Horizont Kollektiv - "Kunst von Unten" in Zürich, August 2023.

Live Music performance in celebration of the exhibition. Enrico P. & Vinzenz E. from Vienna, joined by Mateus from Vagues Visions

Editing by Enrico P.

Adore You | Love On Tour in Vienna, Austria. (16/07)

What’s your opinion on the update to restaged tour’s chandelier? What’s your favorite stage out of it’s, now, 4 looks?

I was never the biggest fan of the pear-shaped Regency chandeliers, be it the 2004 movie, the Restaged Tour or non-replica productions. To me the Opera Garnier is such an important component of the main story, and if the chandelier does not reflect on the Baroque-inspired Garnier one in some shape or form I feel something is visually missing.

That said... I do appreciate the EFFECT the Restaged Tour chandelier is going for, with the auction drapes being sucked into the construction, and with it spraying "shattered glass" when crashing. I like the concept. Jut not the pear-shape.

Of the different takes on the chandelier they tried out my favourite was definitely the short period it had the garlands, early in the US leg of the tour. I felt it got a bit more personality from it. Here's the main looks the Restaged Tour chandelier has had:

Restaged UK Tour: The chandelier had the main shape and look, but with less decorations on the horizontal metal bands.

Restaged US Tour, look 1: In large the same as in the UK, but with richer decorations on the horizontal metal bands. This is also how it was later used in the Australian leg of the tour, and I assume the current Viennese production (or do they have a new take on it there?). Plus as an emergency chandelier in the new, short-lived UK Tour launched in 2020!

Restaged US Tour, look 2: Same chandelier, but with garlands. This was tried out for Chicago and other early stops. Story has it the auction drapes got stuck in the garlands, so they had to be removed. But aaaah it looked good.

ETA: aaaah, the Restaged version in Vienna feature an extra crown on the chandelier. Eeeeh. Looks like an afterthought. But a new attempt at garlands. THAT I like. ✨

As a general note I also enjoy the Medusa-esque masks underneath - a bit of a surprise if you sit right underneath it during the crash.

SISVnormalica

[pt: SISVnormalica]

[ID: a rectangular flag with 7 equally-sized horizontal lines. colors in this order from top to bottom: dark brown, red-orange, light orange, blue, ligh orange, red-orange, dark brown. End ID]

SISVnormalica: a gender connected to being just so fucking normal about the song Since I Saw Vienna by Wilbur Soot.

Etymology: “SISV” for since i saw vienna, normalica

@radiomogai , @imawanokiwaaa

[ID: a light blue line divider outline in blue. in the center is the google bubble emoji. End ID]

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A renaissance gilt-brass horizontal table clock, Samuel Haug, Augsburg, circa 1630,

2¾-inch silvered dial divided I-XII and 1-6 twice, single hour hand, the movement with chain fusee to the going train and verge escapement with later spring balance and regulation, standing barrel to the striking train with numbered locking plate mounted on the backplate and cut for double six hour striking on a bell within the base of the case, signed on the backplate SA:HA either side of the pineapple town mark for Augsburg, the moulded square case with glazed side panels, turned feet and pierced bell cover.

11cm 4¼in square: 8.5cm 3¼in high.

Samuel Haug was born in Augsburg, Germany in around 1580 and became a master clockmaker in 1612. Clocks by Haug are found in the V & A Museum, London, the Kunsthistoriches Museum, Vienna and the Poldi Pezzoli Collection, Milan. He died in Augsburg in 1637.

This small table clock by Haug is unsual in striking one to six twice rather than one to twelve. The power saving of not having to strike the full twelve hours enabled the clock to be kept small but also to run for longer on a single winding.

John Motson: The unmistakable voice of football known simply as ‘Motty’

John Motson, who has died aged 77, was BBC television’s “voice” of football for almost half a century, commentating for Match of the Day from 1971 until his retirement in 2018 and becoming affectionately known as “Motty”.

“I remember my first game, Liverpool against Chelsea,” he recalled. “They kicked off and my heart sank because I thought, ‘What do I say now?’ I still remember the feeling. I realised I had a lot of work to do.”

Alongside the energy and passion he brought to the game, that work was evident in his trademark style of reeling off statistics written on an A4 sheet of card in felt-tip pen for each match. Motson put this “obsession” for facts and figures down to being “terrified of not knowing enough or making a mistake” in his early days. He admitted to “overdosing” on it, and gradually used less background information in his commentaries.

Nevertheless, his filing system continued to grow – as did his library of more than 500 football record books. On top of the stats, he displayed an eloquence for describing the occasion. When Liverpool were beaten 0-1 in the 1988 FA Cup final by the unfancied Wimbledon – known for the eccentric behaviour of their players and fans – he spontaneously summed up: “The Crazy Gang has beaten the Culture Club.”

Earlier, at the end of the 1977 FA Cup final, when Manchester United – captained by Martin Buchan – beat Liverpool 2-1, Motson must have been silently thrilled that it enabled him to put his research into action and say: “How fitting that a man called Buchan should be the first to ascend the 39 steps to the royal box”, recalling “ The Thirty-Nine Steps” celebrated spy novel by John Buchan.

His ability to remember every detail of each game he covered also made Motson ideal company away from the pitch. If, for example, he was asked about a Division One Southampton v Birmingham City match at the Dell in the 1973-74 season, he would not only recall the result and those booked, but describe in detail Peter Osgood’s perm and the pattern made by a set of studs on a shin.

However, he was not averse to the occasional “Colemanballs”, emulating the verbal gaffes of his fellow football commentator David Coleman, who was presenter of Match of the Day by the time he started on it himself. Among Motson’s were: “The World Cup is truly an international event”, “The goals made such a difference to the way this game went”, and “For those of you watching in black-and-white, Spurs are in the yellow strip”.

In his long career commentating on more than 2,500 televised games, Motson covered nine World Cups (1974-2006), 29 FA Cup finals (1977-2007, missing just two) and nine European Championships (1976-2008).

He stepped back from his position as the BBC’s lead commentator in 2008, saying he had thought about the forthcoming World Cup in South Africa two years later and “just didn’t feel quite up for it”. His last live commentary was the Euro 2008 final, with Spain beating Germany 1-0 in Vienna.

