#Ralf H. Schneider | Explore Tumblr Posts and Blogs

spy-in-the-house · 3 years

Photo

TEKNOBRAT aka THOMAS STEPIEN

Brief bio of a DJ/Producer: WTF IS TEKNOBRAT? Hailing from Montreal yet currently living in Ottawa, Thomas Stepien aka Teknobrat has been in the scene since 1987! His prior musical training includes having studied the trumpet and piano at the Musical Academy in Canterbury High School in Ottawa. And he has worked for 11 years at ABM Records in Ottawa, a dance music record shop selling all kinds of electronic discoteque music and with several European techno/house distributors such as INDISC, PIAS, PRIME, CYBER and KUBIK. At this time, Stepien had an ever-growing music library comprising of an astounding 5.000+ albums. The early Detroit Techno sounds are in his blood and soul as well as the early Chicago Acid House and Ghetto Trax sounds from the end of the 80's early 90's. A a DJ and recording Artis as well he can been seen weaving Techno, House, Electro, Minimal, Deep House, Detroit TechnoBass & UK/EU style Techno plus essential Underground Disco Classics at the leading and underground parties. Teknobrat recently also holds a DJ residency at Mercury Lounge one of the most mythic House Music venues of Canada's Nations Capital. In addition to playing these venues, he used to have his own Techno/House music radio show, LA TEKNOSPHERE RADIO SHOW on CHUO 89.1 FM, Ottawa, wich aired from Sept 1997 to February 2005. Also he was the main host of the legendary techno house music radio show, PLANET RAVE, aired on CKCU 93.1 FM Ottawa, from 1991 to 1997. Today he's still busy at Otztawa's VANGUARD PULSE radio. By the way, Stepien has been appearing worldwide as a serious producer of House, Acid and Techno tracks on labels such as Komatsu, Ascend, Hemisphere, Missile UK, Communique US, Soiree Rec.Int. and Psycho Thrill Recordings since 1997. And this journey is not over yet but continues tirelessly ...

without the past … there’s no phuture … these alltime top20 faves in no particular order

01 BLACK DEVIL [BERNARD FEVRE]: H Friend [ A1-track from "Disco Club" RCA PL-164 FRA LP | 1978 ] 02 RHYTHIM IS RHYTHIM [DERRICK MAY]: It Is What It Is _ Juan's Majestic Mix [ A-side from "It Is What It Is" Transmat MS 6 US 12" | 1988 ] 03 JESSE SAUNDERS: On And On [ A-side from "On And On" Jes Say Records JS-9999 US 12" | 1984 ] 04 UNDERGROUND RESISTANCE: Jupiter Jazz [ A2-track from "World 2 World" Underground Resistance UR-020/ Submerge US 12" | 1992 ] 05 3 PHASE [SVEN RÖHRIG] feat. DR.MOTTE [MATTHIAS ROEINGH]: Der Klang Der Familie [ Transmat MS17/ Tresor US 12" | 1992 ] 06 LFO [GERRARD VARLEY, MARK BELL, MARTIN WILLIAMS]: LFO _ The Leeds Warehouse Mix [ A-side from "LFO" Warp Records WAP 5/ Outer Rhythm UK 12" | 1990 ] 07 PHUTURE [DJ PIERRE, EARL 'SPANKY' SMITH, HERBERT 'HERB J' JACKSON]: Acid Trax [ Trax Records TX-142 US 12" | 1987 ] 08 KEBEKELEKTRIK [PAT DESERIO & GINO SOCCIO]: Magic Fly [ A1-track from "Kebekelektrik" Les Disques Direction Records DLP-10005 CAN 12"/LP | 1977 ] 09 GIORGIO MORODER: The Chase [ Casablanca NBD-0146 US 12", single sided Pitman Pressing | 1978 ] 10 DREAMER G [J.GORDON]: I’ve Got That Feeling [ Madhouse Records, Inc. KCT-1001 UK 12" | 1992 ] 11 DONNA SUMMER: I Feel Love _ Patrick Cowley MegaMix & Edit [ Casablanca FEEL-12 US 12" | 1982 ] 12 [MARC] CERRONE: Supernature [ A-side from "Supernature/ Give Me Love" Atlantic K-11089 UK 12" | 1982 ] 13 PLASTIKMAN [RICHIE HAWTIN]: Sheet One [ Plus 8 Records PLUS8028/ Intellinet 2x12" | 1993 ] 14 M.F.A. [JÖRG BURGER, WOLFGANG VOIGT, CEM ORAL]: Music For Assholes on Blue [ Blue BLUE-001/ Blue German Electronic Foundation GER 2x12" | 1992 ] 15 X-102 [JEFF MILLS, MIKE BANKS, ROBERT HOOD]: Discovers The Rings Of Saturn on Tresor [ Tresor ‎4 GER 2x12" | 1992 ] 16 NEIL LANDSTRUMM: Brown By August [ Peacefrog Records PF-040 UK 2x12" | 1995 ] 17 CHOICE [LAURENT GARNIER & DIDIER DELESALLE]: Acid Eiffel [ A-side from "Paris EP" Fnac Music Dance Division 590155 FRA 12" | 1993 ] 18 DAPHNE ORAM: Oramics on Young Americans [ Young Americans YoungAm-001 RE UK 4x12"/ Album | 2013 ] 19 KRAFTWERK [FLORIAN SCHNEIDER, EMIL SCHULT, RALF HÜTTER, WOLFGANG FLÜR ]: Trans Europa Express [ Kling Klang 1C-064-82-306/ EMI GER LP/Album | 1977 ] 20 LIL'LOUIS & THE WORLD [MARVIN LOUIS BURNS]: Blackout [ FFRR LILLP-1 UK Promo-12" | 1989 ] #teknobrat #bookmarks: FACEBOOK | ARTIST | INSTAGRAM | DISCOGS | SOUNDCLOUD MIXCLOUD | VANGUARD PULSE | YOUTUBE | TWITTER BUBBLE WERKS EP | DEFCON ALERT EP

#teknobrat #technocanada #ottawa #montreal #soireerecordsinternational #psychothrillrecordings #communiquerecords #vanguardpulseradio

2 notes · View notes

unscharf-an-den-raendern · 4 years

Text

Interview with Ralf from 2005 (translated from German)

Read the original German version here: http://www.electroempire.com/index.php?thread/1755-ralf-h%C3%BCtter-kraftwerk-interview-2005/

They’re the most influential German band of all time, for a third of a century they advanced and shaped electronic music like no one else. During that time, they only gave about one hundred interviews worldwide, the living legends are considered to be media-shy. Now Arschmaden-rave-magazin managed to be the first German magazine since 2001 to get an exclusive interview with the Düsseldorf sound pioneers Kraftwerk. Hauke Schlichting was allowed to spend almost an hour on the phone with Ralf Hütter and found out that music gods are also completely normal people sometimes.

Hauke Schlichting: Are there many pre-order of the notebook edition of “Minimum Maximum” already?

Ralf Hütter: I think so. Kraftwerk is not just music, we also create the lyrics, the pictures and the entire visual concept. I’ve been doing that with my partner Florian Schneider since 1970. This notebook edition enables us to put a lot of ideas into effect that we had for a long time. And now that it's finished, it's a liberating moment.

Hauke Schlichting: I once saw you in the audience of a talk by Oskar Sala. I suppose that pioneers like Sala, John Cage and certainly Karlheinz Stockhausen were a source of inspiration for Kraftwerk...

Ralf Hütter: Especially in our living environment in the second half of the sixties. Our friends and we were involved in the art scene. Electronic music was not foreign to us.

Hauke Schlichting: In an old interview from 1976 you said: "The world of sounds is music.” The first thing that came to my mind was whether the members of Kraftwerk listened to and liked music by noise musicians or even industrial music? Is that a similar approach?

Ralf Hütter: I can only speak for myself now, but I definitely see a spiritual kinship there. Definitely.

Hauke Schlichting: You called your music "Industrial Folk Music" once...

Ralf Hütter: Yes, but not with an F. It was about "Industrielle Volksmusik", the English translated it. It was an idea of the electronic Volkswagen. That's a concept. We have always reported on everyday things. "Autobahn", for example, was an attempt to make everyday music.

Hauke Schlichting: Is there any electronic music from - let's say the last 20 years - that inspired you?

Ralf Hütter: Yes, especially this spiritual kinship between the two cities starting with a D.

Hauke Schlichting: Düsseldorf and Detroit!

Ralf Hütter: Right. We know the creative heads of Detroit like Derrick May, Mike Banks and Kevin Saunderson. And that's what we consider to be a real inspiration, alternating, which finds its sound in this language. The dynamic that's in there, like in here. This electric funk or whatever you want to call it, that's a spiritual kinship.

