1:55 PM EDT May 14, 2024:

Tomita - "Bydlo" From the album Pictures at An Exhibition (1975)

Last song scrobbled from iTunes at Last.fm

if i ever even think about agreeing to going anywhere with my relatives again HIT ME WITH A CAR

i fucking hate this. every fucking time i agree to go somewhere i think i will like this and then i hate it and i want to kill and i wabt to cry. it is always so loud and it is always an awful long ride and it is always so painfully boring. i hate this i hate this i hate this. i am stuck in a tent with bad music playing from a dozen different people and loud talking and children screaming. i just want to go home. why is it so loud how can other people bear it. i want to die. i am never going on a lake again it is not worth it. i wanted to go swimming for years so badly and now im more miserable than ive been in months. i wanna die

Sehnal jsem nové bydlo

Pražský hrad to sice není, ovšem prozatím to postačí

As a Ukrainian, what do you think will happen on the territories of Eastern Ukraine that were occupied since 2014 after they are liberated? There seems a hostility between people who lived on those occupied lands and Ukrainians, how do you think this demographic problem will be solved?

Thankyou for replying in advance!

That is a very tough question and the discussions around it are intense. I will retell some of the ideas I see thrown around, but full disclosure it is something most people would struggle answering, I think. So, apologies if this will be one of those posts that are tough to read - I struggled a lot puting my thoughts into words with this. Also, I don't have faith that the solutions that are offered today would be fullfilled without any fuck-ups on the way.

Allthough it is true that the majority of the people who chose to keep living in DNR/LNR are pro-russian, there still are those who remained loyal to Ukraine and are waiting for liberation. The dichotomy between "patriotic/nationalistic spiritual West" and "russophile bydlo East" is a false one. + I expect there will be people who fled Donbas in 2014 and will want to return home after its liberation. What I'm trying to say is, there are many people we will be able to rely on with solving the question of "what to do with Donbas after the reoccupation".

[image description: a flyer found in Donetsk in 2023 stating "Donetsk is Ukraine"]

[image description: a tweet with the following text: "When people say «listen to Donbas», for some reason everyone perceives this as «listen to those who support russia». But what about us, people from Donetsk, Luhansk, who remained loyal to Ukraine? What about us, who fled from occupation back in 2014? Who joined the army? We also need to be heard! We can name the streets after ukrainian heroes, we can lead the region! Ironically, the ukrainians who have lead to this scenario have already fled to russia long time ago or are dead. Indeed, the nature is cleaning itself."]

2. That being said, there is still an issue of the civillian population that has been loyal to russia. Best case scenario, which will probably not come to life, we will need some kind of deideologization zone; something akin to the post-ww2 denazification in Germany. Ideally it would involve a lot of educational projects aimed at opening the people's eyes to the fact that they've been lied to for 10 years (and, realistically speaking, their entire life - the propaganda started decades before the war).

Following the Germany's example, this will involve the decisions that will definitely make some anti-ukrainian polticians decry us as nazi - like withholding the voting rights for some period of time, withholding the rights to take up administrative positions, etc. etc. And I am sorry, but this is a necessary step we need to make if we want to secure our existance as a country in the future. We still 100% be required to ensure the human dignity of every person living on the territory of Ukraine and act in accordance to the UN declarations. But sometimes we need to put the collective interest above the individual one, especially when it comes to our literal survival as a group. But even if this project will happen as I have described, which I doubt, we still need to accept that there will be people who'll remain loyal to putin to the end of their days but will want to live where they are. If we manage to build a strong government and if russia falls apart by then, then they won't cause much of a problem. Otherwise, they will be a source of danger to the existance of Ukraine as a nation, and we'll need to think about using the revocation of citizenship, which will also sound horrible to our critics, even though it has a rich legitemate precedence.

3. People who have held administrative positions or were related to any type of propagandistic activity (e.g. teaching russian version of history in schools) are, according to law, collaborators, and will need to be put to trial as such. But everybody else - say, pensioneers, shop assistants, doctors etc. - are not considered collaborators under the international laws we all agreed on, even if they had to accept russian passports (which people are often forced to in order to receive food/medical help), and therefore do not need to fear that they will be presecuted as "collaborators" by law (this part I am actually pretty confident we'll do fine, we have had very lenient track record so far).

