#Initiative Musik

[bauerntanz]

Keine Förderung?

Keine Förderung

Noch im letzten Jahr freute sich Daniela De Ridder: “Ein Grund zu feiern” postete die SPD-Bundestagsabgeordnete sogar schon einen Tag vor der offiziellen Bekanntgabe der durch die Beauftragte der Bundesregierung für Kultur und Medien Claudia Roth, Grüne, seit 2023 geförderten Festivals: 2025 geht das LAUTFEUER Festival aber wohl leer aus. Das schreibt zumindest die in Berlin ansässige Initiative…

[thatswhywelovegermany]

Musik ist ein reines Geschenk und eine Gabe Gottes, sie vertreibt den Teufel, sie macht die Leute fröhlich und man vergißt über sie alle Laster.

Music is a pure gift and a gift from God, it drives away the devil, it makes people happy and through it one forgets all vices.

Martin Luther (1483 – 1546), German monk, professor of theology, and church reformer, initiator of protestantism

[notafraidofredyellowandblue]

Paul's reaction to being played on GDR radio

This quote is from the book "Wir wollen immer artig sein...Punk, New-Wave, Hip-hop und Independent-szene in der DDR von 1980-1990", pages 559 and 565.

The quote is from a chapter that has an interview with Lutz Schramm, presenter of the show 'Parocktikum' that was broadcast by the official GDR radio station, initially as part of the youth-program 'DT 64'. For more information on Parocktikum see wiki (de) and the website of Lutz Schramm at parocktikum.de which also contains a wiki to people and places from the era.

Interesting tidbit on the page for Flake which a.o. mentions the many collabs that Flake did like "Flake & Piet (mit ... Piet? Mancherorts wird behauptet, auch "Piet" wäre Paul Landers)" translated "Flake & Piet (with ... Piet? In some places it is claimed that "Piet" is also Paul Landers)". And announced recently was that on 7 feb 2025 Flake and Piet's release will be re-released 🌺 but back to the quote.. 😊

Lutz Schramm is asked which music he played (what he liked himself), if he was hindered a lot by officials (not very much, although he took care not to play too political songs like 'Anti-Armia' by 'Die Frirma'), how people and fans sent him cassettetapes to play (because there wasn't much else for bands to distribute their music), and what the artists in the 'scene' thought about being played on state radio.

Hat es denn Fälle von Distanzierungen von seiten der Szene zu deiner Sendung 'Parocktikum' gegeben?

Schramm: "Ja, zum Beispiel hat mich Paul Landers von Feeling B angerufen und mir mitgeteilt: 'Die Magdalene Keibel Combo hat in deiner Sendung nichts zu suchen, spiel die nicht!'. Ich hab dann am Telefon ein bißchen mit ihm rumdiskuttiert, er meinte: 'Die Leute kommen bei Konzerten zu uns und erzählen, ihr lauft da im Ost-Radio, das ist nicht so toll!' Ich erklärte ihm, ich spiel das, weil mir die Musik gefällt und nicht wegen irgendwelchen politischen Geschichten, aber er erwiderte, letztendlich geht es haptsächlich um die politischen Geschichten. Ich sagte ihm dann: 'Okay, wahrscheinlich hast du recht, dan lassen wir es eben'. Ich hab's dann einmal gespielt und sonst kein Verbot dafür bekommen. Solche Geschichten sind eben vor allem gelaufen, da gab es auch noch einige andere. Verhältnismäßig oft ist es passiert, daß Musiker gesagt oder geschrieben haben: 'Spiel uns nicht, weil das möglicherweise unsere Street-Credibility beschädigt'."

Um sich selbst vor staatlichem Zugriff zu schützen oder um ihre Fans nicht zu enttäuschen?

Schramm:"Eher das."

translated

Have there been any cases of distancing from the scene towards your show 'Parocktikum'?

