

I remember him as the most charming guy in the company, a real prankster who was always ready to crack a good joke. He was also known for some habits that he would never change. He never went anywhere without his drumsticks and never answered the phone. When we have to go out, he stands nicely under the window and whistles. God, how much that man whistled under my window. (journalist Dubravka Marković about Vd)

The legendary Yugoslav actress and close friend of the Vd, Sonja Savić, was devoted to the Vd in many ways. She attributed key merits to him, both for the emergence of the new wave, and for shaping Mladenović and Koja, both musically and personally.

The widow's sister, Tanja, described her brother as an above-average werewolf who was often awarded during his schooling. According to her, Sharlo the acrobat broke up after only one year of work due to Vdo's insistence that Goran Vejvoda and Bebi Dol, with whom he previously collaborated on the Announda Rouge project, be brought into the group. Milan allegedly supported that option, while Koja believed that the three of them were enough in the band.

BRIAN ENO

Brian Eno je britanski muzičar, kompozitor, producent ploča i vizuelni umetnik najpoznatiji po svojim doprinosima ambijentalnoj muzici i radu u rok, pop i elektroniku. Kao "ne-muzičar", Eno je pomogao da se uvedu nekonvencionalni koncepti i pristupi savremenoj muzici. Opisan je kao jedna od najuticajnijih i najinovativnijih ličnosti popularne muzike. Godine 2019, Eno je primljen u Rokenrol kuću slavnih kao član Roxy Music-a.

Rođen u Safolku, Eno je studirao slikarstvo i eksperimentalnu muziku na umetničkoj školi Ipsvič građanskog koledža sredinom 1960-ih, a zatim u Vinčesterskoj školi umetnosti. Pridružio se glam rok grupi Roki Music kao njen sintisajzer 1971. godine, snimivši dva albuma sa grupom pre nego što je otišao 1973. Eno je potom objavio niz solo pop albuma počevši od Here Come the Varm Jets (1974) i počeo da istražuje minimalistički pravac. sa uticajnim snimcima Diskretna muzika (1975) i Ambient 1: Muzika za aerodrome (1978), skovao termin „ambijentalna muzika“.

Pored solo rada, Eno je tokom 1970-ih često sarađivao sa drugim muzičarima, uključujući Roberta Fripa, Harmoniju, Klastera, Harolda Bada, Dejvida Bouvija, Dejvida Birna i Džudi Najlon. Takođe se etablirao kao traženi producent radeći na albumima Džona Kejla, Džona Hasela, Laraadžija, Talking Heads, Ultravoka i Devoa, kao i na kompilaciji bez talasa No Nev Iork (1978). U narednim decenijama, Eno je nastavio da snima solo albume i producira za druge umetnike, najistaknutije U2 i Coldplay, pored rada sa umetnicima kao što su Daniel Lanois, Laurie Anderson, Grace Jones, Slovdive, Karl Hide, James, Kevin Shields i Damon Albarn .

Još iz vremena svog studenta, Eno je takođe radio u drugim medijima, uključujući zvučne instalacije, film i pisanje. Sredinom 1970-ih, zajedno je razvio Oblikue Strategies, ​​špil karata sa aforizmima namenjenim da podstaknu kreativno razmišljanje. Od 1970-ih pa nadalje, Enoove instalacije uključuju jedra Sidnejske opere 2009. i Lovell teleskop u Jodrell Bank 2016. Zagovornik niza humanitarnih ciljeva, Eno piše o raznim temama i jedan je od osnivača fondacija Long Nov.

Godine 1971. Eno je ko-formirao glam i art rok bend Roki Music. Imao je slučajni susret sa saksofonistom Endijem Mekejem na železničkoj stanici, što ga je dovelo do toga da se pridruži bendu. Eno je kasnije rekao: „Da sam hodao deset jardi dalje peronom, ili propustio taj voz, ili bio u sledećem vagonu, verovatno bih sada bio nastavnik likovnog”. Eno je svirao na njihova prva dva albuma, Roki Music (1972) i For Iour Pleasure (1973), i zaslužan je kao "Eno" za sviranje na VCS 3 sintisajzeru, efekte trake, prateće vokale i koproducent. U početku se Eno nije pojavljivao na bini na njihovim nastupima uživo, ali je upravljao miks pultom grupe u centru koncertnog prostora gde je imao mikrofon za pevanje pratećih vokala. Nakon što je grupa obezbedila ugovor o albumu, Ino im se pridružio na bini svirajući sintisajzer i postao poznat po svojim blistavim kostimima i šminki, delimično ukravši reflektore pevaču Brajanu Feriju. Nakon što je turneja For Your Pleasure završila sredinom 1973., Eno je napustio bend. On je naveo neslaganja sa Ferijem i insistiranje frontmena da bude komandujući grupom, što je uticalo na Enovu sposobnost da ugradi svoje ideje.