Overall it is a very complex topic where any mistake has a high price, and we for sure will need to create trustworthy legal organs to answer the societal request for justice. I have found one article which goes into more detail, and frankly is more well-versed in this topic than I am. What are the chances that this will go smoothly without any bumps on the way? Uuuuugh

4. There also is a problem of rebuilding the region which has been ravaged by war for a decade. Even before the invasion, Donbas has been the poorest region in Ukraine. Poverty breeds crime, crime breeds corruption, and corruption is a wide open door for russian KGBists. If we want to protect ourselves from anyone using our internal issues against us in the future, we will need to tackle them at their root. In my wildest dreams, I see rebuilding Donbas with the engagement of foreign investors into the biggest Ukrainian centre of scientific development - STEM research, engeineering, space science etc. (And, of course, a huge demilitarization zone on the border with a row of automatic turrets along the wall). But I know that this dream is very unrealistic and a slow depopulation and degradation of the region, alas, is a much more realistic scenario.

5. If you mean the personal animosity between people who have been living under occupied territories vs from free Ukraine... I don't know. Since 2014, there for sure has been discrimination towards the refugees to the east, and I do not expect the situation to be much difficult now - even if we somehow manage to take russian informational intervention out of the picture. In the end, it will depend on the governmental decisions and if they manage to build a good reintegration programme, which falls down to finding the correct people to do the job. I sincerely believe that there are people like that. I do not know if they will be able to overcome the corruption on their way.

There are also ecological issues which is a whole another can of worms I will not even touch today.

I do not remember if I've recommended this movie yet, but Atlantis by Valentyn Vasyanovych tries to respond the very same question of "what to do with Donbas after reoccupation". I think it is a great movie that tackles a lot of societal fears and frustrations, and the picture it paints is much less optimistic than what I've written here. It is a bit of arthousey, but still worth the watch. Give it a change, if you have time and opportunity.

In short, I unironically believe that the hardest work for Ukraine will start after we win the war.

никто:

абсолютно никто:

я, когда зашла в ванную и увидела какую-то летающую херню: CURWA MOTYL. CZY TO BYDLO JEBANE. JA PIERDOLE

создала базированный польский мем.

скоро забуду русский ребят😘✌🏻

Prelude to Noella - track 4 on Manic Pixie Dream World bts

These preludes were one of the most fun things to do on the record. At some point earlyish during the pandemic Spitfire audio put out a BBC Symphony Orchestra plugin for free. Being a fan of a lot of orchestral music who isn't really classically trained, it made for a very fun creative tool. I got really into Lady Gaga's Chromatica at some point too and I just LOVED the orchestral bits and how they flowed into the electronica.

A big driving force in making Manic Pixie Dream World was that I wanted to have fun and flex everything I've learned as a composer. Composing orchestral interludes became part of that, because I think there's something kind of punk about composing in a style that's often quite exclusive and put on a pedestal when you aren't actually part of that world. To me, high art and low art are products of class society and are utterly arbitrary, music is music. And it felt so freeing and kind of hilarious to do it all with a plugin when I had spent so much time and effort building up an 'analog' sound on everything else. It is also fun to compose in a style I have listened to a lot but never really learned to do properly, it forces me to really just pull ideas out of my head and not depend on any shortcuts.

Unlike Gaga's interludes which are very Old Hollywood sounding to me, mine are colder and more European (and worse lol). My favourite composers are people like Rimsky-Korsakov, Stravinsky Mussogorsky (particularly the Ravel arrangements), Prokofiev and Philip Glass. I also love the arrangements on Klo Pelgag's Étoile Thoracique (Mathieu Aneth I think ?) and used to listen to a lot of Owen Pallet which I think is most obvious on Not Your Dolly.

This one is a pretty basic prelude, essentially a rearrangement of the chorus of Noella, leading into a buildup over the verse progression.

I hope you enjoy these as much as I enjoyed making them

💖🎶💖

got tagged by @actionpainting to post the first 10 shuffled tracks from my spotify liked. since i can't personally do that i made up my own rule and you'll have to trust it maintains the sentiment

DARKSIDE - Liberty Bell

Oneohtrix Point Never - Ezra

Buzinkai - Anna's Theme

Drive Like Jehu - Here Come the Rome Plows

Glued - Fish Song

tunng - Flatland

Son Rompe Pera - Chucha

The Avalanches - Electricity

David John Sheppard - Spring Forward, Fall Back

Isao Tomita - Bydlo

tagging @power464646 @vibekei @azbats @splitsuns @theislandofmisfittoys @weedofwisdom @kal-la-kal-la

this has a lot of scattered thoughts and feelings behind it but mostly i needed to make something weird and expressive and maybe offputting idk. was fun to make. the song is a pitched down version of bydlo by mussorgsky

Also Chilton has the vibe of a grown-up Seward. That type of a slightly annoying definitely misogynistic gay who goes to barbershops and lives in some hipster neighborhood. The guy who treats all the girls in his class like absolute shit, thinks most other men are bydlo and can only sorta respect the guys he wants to fuck.