Schramm: "Yes, for example, Paul Landers from Feeling B called me and told me: 'The Magdalene Keibel Combo has no place in your show, don't play it!'. I then argued a bit with him on the phone, he said : 'People come to us at concerts and say you're on East radio, that's not that great!' I explained to him that I was playing it because I liked the music and not because of any politics, but he replied that in the end it is mainly about politics. I then told him: 'Okay, you're probably right, so we'll leave it at this '. I played it once and didn't get bother for it. Stories like that happened, and there were quite a few others. What happened relatively a lot was musicians said or wrote: 'Don't play us, because of that possibly damages our Street credibility'."

To protect themselves from government access or not to disappoint your fans?

Schramm: "More the latter."

Lutz is also asked if all GDR bands were originals or just copies of english or american bands

Schramm:"Feeling B ist, glaube ich, das Authentischte, was du finden kannst, weil die auch nicht Musik im eigentlichen Sinne gemacht haben, die haben eben irgendwie nur irgendwas gemacht, das war so: plopp!

translated

Schramm: "Feeling B is, I think, the most authentic thing you can find, because they didn't make music in the actual sense, they just somehow did something, it was like: plop!

🌺

more quotes by or about Rammstein or related topics

[seeyal8r]

L8rboy (often stylized as L8RBOY!) made their debut on March 21st, 2017 under Hidden Entertainment with members Hana, Heather, Poupette, Mae, and Lo. Their debut single, See ya!, didn't receive the warm welcome they had hoped for. The debut was met with a wave of criticism from netizens for various reasons, including the fact that one of the members, Hana, was the daughter of the company's CEO. Hana was also criticized for her perceived lack of professionalism and inadequate preparation, particularly her subpar rap skills. Additionally, the group faced backlash because their leader, Mae, was not of Asian descent.

Although the girls started the promotion of their single with high spirits, their enthusiasm waned over time, leading to the cancellation of some of their final scheduled interviews. After several months of absence from social media, the group came back with their first mini-album, SHOUT OUT, featuring the single ICY. The same day of its release, #TheyKeepTalkinIKeepWalkin became trending topic on Twitter. This particular line resonated with the girls and fans alike, as it directly addressed the unjust hate the group had received during their debut. The hashtag quickly gained traction, symbolizing the group's resilience and determination to succeed despite the criticism they had faced.

With the initial controversy having died down, SHOUT OUT was warmly received by the few fans they had garnered during their debut as well as attracted new ones, allowing them to stabling a modest but dedicated mostly local fanbase.

After two years and three comebacks, L8RBOY silently disbanded following the release of their mini album STRAWBERRIES & CREAM, with CAKE being the last title track released under Hidden Entertainment. The disbandment was never officially announced, but it became evident as the members remained inactive for nearly a year. This period of silence ended with the announcement that INFERNO MUSIK had acquired L8RBOY's contract.

INFERNO MUSIK rebranded the group, shifting their image from a cute concept to a more mature, girl crush aesthetic. The lineup also saw changes, with members Lo and Hana staying behind at Hidden Entertainment and being replaced by two trainees from INFERNO: Achara and Silv, the latter of whom gained fame from her participation in the survival show The Bird Box, hosted by INFERNO.

L8RBOY re-debuted on 2020 with the mini album Killing Your Darlings, and its title track LOVES!CK GIRLS broke into the music charts, marking a turning point for the group. For the first time, L8RBOY was experiencing the success they had longed for, and their future seemed brighter than ever. Over the next two years, they solidified their place in the industry, enjoying a level of popularity they had previously only dreamed of.

However, in 2023, they came back with their first full album with only four members. Mae was noticeably absent from the promotions, and no official explanation was provided. Mae has not promoted with the group since then, leaving fans uncertain about her future with L8RBOY.

Despite a rocky start in the industry, L8RBOY has emerged as one of the most iconic and influential girl groups of their generation. Their journey from a troubled debut to chart-topping success is a testament to their resilience and talent, securing their place in the records of K-pop history.

THE BASICS

COMPANY: former Hidden Entertainment, current INFERNO MUSIK

OFFICIAL COLOR: strawberry red

FANDOM: lovebirds

GREETING: you should’ve seen it coming! Hello, we’re L8RBOY!