However, he continued commentating both for football highlights on Match of the Day and for BBC Radio 5 Live until 2018. His final TV commentary was for the Premier League match between Crystal Palace and West Bromwich Albion.

Motson’s standing meant that he became part of the impersonator Rory Bremner’s repertoire of characters, complete with the sheepskin coats that became another of his trademarks on screen after he reached for one when horizontal sleet started falling during an FA Cup tie at Wycombe Wanderers’ ground in 1990.

He had them made to measure in Savile Row, central London, able to afford them on an income that he said gave him security after growing up in a family where his father’s income was “very modest”.

John was born in Salford, which was then in Lancashire, to Gwendoline (nee Harrison) and William Motson, a Methodist minister, brought up in London and educated at Culford school, near Bury St Edmonds, in Suffolk.

His father took him to a Charlton Athletic football match when he was six and, spending childhood holidays in Lincolnshire, his mother’s home county, he supported the non-League team Boston United.

As a teenager, Motson played the game himself in the Barnet Sunday League, as well as becoming a Barnet and Potters Bar youth table-tennis champion.

On leaving school, he began his career in journalism as a reporter on the Barnet Press in 1963. He then moved to the Sheffield Morning Telegraph (1967-68), where he started covering football, qualified as an FA preliminary coach and freelanced for BBC Radio Sheffield.

In 1968, he moved to BBC Radio Sport in London and was first heard nationally as presenter of Radio 4’s Saturday-evening after-match Sports Session (1969-70) before commentating on live matches for Radio 2 (1969-71).

He switched to television and Match of the Day in 1971 following Kenneth Wolstenholme’s departure – becoming TV’s youngest football commentator, aged 26.

Motson found himself describing the disaster at the Hillsborough stadium in Sheffield for the 1989 FA Cup semi-final between Nottingham Forest and Liverpool, which resulted in the deaths of 97 Liverpool fans.

During three seasons from 2001 when the BBC lost rights to Premier League highlights to ITV, Motson commentated for Radio 5 Live. On leaving the BBC in 2018, Motson commentated for talkSPORT, as well as appearing regularly as a pundit on the commercial radio station’s football shows.

Ten years earlier, reflecting on the influence of money in football, he had observed: “It’s true that the game has changed so much, and in many ways not for the better, but it is still the game. It is still beautiful and it still has the power, as few others things, to move nations and continents and, every four years, the world.”

Motson, whose autobiography, Motty: 40 Years in the Commentary Box, was published in 2009, was named the Royal Television Society’s commentator of the year in 2004 and won a Bafta special award in 2018. He was made OBE in 2001.

In 1976 he married Anne Jobling, and she survives him, with their son, Frederick.

🔔 John Walker Motson, football commentator, born 10 July 1945; died 23 February 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

“KNIESCHWIMMER” ARMCHAIR

1907

Oak, coil spring upholstery, leather

Adolf Loos

(Brno 1870–1933 Kalksburg/Vienna)

The architect and designer Adolf Loos (1870–1933) used an adapted version of this armchair, dubbed Knieschwimmer, for his own interiors from 1906. The original design for this chair is based on the Easy Chair created by William Birch in 1898. This model was issued and distributed by the London-based company Hampton & Sons from 1901. Loos, whose interior style was rooted in the Anglo-Saxon furniture tradition, repeatedly used established furniture shapes and reinterpreted only some of their facets. The underlying economic rationalization was that established furniture types require only slight adaptations to function in the context of modern interiors. The model’s telling name Knieschwimmer [“Knee Swimmer”] refers to the object’s characteristic horizontal structure and the original sensation produced by sitting in this chair. The design was executed by the traditional Viennese company Friedrich Otto Schmidt, with which Loos collaborated frequently.

Leopold Museum

what do we do when we feel stressed? compile useless lists of info on Mozart! das Musical 1999.

Nannerl, Wolfgang and Constanze's Mozart's 1999 Vienna clothing, organised by type

Wolfgang

White vest, black vest, red textured sweatshirt (has zip), black sweatshirt

Grey shirt, red shirt, yellow shirt with thick black stripe on shoulder, black and white marbled shirt, loose white shirt

black trousers, black utility trousers, white trousers with shiny black waist and yoke, green trousers, dark blue long johns

red and gold wunderkind coat, black leather (or vinyl) jacket (modern, also worn by Constanze), dark green coat (ankle length) (historical sillouhette), khaki green jacket (modern), red, yellow and green plaid coat (fluffy), red yellow and green plaid dressing gown(not fluffy), black jacket

narrow shiny black leather belt, cane

Nannerl

(all dresses have cartridge pleat skirts and flat front bodices)

white and grey (or pale/muddy blue) striped dress with short puffed sleeves and mid height round neckline, blue floral quilted check with short sleeves and square neckline, lavender dress with long sleeves and square neckline, black dress with long sleeves and high neckline

pale blue skirt

cream and blue wrap front blouse with cap sleeves, very dark blue/purple cardigan (wool? velvet?), green cardigan with purple stripes on the sleeves has square collar like on a sailor outfit (idk the name)

floor length mid purple coat with zip and toggles (drawstring hood that undoes flat over the shoulders like a tippet), lavender scarf, lavender gloves, textured black veil

gold cross

Constanze (excluding 1st scene)