6:11 AM EDT April 30, 2023:

Isao Tomita - “Bydlo” From the album Pictures at An Exhibition (1975)

Last song scrobbled from iTunes at Last.fm

National Recording Registry: 2023 Inductees

I was going over the list of 25 pieces the National Recording Registry of the Library of Congress inducted this year. It's a fun list:

“The Very First Mariachi Recordings” — Cuarteto Coculense (1908-1909)

“St. Louis Blues” — Handy’s Memphis Blues Band (1922)

“Sugar Foot Stomp” — Fletcher Henderson (1926)

Dorothy Thompson: Commentary and Analysis of the European Situation for NBC Radio (Aug. 23-Sept. 6, 1939)

“Don’t Let Nobody Turn You Around” — The Fairfield Four (1947)

“Sherry” — The Four Seasons (1962)

“What the World Needs Now is Love” — Jackie DeShannon (1965)

“Wang Dang Doodle” — Koko Taylor (1966)

“Ode to Billie Joe” — Bobbie Gentry (1967)

“Déjà Vu” — Crosby, Stills, Nash and Young (1970)

“Imagine” — John Lennon (1971)

“Stairway to Heaven” — Led Zeppelin (1971)

“Take Me Home, Country Roads” — John Denver (1971)

“Margaritaville” — Jimmy Buffett (1977)

“Flashdance…What a Feeling” — Irene Cara (1983)

“Sweet Dreams (Are Made of This)” — Eurythmics (1983)

“Synchronicity” — The Police (1983)

“Like a Virgin” — Madonna (1984)

“Black Codes (From the Underground)” — Wynton Marsalis (1985)

Super Mario Bros. theme — Koji Kondo, composer (1985)

“All Hail the Queen” — Queen Latifah (1989)

“All I Want for Christmas is You” — Mariah Carey (1994)

“Pale Blue Dot” — Carl Sagan (1994)

“Gasolina” — Daddy Yankee (2004)

“Concerto for Clarinet and Chamber Orchestra” — Northwest Chamber Orchestra, Ellen Taaffe Zwilich, composer (2012)

I was a little surprised that "Stairway" wasn't already in the list and that this was the first time any video game music was included, but it's honestly not a bad list. The Daddy Yankee is a fun inclusion.

One thing, though: I was going through the full list of inductees (and, honestly, it's a great list--sure, with a few things that probably should be in ahead of what's there now). But my personal complaint is that they inducted the Kubelik/Chicago version of Pictures At An Exhibition. As someone who grew up with the (kinda ubiquitous) Szell/Cleveland performance, the Kubelik version...well, the Promenades feel a little sprint-y and the heaviest (Bydlo, Great Gate) or cheekiest (Samuel Goldenberg and Schmuyle) bits could be a little heavier. Just a preference, of course, and I guess they had to settle on some version of it, but I feel like Szell is a little more what I think of as Mussorgsky.

b0dy ch3ck ale jestem ulana swinka

tak dla przypomniania nawet bydlo je mniej ode mnie i zaloze sie ze ta jebana swinia w chleqie ma mniejszy brzuch

When some kind of bydlo said 'Ja pierdolę' behind your spiny ass

Verona: "Quadri di una esposizione... in jazz" alla 9a edizione di La Città del Jazz