PAST MEMBERS: Hana & Lo

ACTIVE MEMBERS: Heather, Achara, Poupette & Silv

INACTIVE MEMBERS: Mae

GET TO KNOW THE MEMBERS! ★

★﹐୨🍓୧﹒ BORN TO BE A BRODWAY STAR, FORCED TO BE MISTREATED IN THE KPOP INDUSTRY ﹒ ₊˚﹒

THE BASICS

STAGE NAME: Heather

BIRTH NAME: Heather Lee

KOREAN NAME: Lee Hayun

BIRTHDAY: September 5th, 2000

BIRTHPLACE: Chicago, USA

HOMETOWN: Chicago, Illinois

ETHNICITY: Dutch-Korean

NATIONALITY: American

THE CAREER

PROFESSION: idol

COMPANY: former Hidden Entertainment, current INFERNO MUSIK

GROUP: L8RBOY!

POSITION: lead vocalist, lead dancer, face of the group, maknae

YEARS ACTIVE: 2017-2019, 2020-present

YEARS TRAINED: 4 years

THE CLAIMS

FACECLAIM: Jeon Somi

VOICECLAIM: DeVita & Eva Noblezada

THE BACKSTORY

Heather Lee was born in Chicago to a loving family as their only child. Her parents had struggled for years with infertility, finally giving up hope of ever having a child. Then, by a stroke of luck, her mother became pregnant with Heather, and they felt it was nothing short of a miracle. From that moment, Heather became the light of their lives, and they devoted themselves to providing her with the best life they could.

From an early age, Heather showed a keen interest in theater, especially musicals. She eagerly joined every theater group that got on her way, taking on roles such as Karen Smith in Mean Girls and Fiona in Shrek. During her teenage years, she tirelessly auditioned for various Broadway musicals, yet each time, she faced rejection. Despite her mounting desperation and growing sense of defeat, she never gave up on her dream.

The one day a member of Hidden Entertainment’s staff saw her perform as Cinderella in her high school’s production of Into the Woods. Impressed by her talent, he offered her a trainee position at the company. Heather seized the opportunity without hesitation, believing that if Broadway wasn’t her destiny, perhaps the K-pop industry was where she truly belonged.

After a relatively short training period, Heather debuted as the lead vocalist of L8RBOY. Her genuine personality and astonishing vocals quickly made her the second most popular member of the group. Following the silent disbandment of L8RBOY and the subsequent acquisition of the group’s contract by INFERNO MUSIK, Heather was the first to sign on among the three members who survived the lineup changes.

In the group's re-debut under INFERNO, Heather kept her position and saw her career flourish. She eventually became the face of L8RBOY. Her solo success also led to her debut as a solo artist and landed her a summer contract to play Eurydice in the Broadway musical Hadestown.

★﹐୨🍓୧﹒ THE SWEETEST GIRL IN TOWN! SHE HAS DONE NOTHING WRONG IN HER WHOLE LIFE﹒ ₊˚﹒

THE BASICS

STAGE NAME: Achara

BIRTH NAME: Achara ‘Tara’ Rhitthirong

BIRTHDAY: October 21st, 1998

BIRTHPLACE: Ayutthaya, Thailand

HOMETOWN: Bangkok, Thailand

ETHNICITY: Thai

NATIONALITY: Thai

THE CAREER

PROFESSION: idol, coreographer

COMPANY: former YG Entertainment, current INFERNO MUSIK

GROUP: Blackpink L8RBOY!

POSITION: main dancer, main rapper, center

YEARS ACTIVE: 2020-present

YEARS TRAINED: 6 years (3 years at YG, 3 at INFERNO)

THE CLAIMS

FACECLAIM: Nicha Yontararak ‘Minnie’

VOICECLAIM: LE

THE BACKSTORY

Achara ‘Tara’ Rhitthirong was born in Ayutthaya, where she spent her early years. As the youngest of six children, she didn’t receive much attention from her parents during her childhood. Initially puzzled by their lack of time for her, young Tara eventually came to terms with being invisible, even finding a certain comfort in it. Her siblings didn’t receive much attention either, so Tara found solace in her own pursuits. She spent the time that most kids would spend with their families in dance classes, a passion she discovered after attending one of her older sister’s ballet recitals.