Red with sheer black overlay wrap front dress has a ruffle down the back, ribbon dress, textured white off shoulder dress, sheer green wrap dress with orange dress underneath

yellow cropped stays/bodice, white vest, red top with high collar

quilted orange skirt, yellow skirt, black and white horizontal striped skirt

white shawl decorated with yellow and orange,

Vienna 2015 – Grand Final

Host: Austria Slogan: “Building Bridges” Participants: 40 Voting method: 12-point system (50/50 system - combined) Format: 2 Semi-Finals / Grand Final = the top 10 of semi 1 & 2 + the Big 5 + host + AUSTRALIA Winner: Måns Zelmerlöw - Heroes Country: Sweden Points: 365 (78.0% of highest score possible) Language: English General Overview: It's the 60th edition of Eurovision! Which marks the end of an era – the last contest to use the old points system (ie. where each country's jury and televote points were combined into a single aggregate score). It's also the longest Grand Final up to this point, with a run time of almost exactly 4 hours. The preceding years were roughly 30 minutes shorter. And it's remained around the 4-hour mark to this day. Needless to say, I'm pretty worn out by the end of it. Indeed, this is a long opening sequence. It starts with the Vienna Philharmonic in an outdoor venue; culminating in a group of people holding torches in a circle. Then, the rainbow blobbed infrastructure reappears. Followed by an edit of Conchita's winning moment and a long montage of various local activities. After all that, we transition to the live stage, where a violinist leads Austria's two winning songs. The wall opens up to reveal an orchestra, just like in the semi-final. Soon after, Conchita emerges from the floor, looking like a giant. She performs the theme song “Building Bridges”, where the 3 hosts arrive to “sing” along. As well as a children's choir and rapper Left Boy. The song changes to a hip-hop beat for the latter. Finally, the hosts lead the Parade of Nations. But wait, there's still a montage of people “transferring” objects or people between split screens, set to the soundtrack of “What If” (Russia 2013). That has not aged well. The presenters are Arabella Kiesbauer, Mirjam Weichselbraun and Alice Tumler. The dialogue is very scripted, but they're a likeable trio. The stage consists of the usual circular platform with an LED screen behind it. But with an additional archway constructed from numerous horizontal light tubes. There's also a collection of orbs hanging from the ceiling that move up and down in wave patterns. The Green Room is a raised platform in the back, with a walkway cutting through the audience that connects it to the stage. The postcards start with the artists greeting the camera, while a heartbeat pounds. This is followed by footage of the artists receiving a package in their home countries. They look at the gift, then look upwards to see someone greeting them and suddenly they're in Austria. They then partake in a local activity. The sequence concludes with the artists displayed on a billboard.