Hauke Schlichting: Were the first Cybotron records of Juan Atkins things that you already noticed back in 1981?

Ralf Hütter: We were also in New York earlier, where the record company took us to some afterhours in non-authorized clubs.

Hauke Schlichting: They already existed back then!?

Ralf Hütter: Yeah, sure, at the end of the seventies. Then we had the experience that Afrika Bambaataa played our song “Metall auf Metall”. I thought, oh, fine, and then more than a quarter of an hour went by and I started wondering, because the song is not that long. Until I realized that he combined it with several record players.

Hauke Schlichting: A live remix with turntables, so to speak...

Ralf Hütter: That must have been in '77.

Hauke Schlichting: Mr Bambaataa is definitely a pioneer as well.

Ralf Hütter: Definitely.

Hauke Schlichting: There are an infinite number of songs nowadays which obviously sampled Kraftwerk. You were once described as "the most sampled artists besides James Brown". Are you annoyed when this happens without being asked?

Ralf Hütter: In the right music it is mental communication. Creative feedback. But if they appear on any “cucumbers” (Translator’s note: Ralf means bad musicians) or purely commercial products, then our publishing house will take action.

Hauke Schlichting: Do you collect your own records? If you want to own all the Kraftwerk records, including all the different pressings, you’d have to collect several thousand.

Ralf Hütter: I think that's materialistic nonsense. It's like collecting beer coastes. That’s totally uninteresting. It's about music, not about some pieces of plastic.

Hauke Schlichting: But they say that you collect old synthesizers.

Ralf Hütter: Our studio has been changing constantly since 1970, there are always new things being wired, installed or programmed. Improved. So often some equipment is put away, first in the warehouse, because you might need them again. At some point they were standing there, nobody wanted them, then they got dusty, then reactivated in the Kling Klang Museum. Ten years later we restored and repaired them all to the latest state of the art. Now we have been asked if we could make them available for an exhibition, but at the moment we can't give them away because they are actually in use. Over the last twenty years, we have transferred all the original Kraftwerk sounds to the digital level. Together with our electrical engineers Fritz Hilpert and Henning Schmitz.

Hauke Schlichting: You used to take a lot of equipment weighing tons with you on tour.

Ralf Hütter: Yes, the Kling Klang Studio is our instrumentarium. It has been like that ever since the first concerts. At that time they were still single instruments or single racks with many cables. Then at some point we assembled them in multi-racks.

Hauke Schlichting: The live equipment was always identical to the studio equipment. Is that still the case now? The things you carry around with you now are much more compact.

Ralf Hütter: Now we play with the virtual Kling Klang Studio with laptops at concerts in real time and mobile. That's why we have been able to travel all over the world since 2002. Today we have complete access to the entire audio-visual show, which also changes a bit from concert to concert. That's what makes it interesting. We no longer have to build it up every day to reach a fixed status, we can work with it live. In the past we were on tour rather reproductively, a lot of things didn't work, that was actually a torture, these concerts back then. That's why we only did one tour, in 1975 ("Autobahn"), then for years almost nothing and in 1981 ("Computerwelt"), when we did another tour, we also used many tapes in addition to my analog sequencer, because our music was actually not playable live at that time.

Hauke Schlichting: The live DVD you’re releasing now gives the illusion that it is the complete recording of one concert. If you take a closer look, you will see that it has been put together from many concerts. Was there no concert that was great from front to back?

Ralf Hütter: We recorded and documented everything. We then selected the recordings based on quality and intensity. That was then put together. That is also our concept of electronic mobility. "Tour de France" should definitely be from Paris, "Autobahn" from Berlin, "Dentaku/calculator" from Tokyo. We had a lot more material available later, but we couldn't put that in. In Santiago de Chile, for example, the audience has the best timing in the world when clapping along. I've never experienced anything that synchronous before.

Hauke Schlichting: When Kraftwerk is in the studio, do you sometimes make music just for fun, just playing around a bit?

Ralf Hütter: We once said that the music composes itself.

Hauke Schlichting: That means constant trying out and jamming around?

Ralf Hütter: That's where we actually come from, we've been doing that since the late sixties. For more than a third of a century we've been walking on the same electronic path. We just try to be open for ideas. They come when you cycle, like “Tour de France”, they come when you drive, like “Autobahn”. Some things also arise from texts, from books, from all kinds of things. We use all mental ideas, we do not work according to one principle. The freedom lies precisely in the fact that all art forms are open to you today. It is a gift that we live in a time where you don't need a large orchestra and where you don't need a nobleman who puts gold ducats at your disposal. Now there is an autonomy that can be realized through the man-machine Kraftwerk.

Hauke Schlichting: Your studio seems a bit like a fortress against the outside world. But you have emphasized several times that you are not isolated at all, that you meet a lot of friends and actually lead a very normal life. But we know relatively little about that. Does that mean that private life is the super important compensation for an artist's life?

Ralf Hütter: No, we see ourselves as scientists, as music workers. We do our work, we drink a cup of coffee in the morning, on weekends we ride our bikes. We go to clubs because the lively scene of electronic music is important to us. And that's where it takes place. We have been connected to club culture since the sixties.

Hauke Schlichting: Does that mean that you now travel more often or specifically to performances by live artists or DJs?

Ralf Hütter: Mostly that happens when we are on the road. If the travel plan allows it, because otherwise it can happen that you can't concentrate at concerts in the evening due to lack of sleep. Working at the screen, with the mouse, they’re very fine movements. Minimal movements with maximum effect on sound and images. Again a mental reference to this work "minimum-maximum".

Hauke Schlichting: Can you imagine working with other musicians?

Ralf Hütter: We already worked together with different musicians, especially with music engineers. For example with François K, with William Orbit, with Etienne de Crécy, with Orbital, with Underground Resistance.

Hauke Schlichting: The revision of your back catalogue is now finished...

Ralf Hütter: Yes, finally. It is also about clarity and now for the first time everything is as it was intended.

Hauke Schlichting: Can you release more albums in the future that way?

Ralf Hütter: Yes, also because the technical development has changed in our favour. We now have the right tools at our disposal, so we don't have to spend so much time on wiring and installation.

Hauke Schlichting: The teen newspaper Bravo quoted you in 1975 with the sentence: "One day they will imitate our music. Could you have imagined back then that this would really happen?

Ralf Hütter: Yes, we thought so at that time. We played the album to them in my old Volkswagen. We had a big loudspeaker in the back, we didn't have the kind of equipment we have today. And then my friend Florian and I drove on the motorway with our poet and painter friend Emil and Bravo. At the beginning of the seventies our music was mostly only played in special radio programmes, e.g. by Winfried Trenkler. Before "Autobahn", Kraftwerk only existed in this art and student scene. And then live, we come from this live music scene. That we now play electronic music all over the world again is something where the circle closes. Now it takes on the shape we imagined in our imagination at the time.

Hauke Schlichting: Thirty years ago you also said: "In twenty years, in our opinion, there will hardly be any groups with guitars and drums any more. For us these instruments belong to the past already today."

Ralf Hütter: Right.

Hauke Schlichting: But that didn't quite come true.

Ralf Hütter: There are many antiques. But that is still true. There are also still symphony orchestras. In our opinion, the thoughts or essence of the present can only be realized with adequate means.

Hauke Schlichting: You have very few concrete political statements in your music...

Ralf Hütter: Rather socio-political, from our everyday life.

Hauke Schlichting: You only find a concrete one in the new version of "Radioactivity".

Ralf Hütter: Yes, we inserted that because there were endless misunderstandings. We simply wanted to clarify these misunderstandings with one word ("Stop").

Hauke Schlichting: Because of the last album the topic of cycling was once again massively brought into the picture...

Ralf Hütter: I had written this lyrics in 1983 with my French friend Maxime Schmidt. Florian was experimenting with sounds at the same time with his first sampler. This resulted in the album concept "Tour de France". At that time we released only that one single under time pressure and then the ideas fell a bit into oblivion. However, this practically slumbered as a film script in a long version in the studio under the heading unfinished projects. And we just finished that now.

Hauke Schlichting: You have been active as cyclists for a very long time...

Ralf Hütter: Yes, since "Mensch-Maschine". The concept of "man-machine" has brought an awareness, from the pure sound field of music a dynamic physicality man-machine has conclusively emerged. We tried that out and the fascination has remained.

Hauke Schlichting: The unity of man and bicycle is still the man-machine.

Ralf Hütter: That's how it is.

Hauke Schlichting: The man-machine motif has always been a dream of mankind. It already existed with the Greeks, it played a major role with the alchemists, in E.T.A. Hoffmann's "Sandman", in the film "Metropolis" - there are countless examples.