Although she danced purely for enjoyment without any professional aspirations, her instructors saw her potential and encouraged her to compete at a national level. She performed exceptionally well, securing several national titles. It was at one of these competitions that she caught the eye of YG Entertainment, who offered her a trainee position and a fully covered move to South Korea. One benefit of having inattentive parents is that they don’t seem to mind you moving alone to a completely different country at the age of 13.

Tara trained at YG for three years and was even considered for debut in BLACKPINK. However, she was ultimately replaced in the lineup by Lisa. Disheartened but determined, Tara stayed with YG for a few more months before her contract was acquired by INFERNO MUSIK.

After an additional three years of rigorous training, she debuted as Achara in L8RBOY. She quickly earned a reputation as one of the best dancers in the industry, praised for her professionalism and passion. Tara is also well known for her easygoing, bubbly personality.

★﹐୨🍓୧﹒ SHE WORKED HER ASS OFF TO BE HERE. WAS IT WORTH IT? ﹒ ₊˚﹒

THE BASICS

STAGE NAME: Mae

BIRTH NAME: Daisy-Mae Pérez

BIRTHDAY: June 11th, 2000

BIRTHPLACE: New Jersey, New York, USA

HOMETOWN: New Jersey, New York, USA

ETHNICITY: Hispanic

NATIONALITY: American

THE CAREER

PROFESSION: idol

COMPANY: former Hiddent Entertainment, current INFERNO MUSIK

GROUP: L8RBOY!

POSITION: lead rapper, lead dancer, vocalist

YEARS ACTIVE: 2017-2019, 2020-present

YEARS TRAINED: 5 years

THE CLAIMS

FACECLAIM: Bebe Wood

VOICECLAIM: Jennie Kim

THE BACKSTORY

Daisy-Mae Pérez was born into a modest family in New Jersey. From a young age, she showed a profound interest in the performing arts. She spent her days dancing around the house, singing in the church choir, or rehearsing for her school plays. Her parents, despite their limited financial resources, were captivated by their daughter’s passion and talent. They did everything they could to support her dream, even postponing their divorce to ensure their limited funds went toward Daisy-Mae rather than legal fees.

They enrolled Daisy-Mae in dance classes, the most they could afford. It was there that she was introduced to K-pop by a friend. From that moment, debuting in the Korean industry became her ultimate goal, and she dedicated herself entirely to achieving it. She spent every moment outside of school practicing and honing her skills.

A few years later, Daisy-Mae passed the international auditions for Hidden Entertainment. After an emotional farewell with her parents, she boarded a plane to Seoul and began her training. Her hardworking and determined nature quickly set her apart, making her the top trainee of her cohort and earning her a debut spot with L8RBOY.

Being chosen as the group’s leader was the culmination of all her efforts, and for some time, Daisy-Mae was incredibly happy. She felt fulfilled and extremely fortunate for the opportunities life had given her. However, things took a turn for the worse when INFERNO acquired L8RBOY's contract. Despite surviving the lineup changes, Daisy-Mae lost her position as leader. She was heartbroken and couldn’t understand the reason why, but she continued to persevere, driven by her dedication and the support of her fans.

However, something must have happened behind the scenes, as one day, Daisy-Mae was placed on an indefinite hiatus, and nothing more was heard from her.

★﹐୨🍓୧﹒ EVERYONE KNOWS HER, BUT DOES EVERYONE LOVE HER? ﹒ ₊˚﹒

THE BASICS

STAGE NAME: Poupette

BIRTH NAME: Zhao Jiayi

FRENCH NAME: Juliette Zhao

BIRTHDAY: July 30th, 1999

BIRTHPLACE: Shenzhen, China

HOMETOWN: Marseille, France

ETHNICITY: Chinese

NATIONALITY: French

THE CAREER

PROFESSION: idol

COMPANY: former Hidden Entertainment, current INFERNO MUSIK

GROUP: L8RBOY!