The interval act is the Percussive Planet Ensemble, which (unsurprisingly) features a wide variety of percussion. During which, the artists make heart shapes in the Green Room. There's also people holding art pieces on their heads and a classical choir joining in. Later on, Conchita performs the inspirational ballad “You Are Unstopped” and the piano house number “Firestorm”. She is a superstar! There's also a montage of winner reaction moments. The results are very top-heavy this year. Going by percentages, 2015 has the strongest top 3 of the “12-point era”. And 10th place only received 53 points. I'm guessing the Grand Final suffered from ballad fatigue. The entire 2nd half is basically slower tempo songs. The voting graphics show a nighttime globe that “builds bridges” to Vienna; with Vienna written in that country's language (although not the country name itself). The voting procedure is a messy one. Austria lost connection to three countries (Portugal, Estonia and Georgia), who were called back at the end. But what's truly surreal to re-watch in 2022 is... how Russia was leading for so long. It honestly looked like they had won it. And the audience was NOT here for it, despite the “anti-booing technology”. Conchita was even defending Polina in the Green Room. The crowd went NUTS when Sweden finally overtook on country #27. And the Russian spokesperson jokingly giving 12 points to his own country did not go over well. Also of note: the winner was announced early again. Slovenia: Maraaya - Here for You France: Lisa Angell - N'oubliez pas Another serious message song from 2015. “N'oubliez pas” commemorates the 100th anniversary of WWI, which resulted in nearly 2 million French people losing their lives. In the song, Lisa describes what it must've felt like at the time. To have your entire sense of security and peaceful lifestyle uprooted. She narrates about a village that was “erased from the maps and memories”. It was once a welcoming place with “children laughing” and “harvest celebrations”. But then the invading forces arrived with large numbers and weapons. The “words of hatred” line could apply to WWII as well. Lisa's message is “don't forget” about history. In the chorus, she declares “I am there” to show perseverance. They will rebuild. The instrumental starts very faint, with the guitar, piano and strings. It's a grieving and disheartening mood; as if standing in the rubble aftermath, too numb to speak. While the screen displays destroyed buildings and white doves. The piano emerges more in the first chorus. While the drums join in the second verse. And Lisa's vocals intensify from the second chorus. She sounds very passionate and emotional; particularly during the invading forces stanza. The strings become more pronounced too. For the final stanza, four marching band drummers come on stage (with plenty more on screen as the village rebirths). It's such a dreary song though, and the melody isn't that instant. Israel: Nadav Guedj - Golden Boy This needed to be 2nd half lol. Estonia: Elina Born and Stig Rästa - Goodbye to Yesterday United Kingdom: Electro Velvet - Still in Love with You And another mixed gender duet from 2015. Boy was this a low point for the UK. A campy entry that feels cynical, outdated and out of touch. The song combines 1920s Vaudeville with a rave. There's swinging violins, with a glitchy, techno soup beat attached that doesn't really belong. While the old-timey stage design switches to neon lights at times. There's also break dancing and commands for us to dance. In the song, the duo exchanges dialogue. Alex warns Bianca about her vacation and she responds to calm his worries. He cautions about wrong trains, old plains, and nasty diseases; while she tells him to take his medication. Alex is also worried of other suitors. She assures she'll be faithful. He tells her to not stay out late or drink too much. She says he needs to trust her. And she flicks her finger at him when saying the song title (to put him in his place?) This guy sounds very insecure and controlling. He blames it on her being “gorgeous” (eye roll). Bianca doesn't sound annoyed by it, as the song goes for a lighthearted, tongue-in-cheek tone. But it seems toxic. Otherwise, the song has a bouncy rhythm and the lyrics rhyme a lot. Especially that “-ize” stanza. Which is a bit silly. But the violins and the scatting are annoying. As are the “d-d-dance” / “everybody dance” / “oh yes” bits. Moreover, this entry seems like a parody or a joke. The smiles are too much. Armenia: Genealogy - Face the Shadow Lithuania: Monika Linkytė and Vaidas Baumila - This Time The kiss went on too long and they missed their cue. And that part is used in the recap... Serbia: Bojana Stamenov - Beauty Never Lies Norway: Mørland and Debrah Scarlett - A Monster Like Me Sweden: Måns Zelmerlöw - Heroes (winner review below) Cyprus: John Karayiannis - One Thing I Should Have Done RIP with this running order slot. Australia: Guy Sebastian - Tonight Again The top 5 placement seems driven by the hype of their debut. And by being an energetic song amongst the ballads. So Australia selects one of their biggest acts – Guy won the inaugural season of Australian Idol and he's topped the ARIA charts 6 times. “Tonight Again” is also a brass-heavy song right when “Uptown Funk” was everywhere. It starts with a moderately paced piano, as Guy suggests leaving behind your problems for tonight. The pre-chorus then escalates via the “do what you what you what you want” x3 build up + the horn yanks. While the chorus confidently struts forward in a free-flowing manner. It halts on the “forget tomorrow” bit; followed by an “oh ah oh” post-chorus from the backing. In the second verse, Guy mentions people judging this lifestyle. The title implies this avoidance is a cycle. But he's happy. For the bridge, the beat disappears then expands, as the pyro goes off and Guy ad libs. The performance ends with fireworks. On stage, there's a series of street lamps, while the screen shows a city street at night. It's like they're walking down it. The choreo is fluid too, with fist pumps, pointing, and Guy shuffling his legs. He's a professional performer who shows off his vigorous vocals. Which helps him sound eager. Overall, it's a slick entry with a catchy pre-chorus, and the horns keep things afloat. But it's kinda lacking in substance. Belgium: Loïc Nottet - Rhythm Inside Austria: The Makemakes - I Am Yours The first host entry to receive 0 points. Many of the upcoming ones will be towards the bottom of the scoreboard as well. Perhaps “I Am Yours” was too eccentric. The big gimmick is when singer Dodo lights the grand piano on fire midway through. Which could represent his burning passion. The song sounds like a 1970s rock ballad, similar to Elton John or Paul McCartney. The performance begins with a dark, shadowy stage. The verses are piano-driven, with a wistful and lonely atmosphere. The guitars and drums enter during the first chorus as the stage lights up. Said chorus has a rocking back-and-forth or fist-pounding rhythm, which conveys persistence. Dodo also changes to falsetto on the closing line. He gets scream-y towards the end too. In the song, Dodo says that if this person is willing to give him a second chance, he'll drop everything to be with them again. He's ready, willing, and able. The ball is in their court now. Each stanza also ends with the offer “anytime, any place, I’m yours”; as if it needs to be repeated. Otherwise, the “you're the one I belong to” hook is okay, and Dodo sounds sweet and committed. But this entry doesn't really stand out enough. The “oooooh” bridge is flat too. Greece: Maria Elena Kyriakou - One Last Breath Montenegro: Knez - Adio Germany: Ann Sophie - Black Smoke Germany started the 2010s with Lena and ended it with a bunch of bottom 2 placements. Including “nul points” this year. Although Ann Sophie didn't win the national final. That was Andreas Kümmert with “Heart of Stone” (he declined). Anyways, “Black Smoke” is a retro jazzy number filled with snapping percussion flicks, and a tickling piano riff. After the muffled intro, the instrumental stays pretty consistent. The drum rhythm is breezy for a break-up song. The bridge, meanwhile, is carried by the warm backing, followed by the song shying away and Ann releasing a big note. “Black Smoke” is about a relationship that should end. Ann notices her lover has changed. She tries to convince herself things are fine. But it's not worth forcing it. They can't even say the three words (“I love you”) anymore. The chorus surmises the situation by saying the “flame is running out” and all that's left is “black smoke”. It can't be rekindled. The lyrics are reasonable and the tone feels assured with her decision. Although the chorus sounds like a plea. The staging involves spotlights behind the singers and smoke puffs on screen. They also wear black outfits and Ann sings the first verse standing backwards for some reason. She has some sensual movements too. But the staging is kinda “meh” and the melody is so plain (“you said you'd never let me go”). Fun fact: Ella Eyre co-wrote this. Poland: Monika Kuszyńska - In the Name of Love Latvia: Aminata - Love Injected Romania: Voltaj - De la capăt Spain: Edurne - Amanecer Spain selects a... female ballad composed by Thomas G:son. But unlike 2012 and 2014, “Amanecer” fell short of the top 10. It probably suffered from ballad fatigue in the 2nd half. Still, the atmosphere is super melodramatic. The forlorn strings create an expansive soundscape. It's like a desolate desert or being consumed by sadness. The orchestra begins low-key and distressed. While the verse melody hangs on each line. The stage is a dark setting, featuring raindrops and water ripples on the floor. Edurne is concealed by a red cloak; sitting next to a passed out man. The drums and strings take over from the first chorus. And the drums punch hard from the second verse on like an unrelenting desire. Or endurance. Meanwhile, Edurne's long train flows in the wind. She also sheds a tear. Her