Ralf Hütter: That had become reality for us. There was often the misunderstanding of the machine-man, but we were always concerned with man-machines. We are interactively connected with the machines, that has remained so until today, that is actually a synonym for Kraftwerk.

Hauke Schlichting: Was Kurt Schwitters' "Schmidt-Lied" from 1927 the model for the album "Radioaktivität"?

Ralf Hütter: I've never heard it.

Hauke Schlichting: May I quote from it?

Ralf Hütter: Yes, of course!

Hauke Schlichting: "Und wenn die Welten untergehn, / so bleibt die Welle doch bestehn. / Das Radio erzählt euch allen, / was immer neues vorgefallen. / Und funk ich hier ins Mikrofon, / hört man im Weltall jeden Ton. / Und bis in die Unendlichkeit, / erfährt man jede Neuigkeit. / Wir funken bis zum Untergang / ins Weltall kilometerlang." ("And if the worlds go under, / the wave will still exist. / The radio tells you all, / whatever new happened. / And if I radio here into the microphone, / you can hear every sound in space. / And to infinity, / you'll hear every news. / We'll radio until the end / to space for miles and miles."

Ralf Hütter: A spiritual bond!

Hauke Schlichting: It only remains for me to say that we all hope not to have to wait that long and we are looking forward to new material. You will be turning sixty next year, I hope that Kraftwerk will continue to produce music for a very long time and present it live. But if you've been cycling for 25 or 30 years, like you do, then you should probably be fit.

Ralf Hütter: Yes, we are.

Hauke Schlichting: Wonderful, good luck for the future and thank you very much.

#kraftwerk

10 notes · View notes

dingfest-literatur · 5 years

Text

This slideshow requires JavaScript.

Von überall erreichen uns nun schöne Rückmeldungen und Bilder von glücklichen all over Heimat– AutorInnen von und mit ihren Exemplaren. Das freut uns sehr! Demnächst werden wir an dieser Stelle noch einige von ihnen ausführlicher vorstellen.

448 Seiten Stories u. Friends Verlag ISBN-13: 978-3942181891 16€

Diese Anthologie versammelt 150 Autor*innen aus über 20 Nationen, darunter Österreich und die Schweiz, Belgien, Luxemburg und die Niederlande, Russland, Island, Tunesien, Italien, die USA und viele andere. Neben jungen Debütant*innen finden sich zahlreiche Autor*innen, die bereits bedeutende literarische Auszeichnungen erhalten haben.

Mit Lyrik und Prosa von Najet Adouani, Rodaan Al Galidi, Barney (Elizabeth) Bardsley, Roswitha Beer, Heinrich Beindorf, Gerhard Benigni, Oksana Beresuzkaja, Heide Bertram, Rolf, Birkholz, Marlies Blauth, Philipp Blömeke, Emeka Bob-Anyeji, Birgit Bodden, Bianca Boer, Hermann Borgerding, Gabriela Căluțiu Sonnenberg, Safiye Can, David Castillo, Ingo Cesaro, Orit Chazara, Carina Contreras, Volker W. Degener, Astrid Dehe, Larissa Dyck, Germain Droogenbroodt, Sigrid Drübbisch, Özlem Özgül Dündar, Eva von der Dunk, Matthias Engels, Achim Engstler, Patricia Falkenburg, Judith Faller, Nico Feiden, Armin Leonhard Fischer, Kerstin Fischer, Jürgen Flenker, Kersten Flenter, David Fox, Cornelia Franken, Doris Franzbach, Karin Friedle-Unger, Anke Fuchs, Martin Furtkamp, Velina van der Gaag, Clemens Bruno Gatzmaga, Thomas Geduhn, Daniela Gerlach, Anke Glasmacher, Marianne Glaßer, H. D. Gölzenleuchter, Axel Görlach, Annette Gonserowski, Tobias Grimbacher, Julia Grinberg, Dinçer Gücyeter, Lütfiye Güzel, Christin Habermann, Annette Hagemann, Aylin Rosa Hanka, Sören Heim, Paul Heinrich, Horst Hensel, Hans-Ulrich Heuser, Ghiath Hobbi, Claudia Hummelsheim, Klára Hůrková, Infrarot, Christa Issinger, Diana Jahr, Monika Jarju, Stefanie Jerz, Thomas Kade, Zarina Kanukova, Harald Kappel, Adrian Kasnitz, Chiara Nadine Kauffel, Manfred Kern, Irlan Khugaev, Christoph Kleinhubbert, Michael Köhler, Anne-Kathrin Koppetsch, Matthias Kröner, Josef Krug, Kathrin B. Külow, Axel Kutsch, Mariusz Lata, Fabian Lenthe, Monika Littau, Marc A. Littler, Sophie van Llewyn, Una López-Caparrós Jungmann, Britta Lübbers, Sylwia Ludas, Petya Lund, Alexander Makowka, Patricia Malcher, Hamdi Meça, Kerstin Meixner, Sophie Modert, Sudabeh Mohafez, Pega Mund, Anca Neubauer, Ngo Nguyen Dung, Jutta von Ochsenstein, Ragnar Helgi Ólafsson, Hellmuth Opitz, Birgit Ottengraf, Laura M. Pellizzari, Ester Naomi Perquin, Heinrich Peuckmann, Martin Piekar, Gerd Puls, Dennis Puplicks, Judith-Katja Raab, Ángel Rebollar, Andreas Reichelsdorfer, Torsten Reters, Daniela Rieß, Wolfgang Rödig, SAID, Fethi Sassi, Wolfgang Schiffer, Norbert W. Schlinkert, Sigune Schnabel, Janine Schneider, Katja Schraml, Tessa Schwartz, Matthias Schwincke, Anita Seo Dornbach, Richard Sleboe, Derya Soytut, Peter Spafford, Carsten Stephan, Markus Streichardt, Werner Streletz, Ralf Thenior, Maria Topali, Imre Török, Kinga Tóth, Thorsten Trelenberg, Emanuil A. Vidinski, Nataša Vukelić, Tom Weber, Werner Weimar-Mazur, Stefan Wieczorek, David Wonschewski, Inge Wrobel, Sascha Wundes, Wolfgang Wurm und Péter Závada.

All over Heimat -international- Von überall erreichen uns nun schöne Rückmeldungen und Bilder von glücklichen all over Heimat- AutorInnen von und mit ihren Exemplaren.

2 notes · View notes

aloupgarou-blog · 4 years

Text

R O L L O V E R B E E T H O V E N viertens

In den Abenden, in denen in der Neuen Galerie in Aachen nicht der Film „Ludwig Van“ von Mauricio Kagel gezeigt wurde, lief über die Tonanlage eine kommentierte Sammlung von Beethoven-Bearbeitungen von Stockhausen bis Jankowski, und die Kuratoren inszenierten Auseinandersetzungen mit Beethovens Werk. Sie waren von FLUXUS bestimmt, von John Cage, George Brecht, Allan Kaprow, Al Hansen, La Monte Young und Geoffrey Hendricks aus der New School for Social Research in New York. Dick Higgins bot die Partitur für die Vorstellung der 3. Symphonie, der EROICA als Wettlauf zwischen den Dirigenten Hans Knappertsbusch, Herbert von Karajan und Leonard Bernstein auf drei Plattenspielern. Das Publikum applaudierte nach jedem Satz dem Sieger, drei Stoppuhren erlaubten, die Zeitdifferenzen zu fixieren und beim zweiten Durchlauf so zu nutzen, dass alle drei gleichzeitig endeten.

Wolf Vostell schickte Telegramme, in denen er über die Arbeit an seiner Beethoven gewidmeten „Vietnam-Sinfonie“ für den Kölner Hautbahnhof berichtete.