POSITION: leader, main vocalist, visual

YEARS ACTIVE: 2017-2019, 2020-present

YEARS TRAINED: 5 years

THE CLAIMS

FACECLAIM: Song Yuqi

VOICECLAIM: Jung Wheein

THE BACKSTORY

Juliette Zhao, born Zhao Jiayi, was born in Shenzhen, China. However, she only spent her first year there before her family relocated to Marseille, France, due to her mother's business. Her mother, the owner of a prestigious luxury hotel chain, decided to move to Marseille to personally manage one of her hotels that was underperforming.

Juliette began singing in her school choir, where her exceptional vocal talent quickly stood out. Her teacher urged her mother to enroll her in private lessons, believing Juliette had the potential to build a career in music. Initially, her mother viewed the arts as a frivolous pursuit and not a stable career path. However, after persistent pleading from Jiayi, her mother finally agreed and payed for her lessons.

Continuing with the choir, Juliette also participated in various talent shows throughout her childhood. At the age of 12, she participated in the national contest to select France's representative for Junior Eurovision. Juliette not only won the national contest but also secured victory in the final competition. Following her victory, her mother received numerous offers from both Chinese and Korean music companies.

After considering their options, Jiayi and her mother chose to sign with Hidden Entertainment, whose CEO was an old classmate of her mother. Upon completing her training period, Jiayi debuted in L8RBOY as Poupette, taking on the role of the main vocalist. Despite the initial controversies surrounding the group's debut, Poupette was praised by netizens for her outstanding vocals and doll-like visage. She became the first member to cultivate a substantial solo fanbase.

With L8RBOY’s re-debut under INFERNO, Poupette not only retained her position as main vocalist but also took on the role of leader, a title previously held by Mae.

★﹐୨🍓୧﹒ YOUR TRUSTY COMEDIC RELIEF SIDE CHARACTER, SAD ISN’T IT? ﹒ ₊˚﹒

THE BASICS

STAGE NAME: Silv

BIRTH NAME: Silvia Kang

KOREAN NAME: Kang Siah

BIRTHDAY: February 24th, 1998

BIRTHPLACE: Daegu, South Korea

HOMETOWN: Sevilla, Spain

ETHNICITY: Korean

NATIONALITY: Korean-Spanish

THE CAREER

PROFESSION: idol, songwriter

COMPANY: INFERNO MUSIK

GROUP: BIRDS OF PREY L8RBOY!

POSITION: vocalist, ocassional rapper

SURVIVAL SHOWS: The Bird Box (ranked 5th)

YEARS ACTIVE: 2020-present

YEARS TRAINED: 6 years

THE CLAIMS

FACECLAIM: Jung Jinsol

VOICECLAIM: Na Goeun

THE BACKSTORY

Silvia Kang, born Kang Siah, came into the world on a winter's day in Seville, Spain. Despite her Korean heritage and annual family trips to Daegu, her parents' hometown, Silvia always felt more Spanish than Korean. Growing up in a city as culturally rich as Sevilla, it was hard not to be influenced by its beauty, vibrant people, and unique customs.

Silvia's first encounter with the world of music began when her mother enrolled her in the conservatory to learn to play Spanish guitar. Initially, she saw it as a chore that took away time from playing with her school friends. However, Silvia soon fell in love with music. She began singing at the conservatory, and although she wasn’t the most outstanding vocalist, she enjoyed it immensely. She began performing mini-concerts at home for her parents and family friends.

By the age of 12, Silvia had written five songs, which she recorded with her guitar and uploaded to YouTube. It was through these videos that she was discovered by INFERNO MUSIK, who offered her a spot on their renowned international survival show, The Bird Box. Although Silvia was initially hesitant to accept the offer, knowing little about K-pop or its industry, her mother was thrilled that such a prestigious company like INFERNO had shown interest in her daughter. She convinced Silvia to participate, promising it would be a truly unforgettable once-in-a-lifetime experience.

Silvia's time on The Bird Box was nothing short of remarkable. She managed to avoid elimination in every challenge until the final, where she was ultimately cut from debuting and finished in fifth place. Despite the glamour, not everything was as fantastic as it seemed. Silvia’s mother was right in saying it would be unforgettable, as whatever happened behind the scenes has led Silvia to never speak about her participation in The Bird Box.