train gets yanked off when the second chorus hits to reveal a sparkling white dress. She also holds her hands out (as if conjuring a spell) when singing the main hook. And there's an elaborate duo's dance routine during the instrumental break. The final chorus further adds thunderclaps. In the song, Edurne's lover left without knowing she loved them. And she feels very intense about wanting him to return. To “restore the dawn”. Overall, the staging is great, and the song is very atmospheric. But that “E-yeah E-YEAHHHH oh” hook, while instantly catchy, dominates things to the point of monotony. Hungary: Boggie - Wars for Nothing Georgia: Nina Sublatti - Warrior The infamous smoke machine malfunction. You can't even see her in the wide shots! Azerbaijan: Elnur Hüseynov - Hour of the Wolf Russia: Polina Gagarina - A Million Voices Albania: Elhaida Dani - I'm Alive The most underrated entry of 2015? Italy: Il Volo - Grande amore The song that held the televote record until 2022. If the juries had been more favourable towards Italy, they would've won. I didn't understand the massive hype 7 years ago, since classical opera has never been my thing. But the chorus is immensely powerful. It represents the “Great Love” you want to shout to the whole world. It's a glorious and overwhelming feeling. The song is about letting go of one's fears and reservations in confessing your feelings. The narrator has doubts; asking this person for reassurance that they'll never leave and only choose them. The build into the chorus is the biggest highlight though. The song begins more restrained. There's just a piano and a rising verse melody, set against a dark stage. The pre-chorus intensifies (the “Dimmi perché...” x3 bit) with the quick, jabbing percussion booms that approach and close in. While Piero unleashes an operatic vocal. The trio then yells “GRANDE AMORE” as the chorus explodes. The vocals bellow (“DIMMI CHE MAI”), as the drums steady the pace and the stage brightens up. It releases tension. The chorus ends with heavy strings. In the second pre-chorus, the trio rotates lines, with each one walking into the camera frame. Overall, II Volo are top class performers and vocalists. There's also Roman sculptures on screen. Fun fact: this song took 12 years to be picked up by any artist. The Winner: Sweden achieves their 6th victory; putting them one step away from Ireland's record. I imagine it's only a matter of time until they match or surpass it. “Heroes” is also the biggest winner of the 2010s, going by percentage of possible points. Although that's largely because of the juries. It had a 114-point lead(!!) over the runner-up in the jury vote (which was Latvia). Incidentally, this is the first time that the televote winner did not win the contest. The song redefines the term “hero” for the modern age (ie. “of our time”). Where we have personal “demons in our minds”, but we do our best. Which turns this into an anthem for the anti-heroes. Måns starts by explaining that he screwed up and he's avoiding punishment. That heroes are being eradicated. And he relays his father's advice about not dwelling on things. In the second verse, he says that modern heroes are greeted with crickets. That he inspires people (“I make worms turn into butterflies”). And he mentions his father's undying support. The song is an inspirational message directed to the listener. But the lyrics are so awkwardly phrased and trying too hard to sound deep. The “Sing it like a hummingbird” line doesn't make sense either, since I don't associate exclaiming an anthemic chorus with hummingbirds. Plus, Måns's words come off as self-important. The “What if I'm the only hero left” and the “butterflies” lines in particular. Like it's his duty to lead this message. The musicality is better than the lyrics though. The song was written by Joy Deb and Linnea Deb, who also composed “You” (Sweden 2013), “Monsters” (Finland 2018), “Adrenalina” (San Marino 2021) and “Voices” (Sweden 2021). It begins with a sawing guitar that's reminiscent of a Western film. It's been compared to David Guetta's “Lovers On The Sun” (which unofficially featured Avicii) – a huge hit in Europe the previous year. It signals an oncoming showdown; a scene of antiquated movie heroes. The first verse is also like a confession. The song then slowly builds into the chorus. Måns exclaims out loud with extended pauses, as the synths simmer below the surface. Soon enough, the drums escalate things, and the grinding synth swells leading to the drop. Finally, the main chorus envelops the arena. The second verse returns to the guitar, but this time the drums and the string pokes ease the pacing. While the second chorus jumps straight into the drop instead. Following this, there's a short (but effective) bridge. The backing repeats it underneath the final chorus to add an extra hook. The chorus sounds like a big anthem where the whole world could join in. And that “Hero-oh-ohs / oh-oh-ohs” hook is catchy. But... the way it stretches out one word makes it feel empty too. Otherwise, the staging is creative and innovative. It's a showcase of modern technology, where Måns interacts with a projection board as he “manipulates” the images. The stage is kept dark black for the illusion. He starts by siting on a bench. He then snaps his finger and a chalk outline kid appears. He slides over to make room on the bench, as the kid copies his movements. Following this, Måns conjures up a misty swirl that turns into a 3D rainfall effect. In the second verse, he motions that rainfall into a comet-like thing that he captures. He releases it; and it turns into butterfly wings behind him (matching the “butterfly” lyric). He then rotates the dots in a 3D motion during the “turn this world around” line. Afterwards, a school of chalk-outline kids appear on screen. They tilt in unison with Måns. He gives a fist-bump. And his heart glows red. The bridge also shows a chalk outline of Måns's face that morphs into his actual face. During the chorus, the stage lights flash in a frenzy, while he energetically bounces in the center. Måns brings insane charisma and star power to this performance. But it's to the point of self-indulgence with those smug smiles. Which is why I've never been able to love this entry. “Heroes” is not a bad winner at all - but it's not one I get that excited by. It's too calculated. It's not on the same level as “Euphoria” either. And the fact that Måns keeps reappearing at Eurovision year after year doesn't help. As for Melfest 2015, “Heroes” was very much a landslide winner there. The final also featured the first appearances of Jon Henrik Fjällgren and Mariette, who both placed top 3. Guilty pleasure icons Samir & Viktor also made their debut. Verdict: The very bottom of “B” Tier. My Ranking: Grand Final: 01. Latvia: Aminata - Love Injected 02. Estonia: Elina Born and Stig Rästa - Goodbye to Yesterday 03. Slovenia: Maraaya - Here for You 04. Belgium: Loïc Nottet - Rhythm Inside 05. Norway: Mørland and Debrah Scarlett - A Monster Like Me 06. Montenegro: Knez - Adio 07. Italy: Il Volo - Grande amore 08. Albania: Elhaida Dani - I'm Alive 09. Georgia: Nina Sublatti - Warrior 10. Australia: Guy Sebastian - Tonight Again 11. Serbia: Bojana Stamenov - Beauty Never Lies 12. Lithuania: Monika Linkytė and Vaidas Baumila - This Time 13. Azerbaijan: Elnur Hüseynov - Hour of the Wolf 14. Sweden: Måns Zelmerlöw - Heroes 15. Greece: Maria Elena Kyriakou - One Last Breath 16. Hungary: Boggie - Wars for Nothing 17. Spain: Edurne - Amanecer 18. Germany: Ann Sophie - Black Smoke 19. Israel: Nadav Guedj - Golden Boy 20. France: Lisa Angell - N'oubliez pas 21. Austria: The Makemakes - I Am Yours 22. Poland: Monika Kuszyńska - In the Name of Love 23. Romania: Voltaj - De la capăt 24. Cyprus: John Karayiannis - One Thing I Should Have Done 25. Armenia: Genealogy - Face the Shadow 26. United Kingdom: Electro Velvet - Still in Love with You Full Ranking: 01. Latvia: Aminata - Love Injected 02. Estonia: Elina Born and Stig Rästa - Goodbye to Yesterday 03. Slovenia: Maraaya - Here for You 04. Belgium: Loïc Nottet - Rhythm Inside 05. Norway: Mørland and Debrah Scarlett - A Monster Like Me 06. Montenegro: Knez - Adio 07. Italy: Il Volo - Grande amore 08. Albania: Elhaida Dani - I'm Alive 09. Georgia: Nina Sublatti - Warrior 10. Australia: Guy Sebastian - Tonight Again 11. Ireland: Molly Sterling - Playing with Numbers 12. Serbia: Bojana Stamenov - Beauty Never Lies 13. Lithuania: Monika Linkytė and Vaidas Baumila - This Time 14. Azerbaijan: Elnur Hüseynov - Hour of the Wolf 15. Sweden: Måns Zelmerlöw - Heroes 16. Greece: Maria Elena Kyriakou - One Last Breath 17. Hungary: Boggie - Wars for Nothing 18. Switzerland: Mélanie René - Time to Shine 19. Spain: Edurne - Amanecer 20. Moldova: Eduard Romanyuta - I Want Your Love 21. F.Y.R. Macedonia: Daniel Kajmakoski - Autumn Leaves 22. Germany: Ann Sophie - Black Smoke 23. Israel: Nadav Guedj - Golden Boy 24. Czech Republic: Marta Jandová and Václav Noid Bárta - Hope Never Dies 25. Belarus: Uzari and Maimuna - Time 26. Malta: Amber - Warrior 27. France: Lisa Angell - N'oubliez pas 28. Iceland: Maria Olafs - Unbroken 29. Austria: The Makemakes - I Am Yours 30. Portugal: Leonor Andrade - Há um mar que nos separa 31. Poland: Monika Kuszyńska - In the Name of Love 32. Romania: Voltaj - De la capăt 33. Cyprus: John Karayiannis - One Thing I Should Have Done 34. Denmark: Anti Social Media - The Way You Are 35. Netherlands: Trijntje Oosterhuis - Walk Along 36. Armenia: Genealogy - Face the Shadow 37. United Kingdom: Electro Velvet - Still in Love with You 38. Finland: Pertti Kurikan Nimipäivät - Aina mun pitää 39. San Marino: Anita Simoncini and Michele Perniola - Chain of Lights “S” Tier: “Euphoria”, “Fairytale”, “My Number One” “A” Tier: “Every Way That I Can”, “Only Teardrops”, “Wild Dances”, “Rise Like a Phoenix”, “Hard Rock Hallelujah”, “Satellite” “B” Tier: “Molitva”, “Heroes” “C” Tier: “Fly On The Wings Of Love”, “I Wanna” “D” Tier: “Everybody”, “Believe”, “Running Scared” “F” Tier: none!