Am Abend des 19. 12. spielte KRAFTWERK die „Beethoven-Symphonie“ in „Beethovens Kunstsalon.“ Konrad Schnitzler hatte der Gruppe einen der ersten Synthesizer besorgt, so konnten Ralf Hütter (Flöte, Geige, Stimme, Vocoder, Robovox) und Florian Schneider im Ballsaal der Sonate in a-moll op. 132 Zitate von Fritz Wunderlichs Arie „Ich liebe Dich“ beifügen und mit Orgelklängen einen gewaltigen Klangrausch erzeugen, in dem vor ihnen Beethoven wie eine große Wolke erschien und verschwand. Sozialkritische Kommentare, die zur Ausstellung erwartet wurden, blieben nicht aus. (Fortsetzung folgt)

Abb. Wolf Vostell Vietnamn-Sinfonie 1971 Serie von 4 Farbsiebdrucken

Ludwig Van 4 R O L L O V E R B E E T H O V E N viertens…

0 notes

elainabu343z-blog · 5 years

Text

Donaupark Wien in 2019

Donaupark Wien Einladung Zum Osterfest Im Donaupark 2014 wurden Ralf Hütter und sein ehemaliger Partner mit dem Grammy Lifetime Achievement Award ausgezeichnet. Das Multimedia-Projekt KRAFTWERK wurde 1970 von Ralf Hütter und Florian Schneider gegründet. Mit zahlreichen Spielplätzen und Unterhaltungsmöglichkeiten - von öffentlichen Tennisplätzen, Minigolf, bis Beton-Schachspielen - ist der Donaupark ein beliebtes Naherholungsgebiet jenseits der Donau, das an schönen Wochenendtagen bis zu 5000 Besucherinnen und Besucher pro Tag anzieht. In Tulln am Ufer der Donau, gleich neben dem Minoritenkloster entsteht der Donaupark Tulln mit 61 hochwertigen Eigentumswohnungen, die sich sowohl hervorragend zu Vorsorgezwecken, als auch zur Eigennutzung eignen. Das gefaltete A3-Blatt erhalten die Schüler/innen im Donaupark zu Beginn des Ausflugs. Verbringe einen entspannten Tag mit deinen Freunden im Donaupark und gönnt euch anschließend ein leckeres Essen in einem tollen Restaurant eurer Wahl. Heute zählt der Donauturm zu den Wahrzeichen von Wien, ist Aussichtplattform, Cafe-Restaurant mit Weitblick und Absprungrampe für waghalsige Bungee Jumper: im freien Fall an einem Gummiseil hängend ist man mit 90 km/h ziemlich schnell wieder unten.