After the show concluded, INFERNO offered Silvia a trainee contract with the promise of debuting within a few years. Following much internal debate, she decided to accept and give the K-pop industry a second chance. INFERNO kept its promise, and Silvia debuted as Silv with L8RBOY. Silv writes most of the group’s songs. Her talent extends beyond her group, as she frequently appears in the credits for songs by other top groups in the industry.

formatting insp. by the lovely myah! @venusvity

[schreibschuppen]

„Da die Kaiserin Euch endlich aus dem Rampenlicht entlassen hat - darf ich Euch um diesen Tanz bitten?“

Dorians Stimme war warm, und als er sich zu ihm herum drehte, war sein Gesicht in weiches Mondlicht getaucht.

„Ich hatte gehofft, dass Ihr das fragt.“

“Wie gut, dass wenigstens einer von uns Initiative zeigt.“ Mit seinem üblichen, charmantem Lächeln, in dem nur eine winzige Spur Spott mitschwang, hielt Dorian ihm auffordernd seine Hand hin.

Alexander unterdrückte ein leises Seufzen, bevor er danach griff. Das war nicht der Dorian, auf den er gehofft hatte.

Aber etwas musste ihn verraten haben, denn Dorian musterte ihn gründlich, als er ihn zu sich heranzog. „Alles in Ordnung?“

Aus der offenen Balkontür klang leise die Musik. Dorians Tanzschritte waren elegant und ließen vergessen, dass er mit orlaisianischen Bällen kaum vertraut war.

„Es… war ein langer Abend.“

„Sagt bloß, Ihr erschlagt nicht jeden Abend im Anzug größenwahnsinnige Gräfinnen.“ Dorians Augen glitzerten.

An jedem anderen Abend hätte er sich mit Vergnügen auf das Geplänkel eingelassen, aber nicht heute. „Wenn es nur das wäre.“

Einen Moment lang herrschte Stille zwischen ihnen, dann blieb Dorian stehen. „Alexander.“ Mit einer Hand fuhr er sanft durch seine Haare, und jetzt stand echte Besorgnis in seinen Augen. Und obwohl er sich genau diese Aufmerksamkeit gewünscht hatte, wurde ihm unter dem fragenden Blick warm.

“Ich würde lieber drei Gräfinnen erschlagen, statt auch nur einen Fuß zurück in diese Schlangengrube zu setzen.” bekannte er mit einem schiefen Lächeln. “Ich  weiß nicht, wo sie ihre Messer haben, und es… es ist so unfassbar ermüdend.” Das beschrieb nicht einmal annähernd die Leere, die sich in ihm breit gemacht hatte, das unbändige Verlangen, sich in einer Ecke zusammen zu rollen und sich eine Decke über den Kopf zu ziehen. Und wie er gleichzeitig die nächste Maske, die ihn schief ansah, zu einem Klumpen Blech verformen wollte.

Und wie albern er sich dabei fühlte, das vor Dorian zuzugeben, dem Mann, der mit jeder Person um ihn herum mehr aufzublühen schien.

Dorians Finger waren warm, als er zwei Finger unter sein Kinn legte. Einen Moment lang sah er aus, als wolle er etwas sagen, aber dann küsste er ihn. Zart und leicht und so flüchtig, dass Alexander unwillkürlich einen Schritt auf ihn zu machte, als er sich von ihm löste.“Ihr müsst auf andere Gedanken kommen.” Seine Hand fand seine  Hüfte, und im nächsten Moment tanzten sie wieder. Die Musikanten im Ballsaal spielten jetzt ein langsames Stück. Das Licht der Laternen, die im Garten unter ihnen entzündet worden waren, spiegelte sich in Dorians Augen. “Für den Rest des Abends gehört Ihr mir, Lord Inquisitor.” Aber sein Lächeln war warm, frei von Spott. “Und wer weiß, vielleicht schmuggel ich Euch direkt unter ihren feinen Nasen hier raus”

[star-trek-pop-quiz]

Star Trek POP-QUIZ #39

( 14 / 07 / 2024 )

Question 1. In which Avatar: The Last Airbender episodes does René Auberjonois not make an appearance? a. "The Great Divide" ( S1, E11 ) b. "The Northern Air Temple" ( S1, E17 ) c. "City of Walls and Secrets" ( S2, E14 ) d. "The Day of Black Sun" ( S3, E10-E11 )

Bonus Question: Name one ( or more ) ATLA characters he plays.