Verona: "Quadri di una esposizione... in jazz" alla 9a edizione di La Città del Jazz Una serata gioiosa, ad ingresso libero fino ad esaurimento dei posti disponibili, che si inserisce nella rassegna 'La Città del Jazz' 9a edizione che, sempre con la direzione artistica e tecnica della Big-Band Ritmo-Sinfonica Città di Verona, prenderà il via al Teatro Camploy il 26 gennaio 2024. Il programma dell'edizione 2023 del concerto di Natale, intitolato 'Quadri di una esposizione... in jazz', si compone dei dieci quadri e delle cinque promenade del poema sinfonico di Modest Petrovič Musorgskij, scritto in origine per solo pianoforte, trascritto per orchestra da Maurice Ravel e rivisitato dalla band. Il capolavoro si presenta in veste multimediale. Le musiche descrittive in stile classico e jazz ispirate ai quadri artistici del pittore Hartmann, amico del compositore, saranno animate da Gek Tessaro, grande artista e illustratore veronese. Thomas Sinigaglia con la sua fisarmonica darà un tocco solistico ed improvvisato agli arrangiamenti. Sandro Avesani, voce recitante, introdurrà i diversi brani del programma. Questo concerto natalizio, con i temi musicali, le illustrazioni ispirate ai diversi momenti che compongono questo capolavoro, i solisti e la voce, metterà in particolare risalto la vocazione ritmo-sinfonica della big band. Assessora alla Cultura Marta Ugolini dichiara: "Si tratta di un concerto che da 26 anni il Comune di Verona offre alla città per animare le serate natalizie. L'appuntamento di quest'anno propone un programma davvero inedito e multisensoriale poiché unisce jazz, improvvisazione, recitazione e grafica. Sarà un momento di grande creatività da gustare con gli occhi e da apprezzare nell'esecuzione musicale, oltre che un momento gioioso di scambio di auguri". Paolo Girardi, presidente Big-Band Ritmo-Sinfonica Città di Verona, afferma: "Da 26 anni creiamo un programma ogni anno diverso e l'organizzazione di questi concerti è possibile grazie al sostegno del Comune di Verona, al quale va il nostro ringraziamento. Per questa edizione abbiamo la fortuna di avere due ospiti d'eccezione, Thomas Sinigaglia e Gek Tessaro, che uniranno l'esecuzione musicale alla creazione di quadri per un evento davvero da non perdere". Marco Pasetto, direttore Big-Band Ritmo-Sinfonica Città di Verona, spiega: "Il programma di quest'anno parte dai 'Quadri di un'esposizione' di Musorgskij, capolavoro pianistico trascritto da Maurice Ravel e a nostra volta ri-arrangiato in versione jazz con dieci quadri e cinque promenade. Il progetto è partito da Thomas Sinigaglia, per coinvolgere poi Gek Tessaro; l'innovazione di questo concerto è proprio l'unione di musica e illustrazione". Il concerto è gratuito previo invito da ritirare, fino ad esaurimento dei posti disponibili, presso gli uffici dell'URP – Relazioni con il Pubblico – via Adigetto n.10, dalle ore 9 di mercoledì 20 dicembre 2023. Programma del concerto. Promenade (arr. Ambrogio De Palma), Gnomus (arr. Giordano Bruno Tedeschi), Promenade (arr. Norbert Studnitzky), The Old Castle (arr. Thomas Sinigaglia), Promenade (arr. Norbert Studnitzky), Tuileries (Litigio di fanciulli dopo il gioco) (arr. Norbert Studnitzky), Take "Bydlo" (arr. Giordano Bruno Tedeschi), Promenade (arr. Norbert Studnitzky), Il Balletto dei Pulcini Blu (arr. Francesco Passarella), Samuel Goldenberg e Schmuÿle (arr. Marco Pasetto), Promenade (arr. Valentina Bauce), Limoges, il Mercato (La grande notizia) (arr. Daniele Rotunno), Catacombe (Sepolcro romano) (arr. Daniele Rotunno), Die Hütte der Baba-Yaga (arr. Norbert Studnitzky), The Great Gates of Kiev (arr. Ambrogio De Palma) BIG BAND RITMO SINFONICA "CITTÀ DI VERONA" Fin dalla fine del Settecento si hanno notizie di una banda musicale a Verona che, al pari delle bande tradizionali, anima le manifestazioni ufficiali della Provincia e del Comune di Verona. Nel 1975, con la direzione di Mario Pezzotta, La Banda Musicale Cittadina di Verona cambia il proprio repertorio e inizia a suonare il jazz. Per la prima volta, a Verona, un complesso esegue brani del repertorio artistico afroamericano! Nasce in quel periodo la Big-Band Ritmo-Sinfonica Città di Verona, attualmente guidata da Marco Pasetto e formata da circa quaranta strumentisti. Il complesso ha collaborato con Jasgawronsky Brothers, il Coro A.Li.Ve. di Verona, Cheryl Porter, Silvia Testoni, Alan Farrington, Morgana Montermini, Terry Veronesi, Kyle Gregory, Roberto Magris, Augusto Mancinelli, Paolo Birro, Mauro Negri, Bob Bonisolo, Salvatore