0 notes

kassandrafeed · 6 years

Photo

Ingeborg Zimmermann heute um 22:17 Uhr Armin V Gestern um 19:19 Ausländergewalt gegen Deutsche – eine unvollständige Chronik ! Die Täter waren meistens Muslime ! Hier mal ein paar Opfer von Migranten Gewalt mit Todesfolge, die meisten von denen haben es leider nicht in den Medien geschafft, warum nur?? Ein Schelm der böses dabei denkt..... 27.06.1990: Eine Türkenhorde schlägt in Berlin mit Baseballschlägern auf Jens Zimmermann († 18) ein. Er wird dabei so schwer am Kopf verletzt, dass er zwei Tage später seinen Verletzungen erliegt. Die Täter erhalten lediglich Bewährungsstrafen. 16.11.1990: Rene Grubert wurde von dem Türken Ayhan Ö. in einer Berliner S-Bahn durch Stich in die Schläfe getötet. 04.04.1992: Gerhard Kaindl († 47) von sechs Türken in Berliner China-Restaurant niedergestochen. 23.05.1992: Martina Z. († 24) wird von dem Libanesen Taleb H. mit 30 Messerstichen getötet. 21.02.1993: Polizeibeamte Friedrich Stöcklein († 46) wird von Serben erschossen. 19.06.1993: Das Landgericht Arnsberg verurteilt Nadiem Ralf M. (Tunesier) für den Raubmord an einer Taxifahrerin 15.10.1993: Der Architekt und Familienvater Konrad Hierl († 40) wird im Münchener Westpark von dem Slowenen Gorazd B. erstochen. 11.11.1993: Polizeimeister Georg Schachner († 20) wird im Intercity „Donaukurier“ von einem Serben erschossen. 11.11.1993: Polizeiobermeister Klaus März († 33) wird im Intercity „Donaukurier“ von einem Serben erschossen. 22.01.1995: Im Münchener U-Bahnhof Bonner Platz wird der Polizeimeister Markus Jobst († 21) von einem Bosnier mit einem Pistolenschuss in die Brust getötet. 24.10.1995: Ein Deutscher († 15) wird in Berlin-Friedrichshain von neun Türken mit Holzbohlen vom Rad geschlagen und mit zwanzig Messerstichen getötet. 15.06.1996: Florian († 18) wird von dem Pakistaner Ibrar P. erschossen. 15.06.1996: Ursula († 55) wird von dem Pakistaner Ibrar P. erschossen. 19.12.1997: Der Polizist Heinz-Peter Braun († 36) wird in Egelsbach von einem randalierenden Kroaten erschossen. 25.05.1998: Der Türke Inan D.(22) prügelt Sascha K. († 26) an einer Kölner U-Bahn-Haltestelle vor den Augen seiner schwangeren Freundin Jutta S. zu Tode. 13.02.1999: Robert Edelmann († 23) wird in Frankfurt- Griesheim von Semere T. aus Eritrea, Denis T. aus der Türkei sowie einem Marokkaner und einem Jordanier auf offener Straße gelyncht und dann erstochen. 01.05.1999: Timo Hinrichs († 23) wird von dem Kosovo-Albaner Naser B. in Urberach erstochen. 07.08.1999: Polizeihauptmeister Michael Erkelenz wurde am 1. August 1999 von einem mehrfach vorbestraften Türken angeschossen und erliegt seinen Verletzungen. 31.09.1999: Thorsten Tragelehn († 20) wird von einem Türken mit mehreren Messerstichen getötet. Auf dem schwer verletzt am Boden Liegenden wird noch von mehreren Leuten eingetreten. 27.02.2000: Die Polizistin Kirsten Späinghaus-Flick († 26) wird von einem Mazedonier in Remscheid erschossen. 22.06.2000: Der Polizist Ingo Grebert († 43) wird von einem 25jährigen Türken in Niederwalluf erschossen. 04.12.2000: Ralf Jakob Lutz wurde von dem Slowenen Victor R. erschossen. 04.12.2000: Gerald Norbert Michels wurde von dem Slowenen Victor R. erschossen. 04.12.2000: Martin Hinkel wurde von dem Slowenen Victor R. erschossen. 11.04.2001: Gymnasiast Sebastian Obersojer († 18) wird in München von dem Rumänen Petru Emanuel I. mit mehreren Messerstichen in den Hals getötet. 23.04.2003: Der Polizist Roland Krüger wird von einem Libanesen in Berlin-Neukölln erschossen. 05.04.2004: Thomas Pötschke († 20) wird in Berlin von dem Tunesier Mehdi N. mit zehn Messerstichen getötet. 09.10.2004: Ramona S. († 22) wird in Berlin von dem Libanesen Mohammad El-C. in der Badewanne ertränkt. 19.10.2004: Stefanie C. († 24) wird in Berlin Pankow vor den Augen ihrer 3-jährigen Tochter von dem Türken Mahmut C. niedergestochen. Ihre Mutter Karin C. wird schwer verletzt. 15.12.2004: Mariann Laboda († 19) wird von einem Iraker zweimal in den Kopf und einmal in die Brust geschossen. 14.01.2005: Rudolph Moshammer († 64) wird von dem Iraker Herisch A. erdrosselt. ??.07.2005: Tobias M. wird in Heidenheim von dem Kosovo-Albaner Arton G. zu Tode getreten. Der damals 18-jährige Arton G. wurde zu 4 Jahren Jugendstrafe verurteilt und nach 3 Jahren frühzeitig entlassen. 04.12.2005: Regina E. wird von dem Albaner Agim E. mit mehreren Stichen in Kopf und Oberkörper ermordet. 31.12.2005: 32-jährige zweifache Mutter wird in Iserlohn von einem Türken durch Kopfschuss getötet. 31.12.2005: 23-Jähriger wird in Iserlohn von einem Türken durch Kopfschuss getötet. 21.03.2006: Der Polizist Uwe Lieschied wurde vier Tage zuvor von dem Türken Mehmet E. in Berlin angeschossen und erliegt seinen Verletzungen. 17.06.2006: In Potsdam wird David Fischer († 20) von dem Afghanen Ajmal K. erstochen. 01.11.2006: Jörg Haas († 35) wird von dem Türken Ersun Y. in Detmold erschlagen. 16.01.2007: Marion († 35) wird in München von einem Türken erstochen. 28.02.2007: Im sächsischen Brand-Erbisdorf wird Birgit S. († 49) von dem Tunesier Mohamed S. (30) erdrosselt. 26.05.2007: Schülerin Sandra A. († 18) wird in München von dem Tunesier Aimen A. (24) erstochen. 21.07.2007: Am Häusserhofsee in Neu-Ulm wird die Leiche einer Frau († ca. 48) gefunden, die kurz nachdem sie eine Scheinehe mit einem Bosnier eingegangen war von diesem zwischen Oktober 2002 und Januar 2003 getötet wurde. Der Bosnier heiratete die körperlich behinderte Frau zwecks Sicherung seines Aufenthaltsrechts und kassierte nach deren Tod jahrelang ihre Invalidenrente. 21.08.2007: Yvan Schneider († 19) wird in Rommelshausen von dem Kasachen Roman K. und dem Türken Deniz E. (18) erschlagen, zerstückelt, in ein Gefäß einbetoniert und im Neckar versenkt, weil er sich mit der Freundin von Deniz E. getroffen haben soll. 29.09.2007: Katharina H. († 27) wird in Dresden von dem Türken Mehmet S. erstickt. 16.11.2007: Jasmin U. werden von dem Türken Ramazan U. in Gelsenkirchen mit einem Schraubendreher die Augen ausgestochen und durch insgesamt neun Stiche getötet. 16.11.2007: Der Türke Ramazan U. tötet das ungeborene Kind der schwangeren Jasmin U. in Gelsenkirchen mit einem Schraubendreher. 01.12.2007: Nadine Münster († 22) wird von den Schwarzafrikanern Collins Y. (25) und Isaac B. (21), gegen den bereits eine Ermittlung wegen der Vergewaltigung einer 17-jährigen lief, stundenlang vergewaltigt und nimmt sich in der Folge selber das Leben. Die Täter werden „aus Mangel an Beweisen“ freigesprochen. 13.12.2007: Johann K. († 74) wird von dem vorbestraften, Hartz-IV empfangenden Algerier Abdul H. (27) mit dessen Mercedes 500 CL (!) an einer Hauswand zerquetscht und stirbt nach 6-wöchigem Koma. Abdul H. wird zu 15 Monaten Haft verurteilt, weil er eine „Gefahr für die Allgemeinheit“ darstelle, dann aber wegen „günstiger Sozialprognose“ auf Bewährung freigelassen. 09.03.2008: Der unbeteiligte Andreas K. († 28) wird bei einer Auseinandersetzung von Kriminellen von einer armenisch-libanesischen Bande in Leipzig erschossen. 21.03.2008: Gastwirt Holm B. († 45) wird in seiner Gaststätte “Windstärke 11? in Hamburg von zwei Rumänen zu Tode geprügelt. 04.04.2008: Kevin Plum († 19) wird in Stolberg von den Libanesen Josef A. und Mohamad A. mit vier Stichen ins Herz getötet. 15.04.2008: In Hamburg töten Yakup M. (19), Gzim L. (23) und Labinot B. (22) Kirk Mütterlein († 17), indem sie ihn würgen, ihm eine Zwiebel in den Mund rammen und auf ihm herumspringen. Dann bringen sie die Leiche auf eine Mülldeponie, übergießen sie mit Benzin und zünden sie an. 10.05.2008: Der mit Drogen handelnde Jamaikaner Leon M. (21) tötet in Hamburg Kim A. († 26) mit einem Messerstich und schneidet Danny A. (27) die Nase ab.[66] Für die Taten wird der Jamaikaner zu lediglich vier Jahren Jugendstrafe verurteilt. 12.05.2008: Frank H. († 50) wird in Berlin von dem Türken Mustafa T. erschossen. ??.06.2008: Ein Türke (32) bricht einer deutschen Frau († 57) in Lengerich einen Halswirbel und ertränkt sie danach in der Toilettenschüssel. 14.08.2008: Heribert R. († 64) wird in Berlin von dem Türken Erdal W., seinem Stiefneffen, erstochen. 14.08.2008: Ursula R. († 74) wird in Berlin von dem Türken Erdal W., ihrem Stiefneffen, erstochen. 28.09.2008: In Bensheim prügeln Erdogan M. (49), dessen Sohn Haydar M. (19) sowie Volkan T. (19) und ein weitere Türke Fabian S. († 29) zu Boden; als dieser sich wieder erheben möchte, nimmt Haydar M. Anlauf und tritt ihm gegen den Kopf, so dass Fabian S. das Bewusstsein verliert. Nachdem die vier Türken noch eine Weile auf ihr wehrloses Opfer eintreten, lassen sie ihn auf der Straße zurück, wo er von einem Taxi überrollt wird. Am 25. Oktober erliegt Fabian S. in einer Mannheimer Klinik seinen Verletzungen, ohne das Bewusstsein wiedererlangt zu haben. 07.11.2008: Der Afrikaner Mouchtar S. (24) ersticht in Waldbröl eine 47-jährige Mutter von vier Kindern. 18.11.2008: Michael Meier († 55) wird in Kelheim von dem Serben Milutin K. durch Kehlkopfschnitt und mehrere Messerstiche ermordet. 18.11.2008: Gabriele Meier wird in Kelheim von dem Serben Milutin K. mit einem Messer ermordet. 06.02.2009: Marita D. († 49) wird in Schwabach von dem Italiener Nicola L. erstochen. 07.02.2009: Die hochschwangere Claudia Küfte († 27) wird in Berlin von dem Türken Cengiz K. mit mehreren Messerstichen getötet. 07.02.2009: Das ungeborene Kind der hochschwangeren Claudia Küfte (27) wird in Berlin von dem Türken Cengiz K. mit mehreren Messerstichen getötet. 26.02.2009: Nachdem er seine Nachbarn zehn Monate mit lauter Musik terrorisierte, ersticht der „Gangster-Rapper“ Mohamed H. (19) alias „Momoblack“ in Neukölln Andreas H. († 41), als dieser ihn bittet, die Musik leiser zu machen. 02.03.2009: Der Afghane Daryoush P. (29) kettet Magdalena S. (24) in einer Wohnung in München an sich und löst eine Benzinexplosion aus. 06.03.2009: Marlis K († 53) wird in Doberlug-Kirchhain von dem Kurden Veysel K. ein Gegenstand in den Genitalbereich gerammt. Danach drückt er ihr Gesicht in eine Decke, bis sie tot ist. 25.03.2009: Nicole B. († 41) wird in einem Parkhaus in Hamburg von dem Türken Suat G. (40) mit 36 Messerstichen getötet. 18.04.2009: Josefa Thalmann († 83) wird von den Rumänen Ricardo L. und Romany L. in ihrem Haus in Hörstel mehrfach mit der Faust, anschließend mit mit einem Stemmeisen ins Gesicht und auf den Kopf geschlagen und erliegt kurze Zeit später ihren Verletzungen. 12.06.2009: Der Dachdecker Thomas M. († 44) wird in Hamburg von den Türken Onur K. (17) und Berhan I. (16) zu Tode getreten, „weil er ihnen keine 20 Cent geben wollte“. Nachdem Berhan I. aus der Untersuchungshaft entlassen wurde, prügelte und trat er Jennifer O. zusammen, so daß diese einen Wadenbeinbruch und schwere Prellungen an Kopf und Oberkörper erlitt und kündigte an, sie auf den Strich zu schicken. Im Dezember 2011 wurde er für die Tötung von Thomas M. zu einer 2-jährigen Bewährungsstrafe verurteilt! 22.06.2009: Klaus B. († 62) wird in Berlin von dem Türken Metheb A. erdrosselt. 29.06.2009: Christiane H. († 23) wird in Schramberg von dem Türken Rüfet C. erwürgt. 23.07.2009: Beate S. († 22) wird in Landau von dem Iraker Basim H. vor den Augen ihrer Kinder mit 17 Messerstichen ermordet. 22.08.2009: Kevin Wiegand († 18) wird in Schöppingen von dem Iraker Muhammad M. erstochen. 08.09.2009: Andrea W. († 36) wird in Jengen von dem Ägypter Ahmed H. erwürgt. 13.10.2009: Hanna H. († 29), Mutter von drei Kindern, wird in Köln von einem Jordanier (35) erstochen. 21.11.2009: Benjamin Diegmann († 18) wird in Wipperfürth von den fünf Türken, darunter Özgür (20), Muhammet (18) und Younes (19), zu Tode getreten. Der Haupttäter (ohne Namensangabe) wird zu 2 Jahre Jugendstrafe auf Bewährung und ein weitere Täter (ohne Namensangabe) zu 8 Monaten auf Bewährung verurteilt. Die anderen Beteiligten müssen wegen unterlassener Hilfeleistung einige Sozialstunden leisten. 23.11.2009: Polizeihauptkommissar Steffen M. († 46) wird in Lauchhammer von zwei Russen getötet. 23.11.2009 Anna († 25) wird in Rosenheim von einem Tunesier erdrosselt. 06.12.2009: Karina († 46) wird in Rimsting von einem Pakistaner erstochen. 16.12.2009: Gymnasiastin Susanna Hinkel († 18) wird in Dresden von dem Pakistaner Syed Asif R. ermordet. ??.01.2010: Taxifahrer Peter Lüchow († 58) wird von dem Sri Lanker Rilwan C. erschossen. 20.02.2010: 55-jährigen Betriebsleiter wurde in Heilbronn von einem Türken mit einer Eisenstange erschlagen. 28.03.2010: Felix S. († 35) wird in Kiel von einem Polen erstochen. 12.04.2010: Die zweifache Mutter Tanja A. († 39) wird in Marburg von dem Tunesier Moncef A. mit mehreren Messerstichen getötet. 02.05.2010: Die schwangere Saskia S. († 18) wird in Kiel von einem Philipino erstochen. 02.05.2010: Das ungeborene Kind der schwangeren Saskia S. wird in Kiel von einem Philipino getötet. 14.05.2010: Mel D. († 19) wird in Hamburg von dem Afghanen Elias A. erstochen. 25.05.2010: Klaus B. († 51) wird in Kamp-Lintfort von dem Türken Eldin K. zu Tode geprügelt. 29.05.2010: Der Unternehmer Klaus Kandaouroff († 80) wird in Datteln bei einem Einbruchs-Raubüberfall von dem Kroaten Mladen P. (43) mit einem Kopfschuß getötet. 05.06.2010: Sieglinde F. († 67) wird in Linsengericht von dem Marokkaner Radouane Falioune Ben E. erschlagen. 09.06.2010: 32-jährige Taxifahrerin durch mehrere Stiche in den Hals und Durchschneiden der Kehle von dem Russen Andrej Welz getötet. 23.06.2010: Pascal E. († 22) wurde in Hamburg von einem Türken durch einen Messerstich getötet. 22.08.2010: Samuel Fischer († 25) erliegt in Hamburg seinen Verletzungen, die ihm am 13.08.2010 von auf seinen Kopf eintretenden Zigeunern zugefügt wurden. Die wegen Körperverletzung vorbestraften Täter erhielten eine 4 bzw. 5-jährige Haftstrafe! 01.09.2010: Ein 24-Jähriger wurde in Völklingen von einem Schwarzafrikaner mit einer Eisenstange erschlagen. 05.11.2010: Bernhard K. († 47) wurde in Berlin von einem Spanier erstochen. 07.11.2010: Alex M. († 23) wird in Schlüchtern von einer „Internationalen Gruppe“ in den Hals gestochen und verblutet. 11.11.2010: Iris S. wird in Grevenbroich von einem Türken erstochen. 29.11.2010: Andres O. († 34) von dem Türken Mustafa T. erschossen. 29.11.2010: Laura V. († 29) von dem Türken Mustafa T. erschossen. 11.12.2010: Gerd H. († 50) wurde von zwei Russen in Stade getötet. 19.12.2010: Janine F. wurde in Bad Homburg von dem Türken Emir C. mit über 40 Messerstichen getötet. 19.12.2010: Wolfgang K. († 49) wurde in Engelskirchen von einem Libanesen mit einem Spaten erschlagen. 19.12.2010: Ein 19-jähriger Mann wird am Friesenplatz in der Kölner Innenstadt von dem Albaner Besmir G. alias Viorel T. mit einem Messerstich ins Herz getötet. 30.12.2010: Studentin Joanna S. († 22) wird in Hannover von einem Brasilianer erstochen. 17.01.2011: Berthold Franzmann (57) wird von seinem Autohändler Mustafa B. zu Boden geschlagen, mit einem Elektrokabel erdrosselt und an der A46 verscharrt, weil er sich nicht von ihm beklauen lassen wollte. 24.01.2011: Martina Kreutzer († 23) wird in Krefeld von dem Türken Sinan E.(21) mit 20 Messerstichen getötet. 29.01.2011: Tim Kreutzmann († 20) wird auf einer Abi-Feier in Soest von dem Türken Kayan B. mit einem Messer getötet. 28.02.2011: Klaus Johannsen († 58) wird in seiner Berliner Wohnung von dem mehrfach vorbestraften Kosovaren Xhevdet M. (37). erwürgt. 13.04.2011: Bernd Vogel († 53) wird in Chemnitz von dem Tunesier Christopher T. (20) mit einem Baseballschläger erschlagen. 23.04.2011: Lotto-Laden-Inhaberin Frieda H. († 76) wird in Nürnberg von den Algeriern Rachid C. (30) und dessen Bruder Sid Ali (16) wegen 100 Stangen und 377 Einzelpackungen Zigaretten in ihrer Wohnung überfallen und erwürgt. 01.05.2011: Patrick D. († 29) wird von dem wegen Körperverletzung und Drogendelikten vorbestraften Türken Hassan Y. (31) mit fünf Messerstichen getötet. 01.06.2011: Der Familienvater Michael A. († 27) wird von Bülent S. (34) erstochen. 24.06.2011: In Reuth wird ein Deutscher († 67) von dem Tschechen Viktor Gidion ermordet. 01.07.2011: Der Türke Serdar G. (32) ermordet seine getrennt lebende deutsche Ehefrau († 51) mit sechs Messerstichen in Andernach-Miesenheim. 06.07.2011: Harry T. († 89) wird von Italiener niedergestochen. 18.08.2011: Bianca S. († 37) aus Arnsberg wird von dem Kosovaren Rachard S. (40) erschlagen. 18.09.2011: Matthias B. (22) wird in Osnabrück von drei Ausländern verheimlichter Herkunft als „Kartoffel“ beschimpft, zusammengeschlagen und dann durch einen Quelle: https://vk.com/id428234303?z=photo428234303_456258672%2Falbum428234303_00%2Frev