🔴 𝐎𝐍 𝐀𝐈𝐑 - Tuesday 2 January at 7:00 pm (CET) on usmaradio.org and also on Radio Campus Paris (93.9FM), Radio RaBe and ∏-node in the very next few days

#𝟭𝟲𝟰_𝗖𝗢𝗡𝗧𝗜𝗡𝗨𝗨𝗠_𝗧𝗔𝗖𝗧𝗨𝗦 𝗥𝗮𝗱𝗶𝗼 𝗙𝗲𝘀𝘁𝗶𝘃𝗮𝗹 [59 min] collaborative network radio performance

CONTINUUM a collaborative radio performance conceived by Roberto Paci Dalò for TACTUS Radio Festival on the 2nd of December 2023 between 19:00 and 20:00 CET, it was broadcast on Usmaradio together with a global network of radio stations.

The challenge was to work on radical improvisation without any conduction and prior rules, giving a maximum of freedom to the participants. Most of the artists, performing from different locations, didn’t know each other and actually never talked to each other before the performance. Obviously the key of the project was an extreme attention during the performance from any single artist: “the art of listening” with 18 people performing together on-site in the Republic of San Marino and remotely from the USA, Germany, and Austria.

subtle texture of sounds with an amazing quantity of moments of silence despite the massive use of live electronics. The performance somehow proved that the planned lack of conduction can be balanced by the level of attention and involvement from the performers. It was a mesmerizing immersion in an acoustical world where electronics graciously merged with acoustical instruments and voices  nocturnal winterreise across galaxies.

CONTINUUM intended to develop the praxis of the “telematic performance” which the beginning of the 90s. Especially around activators such as the programme ORF Kunstradio in Austria, the Ars Electronica Festival and L’Arte dell’Ascolto radio festival, seminal projects such as Cheap Radio, Horizontal Radio, Rivers&Bridges, Realtime, designed an innovative use of telecommunication technologies in conjunction with the broadcast and telephone networks. The artist Robert Adrian was one of the major inspirations for many artists in the field. The arrival of the Internet obviously greatly the possibilitglobal interaction artists who could now participate from their personal spaces and with minimal need for financial support. But at the same time this provoked national broadcasting corporations reduce their involvement in such experimental projects. Let’s think of the infrastructure, technologies and the great professionals working in radio stations. The role of the engineers and their inspiring relationship with the artists has always been crucially important in such projects. CONTINUUM wanted to link these practices from the past bringing together both independent and broadcasting corporations in order to act in our present and investigate the possibilities of today’s technologies. À suivre… Continuum Idea: Roberto Paci Dalò Station manager and general coordination: Alessandro Renzi Mixing board: Lorenzo RicciPost-production and mastering: Alessandro Renzi Live performers: From the Republic of San Marino:Gaia Ginevra Giorgi, L’Impero della Luce, NicoNote, Roberto Paci Dalò, Tobia Bandini, Vittoria Assembri From Santa Cruz, California: Anna Friz From Vienna: alien productions (Andrea Sodomka and Robert Math) From Weimar: Bauhaus Radio Ensemble (Tilman Böhnke, Fritzi Buhtz, Adrian Ciesielski, Lefteris Krysalis, Finn Röhmer-Litzmann, João Afonso Soares Leiria Parreira Ticão, Amir Shokati, Karlotta Sperling) Broadcasted live on: Usmaradio, San Marino RTV, bauhaus.fm (Weimar), Wave Farm (New York's Upper Hudson Valley), ARTxFM / WXOX 97.1 FM  (Louisville, Kentucky), Beware The Radio (United Kingdom), Radio Tsonami (Chile), diffusion FM (Australia), Radio Bloc ORAL (Canada) and in Italy: Fango Radio, Radio Raheem, and NEU Radio. CONTINUUM has been heard globally through streaming, satellite (Eutelsat Hotbird 13B, channels 520, 93) and Digitale Terrestre 831 (Italy) with the collaboration of San Marino RTV (the National Broadcasting Corporation of the Republic of San Marino) In Europe and the USA has been heard locally via FM: bauhaus.fm UKW 106.6 MHz (Weimar), Republic of San Marino RTV 98.90 MHz (Romagna/Marche), WGXC 90.7-FM (New York's Upper Hudson Valley), ARTxFM / WXOX 97.1 FM (Louisville, Kentucky) TACTUS Radio Festival Republic of San Marino, 1-3 December 2023TACTUS Radio Festival is an international Radio Art project promoted by Usmaradio. Within the spaces of the Antico Monastero Santa Chiara, the festival offered three days of art of listening open to the public: narrations, round tables, performances, listening, live radio broadcasts and podcasts.