Majore, Giuseppe Zorzella, Riccardo Brazzale. Ha registrato diversi CD: Duke is Alive - Such Sweet Thunder; Swingphonic - Classic in Jazz; Rapsody in blue; una raccolta di Inni Nazionali; Around the Blues; El s-cd del S-cianco; The amazing Burt Bacharach; Pierino e il Lupo. Una favola blues; Restless Spirits; Big Band Bon;, Glenn Miller Story e, nel 2019, Big Band Bossa Nova, dedicato alla musica brasiliana, con la voce di Daria Toffali ed Emozioni Italiane, con la voce di Stephanie "Océan" Ghizzoni e il recente Freak Frank – Frank Zappa, a Timeless Genius, registrato nell'estate 2022 dal vivo al Teatro Romano di Verona. La Bigband ha inoltre suonato a Monaco di Baviera, a Nimes, al festival JazzItalia, a Verona Beat, al Conservatorio di Padova e in diversi teatri nazionali. THOMAS SINIGAGLIA Fisarmonicista, compositore e arrangiatore, è considerato un musicista eclettico e virtuoso dello strumento. Vincitore di concorsi internazionali, svolge attività concertistica come solista e collaborando con numerosi artisti nazionali ed internazionali tra cui Jessica Lurie, Roberto "Freak" Antoni, Luis Bacalov, Anna Maria Castelli, Fabrizio Mocata, Paul Wertico, Paolo Birro, Maria Schneider, Fabrizio Bosso, Mauro Ottolini, Stefano Benini, Simone Guiducci, Yuri Goloubev, Massimo Bubola, Patrizia Laquidara, Wood Orchestra, Raffaella Benetti, Carlos Adriàn Fioramonti, Ruben Peloni, Zeno De Rossi, Valerio Galla, Orchestra Vertical, Maler, Yo-Yo Mundi, Il Magnetofono, i Madrugada, gli Alma Migrante, i Feira Lusa, l'Orchestra Sinfonica Verdi diretta dal Premio Oscar Nicola Piovani, Massimo Mercelli, Laura e Beatrice Puiu, gli attori David Riondino e Fabio Testi, la Big Band Ritmo Sinfonica "Città di Verona" diretta da Marco Pasetto, i Virtuosi Italiani, la Camerata Strumentale di Prato, Sorah Rionda Hernandez e molti altri. Ha suonato in numerosi festival internazionali in Europa (Forte, Klassieke Muziek in Limburg, Steirisches Kammermusik, Umbria Jazz, Les Joutes Musicales Festival, Napoli Jazz Winter Festival, Vicenza Jazz), negli Stati Uniti, in Canada (Vancouver Jazz Festival), Guatemala, Brasile, Argentina, Marocco (Mawazine Festival) e ha suonato in programmi trasmessi da Radio Rai 1, Radio Rai 3, Rai 2, Rai 5 e LA7. Compone e suona musica per il teatro e la danza contemporanea collaborando con vari registi, attori e coreografi. Di recente composizione la suite per fisarmonica e orchestra d'archi "Il fregio della vita", liberamente ispirata alle opere del pittore Edvard Munch ed eseguita con l'Orchestra Filarmonica Giovanile di Bogotà. È docente presso il Centro Didattico Musicateatrodanza di Rovereto. Ha inoltre tenuto il corso libero di Fisarmonica Jazz presso il Conservatorio di Vicenza e master class di musica d'insieme Jazz, Tango e Klezmer presso il Conservatorio di Adria. GEK TESSARO Autore poliedrico, Gek Tessaro si muove tra letteratura per l'infanzia, illustrazione e teatro. Dal suo interesse per "il disegnare parlato, il disegno che racconta" nasce "il teatro disegnato". Sfruttando le impensabili doti della lavagna luminosa, con una tecnica originalissima, dà vita a narrazioni tratte dai suoi testi. La sua capacità di osservazione e di sintesi si riversa in performance teatrali coinvolgenti ed efficaci. Vincitore di numerosi premi e riconoscimenti nazionali e internazionali, presenta regolarmente spettacoli in teatri, scuole e biblioteche in tutta Italia. Ha partecipato a numerosi festival e manifestazioni culturali (tra cui: Scrittori in Città di Cuneo, Festival letterario di Gavoi, Festival della Mente di Sarzana, Burattinarte di Alba, Lector in fabula di Conversano, Avventure di carta di Galliate, Buck di Foggia, Casola... è una favola di Casola Valsenio, Arena delle balle di paglia a Cotignola, Biblofestival di Dalmine, Festival Mangiastorie di Brescia). Ha collaborato con Big Band Ritmo Sinfonica Città di Verona, Teatro Nuovo di Verona, Fondazione Arena e con l'Orchestra "I virtuosi italiani" di Verona illustrando dal vivo, con la lavagna luminosa, "Pierino e il lupo", "Il carnevale degli animali", Britten, "Le quattro stagioni", "Romeo e Giulietta", "La bisbetica domata". Ha partecipato a un progetto di collaborazione tra il Conservatorio "G. Verdi" di Milano il Conservatorio Rimskij-Korsakov di San Pietroburgo disegnando dal vivo le scenografie per l'opera La Bella dormente nel bosco di Ottorino Respighi.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

20 % 80.

Human.

Ludy.

Ludyna.

Bydlo.

Master igry.

Igroki.

Fonovye igroki.

Fonovye personagy.