0 notes

samanthasroberts · 6 years

Text

6 Bands That Totally Reinvented Themselves To Get Famous

For many people, musical genres are personality-defining lines that can never be crossed. For instance, cool people listen to thrash metal, but anyone who listens to speed metal has their former dungeon master’s head in a freezer. Sometimes it gets complicated, like how emo music is for crying into your diary, while gothic rock is for crying into your cupcake.

However, many genre-defining artists started out playing the exact kind of music their fans are required by social law to loathe. For example …

#6. Kid Rock Was A Hilarious ’90s Rapper

In the popular consciousness, there have already been two versions of Kid Rock. There is the current Kid Rock, who sings country-rock anthems, and there’s the more popular rap-rock/nu-metal Kid Rock of the late ’90s. He has a personality easily summed up by reminding you he’s a man from Michigan who loves the Confederate flag.

“And if black people don’t like it, they can continue to have very little interest in my music!”

The Artist He Was Before That:

We really should just stop the article here.

In the late ’80s and early ’90s, Kid Rock was the funkiest, flyest rapper all the way to the extreme. Admittedly, it was an awkward time for everyone, but Kid Rock’s head looked like a racist Halloween costume. He looked like a Disney film about two boys swapping bodies after a magic basketball bounced into a magic chess tournament.

In Hell, this album art is downloaded for every song in your iTunes.

But Kid Rock’s early stuff wasn’t some trashy chimera of country, rock, and hip-hop. He was trying for the real deal, with songs like “Wax The Booty,” a description of an erotic encounter that seems like it was written by a virgin and performed by an aging sea captain selling breakfast cereal.

Using the term “puddy” for female genitals? Definitely a virgin.

With little to no encouragement, Kid Rock continued to make rap songs like this for seven years. His musical career was already a decade old when he released his breakthrough hit “Bawitdaba,” which was accidentally written when he tried to spell “badminton instructor” on a job application. That song and album blew up, and Kid Rock’s incredible flat top was never seen again.

If it seems like Kid Rock was adopting culture that wasn’t his, it’s because he was. He wasn’t learning how to rhyme on the tough-rhyming Detroit streets like Eminem. Kid Rock grew up in a beautiful suburb in a nice house. So this guy ..

… and this guy …

… all come from the same upper-middle-class childhood spent in one of Michigan’s loveliest homes. His childhood job of selling apples from his father’s orchard sounds like a scene from a Norman Rockwell painting. So he’s gone from rich suburbanite to street rapper to hillbilly rapper to just regular hillbilly. At this rate, Kid Rock should be performing as a Syrian refugee as early as next year.

#5. Radiohead Were A Cheesy Top 40 Band

Radiohead helped define the term “alternative rock” by continually pushing the boundaries of popular music and being forever played by lonely men with acoustic guitars on open mic nights in coffee shops around the globe.

Just because they dismissed “Creep” as juvenile and stupid decades ago doesn’t mean the rest of the universe has to.

They are known for their creative risks and their ability to redefine themselves, even after decades. Albums like OK Computer helped drive mid-’90s music away from traditional pop structure, and Rolling Stone named Radiohead’s Kid A the best album of the 2000s. It should tell you something about Radiohead’s talent and influence when here, in an article making fun of artists trying to redefine themselves, we are praising their ability to redefine themselves. Frontman Thom Yorke even has the courage to spell the name “Tom” with an H.