Artistic direction: Roberto Paci Dalò Curatorial team: Gianni Gozzoli, Roberto Paci Dalò, Alessandro Renzi General coordination: Alessandro Renzi Head of production and organization: Anna Guerra Communication: Sara Seu, Maria Chiara Romano Graphic design: Davide Di Gennaro (Tomo Tomo) Collaboration to the graphic design: Sara Seu Mixing board: Lorenzo Ricci Journal: Natalia Soldati Documentation photographs and video: Emanuele Lumini Press office: Jeffrey Zani Setting-up spaces: CoseMatte (Alessio Abdolahian, Matteo Giustozzi, Orsetta Rocchetto) Hosting: Natalia Soldati, Rebecca Rizzo Website: Alessandro Renzi

A project of Usmaradio – Research Centre for Radiophonic Studies Production: Università degli Studi della Repubblica di San Marino Support: Segreteria di Stato alla Cultura della Repubblica di San Marino, Transcultures/City Sonic 20 years and Pépinières Européennes de Création Patronage: Segreteria di Stato per l’Istruzione e la Cultura, l’Università e la Ricerca Scientifica, le Politiche Giovanili; Segreteria di Stato per il Turismo, le Poste, la Cooperazione ed Expo Partners: Experimentelles Radio an der Bauhaus-Universität Weimar, ORF Kunstradio, RaiPlay Sound, RTV San Marino, Giardini Pensili, Sentire le voci – festa del podcast, Wave Farm, Congerie, Smagliature Urbane, Radia, Arci Servizio Civile Rimini APS, Farmhouse Rimini,CUE Press, Tempo Reale, Radio Papesse, Fango Radio, Neu Radio,Radioimmaginaria, Radio Raheem, ARTxFM / WXOX 97.1 FM, Radio Tsonami, Beware The Radio, Transcultures/City Sonic 20 years and Pépinières Européennes de Création, Radio Campus Paris 93.9 FM, diffusionFM, Radio Bloc ORAL Media partners: Altre Velocità,Gagarin Orbite Culturali Sound Exhibition: Morse Mountain (2022) Absolute Value of Noise and Anna Friz A generative radio art piece Transmitting on radiolada.net from the 1st December 2023 Visit: usmaradio.org/tactusfestival ↪ Radioart106 explores radiophonic works of worldwide radio artists. Radio art is a subset of Sound art where radio art is produced for the medium of radio and is specifically intended for broadcast. A new radio work will be aired every first Tuesday of the month at 7:00 pm CET on usmaradio.org

Excerpts from the current sketchbook Vol II

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Canyon Moon + Treat People with Kindness | Love On Tour in Vienna, Austria. (16/07)

Swarovski Afternoon Tea Sparkles at the Writers Bar in Raffles Makati

During our recent trip to Europe, one of the countries I really loved visiting was Austria. This was not just because of its majestic castles, palaces, or it being the birthplace of Mozart and the location for the movie "A Sound of Music." What I really like about Austria is that it is the home of the Swarovski crystals which I Iove buying and collecting. So imagine my surprise when I came back to Manila and found out that Raffles Makati was holding a special Swarovski Afternoon Tea at the Writers Bar until the end of the month. That's why I immediately scheduled a visit to my favorite luxury hotel in the country.

The Writers Bar in Raffles Makati is offering an exclusive and limited-time only Swarovski Sparkling Afternoon Tea Delight from September 28 until November 27, 2023. This is available daily at the Writers Bar from 2:00pm to 3:30 pm and from 4:00pm to 5:30pm. Each afternoon tea set for two is offered at P3,000 nett which includes a choice of premium TWG tea or coffee with optional upgrades for mocktail, cocktails, and champagne.

The Writers Bar is open from 2:00pm to 11:00pm daily at the ground floor of Raffles Makati. A revered institution at all Raffles locations, the Writers Bar pays tribute to all the iconic writers who have found inspiration at Raffles over the years. Designed to resemble a library and bathed in natural sunlight, it is an oasis of calm and tranquility, surrounded by soothing music, exquisite art, and the written legacies of literary luminaries.

The Swarovski Afternoon Tea at Raffles Makati is a collaboration between two storied brands that embody decades of timeless elegance.

We actually visited one of the flagship stores of Swarovski in Innsbruck, Austria during our European honeymoon last month. Since 1895, founder Daniel Swarovski’s mastery of crystal cutting has defined the company. His enduring passion for innovation and design has made it the world’s premier jewelry and accessory brand. Today, the family carries on the tradition of delivering extraordinary everyday style to women around the world. 

Daniel Swarovski’s vision was to create “a diamond for everyone”. He invented an electric machine that cut more accurately than ever before, marking the beginning of a new era for crystals.

We had a great time choosing our favorite crystals at the Swarovski stores in Innsbruck and Vienna, Austria. We did bring home quite a few items since these were being sold much cheaper in Austria as compared to other countries.

Back in Manila, we invited our friends Matt and Chinkee Koppe together with their pretty daughter Chiara for some catching up and to try these sparkling and colorful tea sets. Afternoon tea is an elegant pre-evening tête-à-tête popularized in Europe with its own history and traditional ceremonies. Raffles has been serving afternoon tea for more than 100 years so you can always get the best high tea experience in the country here.