Gotovo odmah po izlasku iz Roxy Music-a, Eno je krenuo u solo karijeru. Objavio je četiri albuma sa elektronskim inflektivnim art popom: Here Come the Varm Jets (1973), Taking Tiger Mountain (Bi Strategi) (1974), Another Green Vorld (1975) i Before and After Science (1977). Tiger Mountain sadrži pesmu „Third Uncle” koja je postala jedna od Enoovih najpoznatijih pesama, delimično zahvaljujući njenoj kasnijoj obradi Bauhausa i 801. Kritičar Dejv Tompson piše da je pesma „skoro pank napad gitara i zveckanje udaraljki, 'Third Uncle' bi, s druge strane, mogla da bude himna hevi metala, ali ona čiji bi lirski sadržaj zapeo i najropskijeg vazdušnog gitariste."[27] Tokom ovog perioda, Eno je takođe svirao tri koncerta sa Filom Manzanerom 801. godine, supergrupa koja je izvodila manje-više prerađene selekcije sa albuma Enoa, Manzanere i Kuiet Sun, kao i obrade The Beatlesa i The Kinksa.

Godine 1973, osnivač i gitarista King Crimson-a Robert Fripp sarađivao je sa Enom i njegovim sistemom odlaganja trake kako bi napravio eksperimentalnu, ambijentalnu i drone muziku. Rezultat je bio (No Pussifooting) (1973), objavljen kao njihov duo naziv Fripp & Eno. Frip je kasnije nazvao metodu snimanja sa kašnjenjem na traku Frippertronics. Par je svoj debi pratio drugim albumom Evening Star (1975) i završio evropsku turneju. Eno je producirao albume The Portsmouth Sinfonia Plais the Popular Classics (1974) i Hallelujah! Portsmouth Sinfonia uživo u Rojal Albert Holu (1974)

The Human League - The Lebanon (Remastered 2003)

The song "The Lebanon" by The Human League is a protest song about the Lebanese Civil War, which lasted from 1975 to 1990. The song was released in 1984, at a time when the war was at its height.

The song's lyrics are critical of the different factions involved in the war, and they call for peace and reconciliation. The song's chorus is a plea for the violence to end:

"Stop the shooting, stop the fighting We're all brothers, we're all sisters In the Lebanon"

The song's release was controversial, with some people criticizing it for being too political. However, the band members defended the song, saying that it was important to speak out against the violence in Lebanon.

The song is still relevant today, as there are still many conflicts around the world. It is a reminder that we need to work together to create a more peaceful world.

Here are some additional thoughts on the song's meaning:

• The song can be seen as a critique of war and violence in all its forms.
• The song can also be seen as a call for peace and reconciliation.
• The song's lyrics are universal and can be applied to any conflict situation.
• The song is a reminder that we are all human beings, and that we should treat each other with respect and compassion.

Overall, "The Lebanon" is a powerful and moving song that is still relevant today. It is a song that speaks out against war and violence, and it calls for peace and reconciliation.

This is not a Love Song - PIL - Waltz With Bashir

Waltz with Bashir is a 2008 Israeli animated documentary film written, produced, and directed by Ari Folman. It is a semi-autobiographical film that depicts Folman's search for lost memories of his experience as a soldier during the 1982 Lebanon War.

The film begins with Folman having a recurring nightmare about a pack of dogs chasing him. He decides to talk to his friends from the war, but they also have fragmented memories of the event. Folman then travels to Europe to meet with other soldiers and witnesses to the war, in an attempt to piece together his own memories.

Along the way, Folman learns about the Sabra and Shatila massacre, a war crime in which Lebanese Christian militiamen killed hundreds of Palestinian civilians in two refugee camps in Lebanon. Folman realizes that he was present in Beirut during the massacre, but he has suppressed the memory of it.

The film ends with Folman confronting his memories of the war and the role he played in it. He realizes that he cannot escape his past, but he can choose how to remember it.

The soundtrack for Waltz with Bashir was composed by Max Richter. It is a haunting and atmospheric score that perfectly complements the film's dark and surreal imagery. The score features a mix of electronic and orchestral elements, and it creates a sense of unease and suspense.

Some of the most notable tracks on the soundtrack include:

• "In the Midst of Life"
• "The Sabra and Shatila Massacre"
• "Waltz with Bashir"
• "The End"

Richter's score for Waltz with Bashir was critically acclaimed and won a number of awards, including the European Film Award for Best Composer. It is considered to be one of the finest film scores of all time.

Waltz with Bashir is a powerful and moving film that explores the themes of memory, trauma, and the legacy of war. It is a must-see for fans of animation, documentary film, and anyone interested in the human condition.

How Israel automated apartheid | The Listening Post

Dobar daM - Možda bi trebalo

SAKAM SAKAMOTO

https://t.co/tL36Zq3jry
"Sometimes by chance or randomly, you know, some music comes to my mind. To me there is no genre difference, or category differences. Music is music."#SakamotoRyuichi #SAKAMOTOは分かってないよ #安らかに眠る #RyuichiSakamotoRIP

— SEO Expert Predrag Petrowitz Digital Strategist (@predragpetrovic) April 3, 2023

APPARATCHIK dedication, End of Europe