The Artists They Were Before That:

Radiohead started with the name On A Friday, which they were forced to change immediately after being signed by EMI, presumably because on a scale of band names from Hoobastank to Sex Pistols, On A Friday rates a firm Toad The Wet Sprocket.

“We’re On A Friday, because my mum only allows us to use the garage on Fridays while she’s at the gym!”

It wasn’t only their shitty name, though. Their early music was the exact opposite of “alternative.” It was generic Britpop that sounded like a sloppy karaoke version of U2.

They presumably wrote “How To Disappear Completely” after being reminded that they made this.

Instead of a calculated effort to evolve, On A Friday was locked in a desperate struggle to sound exactly like everyone else. And the transition from “dumb high school band that thinks it’s clever” to “genius new artist” wasn’t an immediate one, either — the band’s first album as Radiohead was titled Pablo Honey, which is the name of a goddamn Jerky Boys bit.

#4. The Songwriter Behind Taylor Swift And Katy Perry Started In A Ridiculous Hair Metal Band

You may not remember how you know Max Martin’s name, but he’s the man behind dozens of the most overplayed pop songs from the past 25 years. He was responsible for Katy Perry’s “I Kissed A Girl,” Britney Spears’ “Baby One More Time,” and Taylor Swift’s “Bad Blood.” In fact, that last one was his 20th No. 1 single, meaning — except for Paul McCartney and John Lennon — Martin has more No. 1 singles than anyone who has ever lived.

On top of his three Billy Ray Cyrus lookalike contest trophies.

The Artist He Was Before That:

Before Martin was a hitmaking superproducer, he was a high school dropout named Martin White, which, confusingly, also wasn’t his real name. Karl “Max (Martin White) Martin” Sandberg started a group in the late ’80s called It’s Alive. It’s Alive combined glam metal with grunge in a way that provoked one of two reactions from everyone who ever heard them: “This sucks,” or, “Who?”

“We want the most adorable album cover of all time.”

Somehow, It’s Alive managed to record two whole albums, and their sophomore effort, 1993’s Earthquake Visions, sold only 30,000 copies. More people picked up Bret Michaels’ herpes than It’s Alive albums that year. It was apparent the group wasn’t destined for international superstardom, but it did link Martin with producer Denniz Pop (also not that guy’s real name).

Their moms must be wondering why they even bothered to fill out the birth certificate at all.

Pop heroically saw through all the feathered-hair bullshit of It’s Alive enough to notice that Martin had an incredible ear for catchy melodies, so he put Martin in the studio without the rest of his dipshit bandmates. Martin was trained in pelvic thrusts and nothing else, so he spent his first two years in the studio just “trying to learn what the hell was going on.” He definitely got the hang of it, though. From every one of Taylor Swift’s No. 1 hits to writing every hit single on the Backstreet Boys’ Millennium, Martin knew how to create songs tailor-made to get stuck in millions and millions of heads. So, now you know who to thank for “Blank Space.”

#3. The Go-Go’s Were A Hardcore Punk Band

The Go-Go’s are the most successful all-female group ever, a fact stated definitively on the band’s own website. Their dancey songs about having the beat and going on vacation saturated pop culture in the 1980s, and they’re still used today to detect the number of bachelorette parties inside karaoke bars. If evil scientists found a way to turn liquid cheerleaders into music, it would sound exactly like The Go-Go’s. Now that we mention it, it would sound suspiciously exactly like that.

What are you hiding?

The Artists They Were Before That:

If you clicked the song link above or just have a perfect memory, you may have noticed “We Got The Beat” opens with weirdly pounding drums and staccato guitar sounds. It’s kind of punk rock for a song about clapping and loving to clap, right? That’s because The Go-Go’s actually started as a grimy, fuck-you-in-your-face punk rock band.

The only beat they cared about was beating on any promoters that stiffed them.

The group started in the L.A. punk scene of the late ’70s alongside other seminal punk acts like The Motels and The Germs.

“What makes you think you can just come into The Bronx Upside Downsies turf, Warriors?”

In fact, The Go-Go’s lead singer, Belinda Carlisle, actually started out as the drummer for The Germs. She called herself Dottie Danger while with the group, but ditched The Germs after catching mono, because Belinda apparently doesn’t appreciate willful strokes of cosmic irony.

“I feel really sick. The Germs isn’t just a cute name, is it?”

That’s Belinda wearing the bloody swastika, making the exact face she would make if she saw her future self walk into the club.

“Ahoy, fellow Nazis! Fuck the establishment, right?”

#2. Kraftwerk Were A Terrible Jam Band

Kraftwerk are the godfathers of electronic music. They were the first popular band to utilize nothing but electronic instruments to create songs full of driving, repetitive bleeps, like a Nintendo game you can dance to. Basically, they’re the nerds who made robot sounds into a legitimate musical genre.

When not attempting to exterminate all of humanity, Skynet loves to get funky funky fresh.

The Artists They Were Before That:

Before they switched their sound to C-3PO translating funk for R2-D2, Kraftwerk were a psychedelic jam band. You really, really couldn’t dance to it. It was like a pile of sound an art major would make to start a conversation about what music, like, is, man. It was a sonic port-o-john of flutes, guitars, and random sound effects, with all the focus of a frightened cat scrambling over a piano. Even libraries in the early ’70s categorized it under “Bullshit, Hippie.”

“Oh yeah? Well, your grandpappy’s hippie bullshit didn’t have a traffic-cone solo!”

Founding members Ralf Hutter and Florian Schneider were initially interested in creating free-form experimental rock, and that’s what they did, clonking and flooping for several years. Kraftwerk’s music seemed designed specifically for LSD trips and advanced LSD trips, until 1974, when they released Autobahn and defined the electronica genre of robomusic. Apparently, even robots have to go through an angsty phase before they come into their own.

Even the guys in Phish wanted them to get to the fucking point already.

#1. Ministry Started Out As A Synth-Pop Knockoff Of The Cure

Since the mid-’80s, Chicago-based Ministry have been helping angry teens demonstrate their misunderstoodedness, with aggressive heavy metal far too noisy for their parents. Their scrotum-kicking sound includes albums like The Land Of Rape And Honey, which is both an awful pun and a terrible sentiment, and From Beer To Eternity, which is only an awful pun.

They clearly didn’t have time for anything more.

Ministry helped elevate its downtrodden fans with powerful lyrics, letting them know that someone out there understood what it was like to have no one understand you. For instance, here is a selection from their song “Filth Pig”:

Filth pig, filth pig He sleeps with both eyes open Filth pig, filth pig He sleeps all right because he’s a Filth pig

It’s not clear if this was translated into Pig and then back to English, or if this is the first song pieced together from the dying words of stroke victims. The point is, the music of Ministry is better suited for random ax slaughter than slow-dancing.

The Artists They Were Before That:

Ministry started off the 1980s as a new-wave synth-pop outfit. And we don’t mean a little bit ’80s, like every other band at the time. They looked like a Broadway musical about the ’80s.

“Filth pig’s sleeping or something. Psh. Whatever.”

In 1983, Ministry released their first album, With Sympathy, and it was like a greatest hits compilation of every song Joy Division decided was too shitty to record. To put it another way, it’s exactly the soundtrack you hear in your head when you quote Nietzsche to some clueless sheep — dark synth-pop about impotent despair. And lead singer Al Jourgensen performed the entire album with a fake British accent. It’s the official soundtrack for avoiding gym class because it makes your mascara run. A conformist like you just wouldn’t get it, man.

CSI: Gothika

After the band went more industrial and metal, Jourgensen claimed he was pressured by management into making With Sympathy into the fussy wusspop it was, and he seemed determined to keep it out of print. He even claimed to have destroyed the master copies, yet the album was eventually reissued in 2012. It definitely doesn’t have much in common with their modern sound, but Ministry music from any era is always the perfect way to tell a hitchhiker this is the last van ride they’ll ever take.

Source: http://allofbeer.com/6-bands-that-totally-reinvented-themselves-to-get-famous/

from All of Beer https://allofbeer.wordpress.com/2018/02/17/6-bands-that-totally-reinvented-themselves-to-get-famous/

0 notes

adambstingus · 6 years

Text

6 Bands That Totally Reinvented Themselves To Get Famous

However, many genre-defining artists started out playing the exact kind of music their fans are required by social law to loathe. For example …

#6. Kid Rock Was A Hilarious ’90s Rapper

“And if black people don’t like it, they can continue to have very little interest in my music!”