Guests will first have their own choice of coffee or tea from Raffles Makati’s finest selection of flavors courtesy of TWG Tea.

Guests will then be presented with the three-tier Swarovski Afternoon Tea set. The set was crafted by Raffles’ culinary artisans as an interpretation of the brand’s Austrian heritage, innovation, and savoir-faire since 1895. The high tea menu features a variety of savory and sweet treats featuring the iconic swan and the vibrant brand colors of Swarovski.

We started our afternoon tea with the scones. Chef Bèla combines the Classic Scones together with Apple Strudel Scones which is a popular pastry in Austria.

These are paired with clotted cream and strawberry jam. Slice your scones in half horizontally and place the cream or jam on top, depending on your preference.

The topmost layer of the tea set consists of sweet temptations including the Cassis Macaron, Crystal inspired Praline, and Small Rum Cake.

The middle tier comes with other sweet and colorful items like the Crystal Glazed reinvented Raspberry Linzer, Cube of Sacher Cake and White Wine Coconut Spritzer. Everything looks too cute to eat!

Lastly, the bottom tier comes with savory items such as the Seared Tuna with Mango Cilantro Salsa, Sweet Chicken and Avocado Blinis, Caponata Wrap with Alfalfa Sprouts, Green Mango Tart with Sea Grapes, and Vegan Cheese Bruschetta with Calamansi Pearls.

For a more bubbly afternoon tea experience, there's also an option to upgrade your tea set to include two glasses of Golden Sparkle Mocktail for only P550++. This is a light and refreshing drink that will highlight the bold flavors of the pastries even more.

Better yet, upgrade your beverage to include two glasses of Swarovski Special Cocktail for P1200++. This colorful concoction is the best way to enjoy this exquisite afternoon tea set.

You only have a few weeks left to experience this limited-time offer for yourselves. Book your Swarovski Afternoon Tea by calling Raffles Makati or through the online reservations page at https://bit.ly/BookTheWritersBar.

Swarovski Afternoon Tea

1 Raffles Drive, Makati Avenue, Makati City

8555-9840 (https://bit.ly/BookTheWritersBar)

www.raffles.com/makati

www.facebook.com/RafflesMakati

SISValius

[ pt: SISValius ]

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SISValius: a personalius term for when one's personality is connected to / affected by the song Since I Saw Vienna by Wilbur Soot.

Etymology: “SISV” for since i saw vienna, alius

@radiomogai , @imawanokiwaaa , @reveningcontent

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Fwd: Other: WebinarSeries.PopulationGeneticsVienna

Begin forwarded message: > From: [email protected] > Subject: Other: WebinarSeries.PopulationGeneticsVienna > Date: 3 October 2023 at 06:29:56 BST > To: [email protected] > > > Dear colleagues, > > The Vienna Graduate School of Population Genetics runs an internationally > recognized seminar series featuring weekly talks by leading experts in > population genetics. We invite interested listeners to join our webinars > during the upcoming Winter term (Tuesdays at 17:00 CET/CEST). > > Sign up here to receive regular webinar announcements and zoom links > for the upcoming term: https://ift.tt/ucP9mLn > > Schedule: > > 10.10.23 - Clara Groot Crego (Univ. of Vienna, AT) > Disentangling the evolutionary drivers of an adaptive radiation in > Tillandsia (Bromeliaceae). > > 17.10.23 - Rike Stelkens (Stockholm Univ., SE) > A feast with yeast: Saccharomyces as a model system for population genetics. > > 24.10.23 - Burcin Yildirim (Vetmeduni, AT) > Nonadaptive sequence evolution: influence of GC-biased gene conversion > on the Drosophila genome. > > 31.10.23 - Harald Ringbauer (Max Planck Inst. for Evol. Anthropology, DE) > Inferring long shared haplotypes in ancient DNA - What next? > > 07.11.23 - Nicolas Galtier (Univ. of Montpellier, FR) > Phylogenetic conflicts: distinguishing gene flow from incomplete > lineage sorting. > > 14.11.23 - Stuart Wigby (Univ. of Liverpool, UK) > Seminal stories: causes and consequences of variation in Drosophila > male reproductive proteins. > > 21.11.23 - Irina Arkhipova (MBL Woodshole, US) > How does horizontal transfer contribute to eukaryotic evolution? > > 05.12.23 - Charles Aquadro (Cornell Univ., US) > Untangling the influences of genetics, ecology and function in shaping > the surprisingly rapid evolution of germline stem cell genes in > Drosophila. > > 12.12.23 - Milan Malinsky (Univ. of Bern, CH) > Genome evolution, natural selection, and recombination landscapes. > > 19.12.23 - Justin Crocker (EMBL Heidelberg, DE) > Multidimensional approach to decoding the mysteries of animal development. > > 09.01.24 - Mark Phillips (Oregon State Univ., US) > Using experimental evolution to study variation in life-history patterns. > > 16.01.24 - Maud Fagny (INRAE, FR) > The adaptation of polygenic traits: from phenotypes to genes, are > regulatory networks the missing link? > > 23.01.24 - Nancy Chen (Univ. of Rochester, US > Tracking short-term evolution in a pedigreed wild population. > > 30.01.24 - Daniel Bolnick (Univ. of Connecticut, US) > A coevolutionary pyrrhic victory: rapid evolutionary gain and loss of > a costly but effective immune defense. > > All webinars organised by the Vienna Graduate School of Population > Genetics are available on our website > https://ift.tt/GnP4Chs > > Many talk are recorded and can be found on youtube: > https://www.youtube.com/channel/UCAdGx2zyQNyVti9Cr1muhUg > > > Dr. Julia Hosp > > Vienna Graduate School of Population Genetics > Coordinator > > www.popgen-vienna.at > https://twitter.com/PopGenViennaPhD > > c/o > Institut f�r Mathematik, Universit�t Wien > & Institut f�r Populationsgenetik, Veterin�rmedizinische Universit�t Wien > > T +43 1 25077 4302 > via Email October 03, 2023 at 06:37AM