The Artist He Was Before That:

We really should just stop the article here.

In Hell, this album art is downloaded for every song in your iTunes.

Using the term “puddy” for female genitals? Definitely a virgin.

… and this guy …

#5. Radiohead Were A Cheesy Top 40 Band

Just because they dismissed “Creep” as juvenile and stupid decades ago doesn’t mean the rest of the universe has to.

The Artists They Were Before That:

“We’re On A Friday, because my mum only allows us to use the garage on Fridays while she’s at the gym!”

It wasn’t only their shitty name, though. Their early music was the exact opposite of “alternative.” It was generic Britpop that sounded like a sloppy karaoke version of U2.

They presumably wrote “How To Disappear Completely” after being reminded that they made this.

#4. The Songwriter Behind Taylor Swift And Katy Perry Started In A Ridiculous Hair Metal Band

On top of his three Billy Ray Cyrus lookalike contest trophies.

The Artist He Was Before That:

“We want the most adorable album cover of all time.”

Their moms must be wondering why they even bothered to fill out the birth certificate at all.

#3. The Go-Go’s Were A Hardcore Punk Band

What are you hiding?

The Artists They Were Before That:

The only beat they cared about was beating on any promoters that stiffed them.

The group started in the L.A. punk scene of the late ’70s alongside other seminal punk acts like The Motels and The Germs.

“What makes you think you can just come into The Bronx Upside Downsies turf, Warriors?”

“I feel really sick. The Germs isn’t just a cute name, is it?”

That’s Belinda wearing the bloody swastika, making the exact face she would make if she saw her future self walk into the club.

“Ahoy, fellow Nazis! Fuck the establishment, right?”

#2. Kraftwerk Were A Terrible Jam Band

When not attempting to exterminate all of humanity, Skynet loves to get funky funky fresh.

The Artists They Were Before That:

“Oh yeah? Well, your grandpappy’s hippie bullshit didn’t have a traffic-cone solo!”

Even the guys in Phish wanted them to get to the fucking point already.

#1. Ministry Started Out As A Synth-Pop Knockoff Of The Cure

They clearly didn’t have time for anything more.

Filth pig, filth pig He sleeps with both eyes open Filth pig, filth pig He sleeps all right because he’s a Filth pig

The Artists They Were Before That:

Ministry started off the 1980s as a new-wave synth-pop outfit. And we don’t mean a little bit ’80s, like every other band at the time. They looked like a Broadway musical about the ’80s.

“Filth pig’s sleeping or something. Psh. Whatever.”

CSI: Gothika

from All Of Beer http://allofbeer.com/6-bands-that-totally-reinvented-themselves-to-get-famous/ from All of Beer https://allofbeercom.tumblr.com/post/170991824677

0 notes

jimdsmith34 · 6 years

Text

6 Bands That Totally Reinvented Themselves To Get Famous

However, many genre-defining artists started out playing the exact kind of music their fans are required by social law to loathe. For example …

#6. Kid Rock Was A Hilarious ’90s Rapper

“And if black people don’t like it, they can continue to have very little interest in my music!”

The Artist He Was Before That:

We really should just stop the article here.

In Hell, this album art is downloaded for every song in your iTunes.

Using the term “puddy” for female genitals? Definitely a virgin.

… and this guy …

#5. Radiohead Were A Cheesy Top 40 Band

Just because they dismissed “Creep” as juvenile and stupid decades ago doesn’t mean the rest of the universe has to.

The Artists They Were Before That:

“We’re On A Friday, because my mum only allows us to use the garage on Fridays while she’s at the gym!”

It wasn’t only their shitty name, though. Their early music was the exact opposite of “alternative.” It was generic Britpop that sounded like a sloppy karaoke version of U2.

They presumably wrote “How To Disappear Completely” after being reminded that they made this.

#4. The Songwriter Behind Taylor Swift And Katy Perry Started In A Ridiculous Hair Metal Band

On top of his three Billy Ray Cyrus lookalike contest trophies.

The Artist He Was Before That:

“We want the most adorable album cover of all time.”

Their moms must be wondering why they even bothered to fill out the birth certificate at all.

#3. The Go-Go’s Were A Hardcore Punk Band

What are you hiding?

The Artists They Were Before That:

The only beat they cared about was beating on any promoters that stiffed them.

The group started in the L.A. punk scene of the late ’70s alongside other seminal punk acts like The Motels and The Germs.

“What makes you think you can just come into The Bronx Upside Downsies turf, Warriors?”

“I feel really sick. The Germs isn’t just a cute name, is it?”

That’s Belinda wearing the bloody swastika, making the exact face she would make if she saw her future self walk into the club.

“Ahoy, fellow Nazis! Fuck the establishment, right?”

#2. Kraftwerk Were A Terrible Jam Band

When not attempting to exterminate all of humanity, Skynet loves to get funky funky fresh.

The Artists They Were Before That:

“Oh yeah? Well, your grandpappy’s hippie bullshit didn’t have a traffic-cone solo!”

Even the guys in Phish wanted them to get to the fucking point already.

#1. Ministry Started Out As A Synth-Pop Knockoff Of The Cure

They clearly didn’t have time for anything more.

Filth pig, filth pig He sleeps with both eyes open Filth pig, filth pig He sleeps all right because he’s a Filth pig

The Artists They Were Before That:

Ministry started off the 1980s as a new-wave synth-pop outfit. And we don’t mean a little bit ’80s, like every other band at the time. They looked like a Broadway musical about the ’80s.

“Filth pig’s sleeping or something. Psh. Whatever.”

CSI: Gothika

source http://allofbeer.com/6-bands-that-totally-reinvented-themselves-to-get-famous/ from All of Beer http://allofbeer.blogspot.com/2018/02/6-bands-that-totally-reinvented.html

0 notes

allofbeercom · 6 years

Text

6 Bands That Totally Reinvented Themselves To Get Famous

However, many genre-defining artists started out playing the exact kind of music their fans are required by social law to loathe. For example …

#6. Kid Rock Was A Hilarious ’90s Rapper

“And if black people don’t like it, they can continue to have very little interest in my music!”

The Artist He Was Before That:

We really should just stop the article here.

In Hell, this album art is downloaded for every song in your iTunes.

Using the term “puddy” for female genitals? Definitely a virgin.

… and this guy …

#5. Radiohead Were A Cheesy Top 40 Band

Just because they dismissed “Creep” as juvenile and stupid decades ago doesn’t mean the rest of the universe has to.

The Artists They Were Before That:

“We’re On A Friday, because my mum only allows us to use the garage on Fridays while she’s at the gym!”

It wasn’t only their shitty name, though. Their early music was the exact opposite of “alternative.” It was generic Britpop that sounded like a sloppy karaoke version of U2.

They presumably wrote “How To Disappear Completely” after being reminded that they made this.

#4. The Songwriter Behind Taylor Swift And Katy Perry Started In A Ridiculous Hair Metal Band

On top of his three Billy Ray Cyrus lookalike contest trophies.

The Artist He Was Before That:

“We want the most adorable album cover of all time.”

Their moms must be wondering why they even bothered to fill out the birth certificate at all.

#3. The Go-Go’s Were A Hardcore Punk Band

What are you hiding?

The Artists They Were Before That:

The only beat they cared about was beating on any promoters that stiffed them.

The group started in the L.A. punk scene of the late ’70s alongside other seminal punk acts like The Motels and The Germs.

“What makes you think you can just come into The Bronx Upside Downsies turf, Warriors?”

“I feel really sick. The Germs isn’t just a cute name, is it?”

That’s Belinda wearing the bloody swastika, making the exact face she would make if she saw her future self walk into the club.

“Ahoy, fellow Nazis! Fuck the establishment, right?”

#2. Kraftwerk Were A Terrible Jam Band

When not attempting to exterminate all of humanity, Skynet loves to get funky funky fresh.

The Artists They Were Before That:

“Oh yeah? Well, your grandpappy’s hippie bullshit didn’t have a traffic-cone solo!”

Even the guys in Phish wanted them to get to the fucking point already.

#1. Ministry Started Out As A Synth-Pop Knockoff Of The Cure

They clearly didn’t have time for anything more.

Filth pig, filth pig He sleeps with both eyes open Filth pig, filth pig He sleeps all right because he’s a Filth pig

The Artists They Were Before That:

Ministry started off the 1980s as a new-wave synth-pop outfit. And we don’t mean a little bit ’80s, like every other band at the time. They looked like a Broadway musical about the ’80s.

“Filth pig’s sleeping or something. Psh. Whatever.”

CSI: Gothika

from All Of Beer http://allofbeer.com/6-bands-that-totally-reinvented-themselves-to-get-famous/

0 notes