Question 2. TRUE OR FALSE Raffi Musiker has a major in Intelligence and a minor in Communications.

Question 3. What was Hikaru Sulu's initial position on the Starship Enterprise? a. Head of Xenobiology. b. Head of Astrosciences. c. Head of Navigation. d. None of the Above. He was always a helmsman.

Question 4. What degree did Beckett Mariner pursue at Starfleet Academy? a. Xeno-History b. Warpcore Engineering c. Astromycology d. Ethnobotany

Question 5. Fill-in Question! What was Riker's rank in his class upon graduation?

Bonus Question: How many Starships has Riker served on?

Score: __/ 5 + 2 bonus ( Answers under cut )

Question 1. c. "City of Walls and Secrets" ( S2, E14 )

+ The Mechanic ( b., d. ) and The Gan Jin Leader ( a. )

Question 2. FALSE. She has a major in Intelligence and a minor in Romulan Relations.

Question 3. b. Head of Astrosciences.

Question 4. a. Xeno-History

Question 5. He was ranked 8th in his graduating class.

+ 6.

[ozkar-krapo]

Max E. KELLER "Sicher sein..." //

Martin SCHWARZENLANDER [Martin FISCHER] "Erst wollt Ihr den Petersbrunnhof, dann Hellbrunn, und schliesslich gar Schloss Mirabell / Unter dem Pflasterstein (noch immer) liegt der Strand"

(split LP. Sozialistische Musiker Initiative. 1977 / rec. 1976-77) [CH/AT]

[experimentik]

Experimentik #78 / 16.Oct.2024 /

Marina Cyrino / Alexander Markvart / Javier Areal Vélez

16. October 2024 / 20:30- (doors 20:00) *no entry during sets

3 x solo

Marina Cyrino - amplified flute, objects

Alexander Markvart  - feedback acoustic guitar, objects

Javier Areal Vélez - laptop

FB event ———————————

Marina Cyrino is a Brazilian flutist and sound artist based in Berlin. She works in the fields of improvisation, composition and performative installations. Her flute playing is characterized by singular techniques developed through the use of internal amplification. The rhythmic use of the flute, the extensive use of objects and balloons attached to the instrument, and the use of disassembled flute parts are other distinctive elements of her playing. She is a member of the Brazilian experimental music label Seminal Records.

photo © Cristina Marx_Photomusix

———————————

Alexander Markvart - is a musician, member of theater projects and organizer of events and festivals. Born on January 5, 1987 in Kemerovo. Now based in Berlin. He is a notable figure on the Russian new improvised and experimental music scenes. Uses in many projects and performances a wide range of musical instruments: as quite common - piano, guitar, accordion, saxophone, trumpet, analog synthesizers, electric drums, flute, laptop, etc., and also various objects, wires, appliances, etc. Stylistically he works in a lot of musical genres from radical free improvisation, EAI, noise, hardcore, to well-structured projects, minimal techno and post-folk.

Founder of such polystylistic musical formations as Studio of Unconscious Music (SUM) and Siberian Improvisation Company (SIC!). Also in different years is a member of another experimental bands and projects - Sacrifices, Verevka, Radical Muzak Septet, MITLO, Klub Demboh, Inorganic Blossoming, PSVSV, Cherubs, Importunate Twins, Sekta Phoenix. Works and plays concerts in various projects with different musicians such as: Axel Dörner, Lucio Capece, Burkhard Beins, Mazen Kerbaj, Joke Lanz, Adam Asnan, Jonas Kocher, Fire! (Mats Gustafsson, Johan Berthling, Andreas Werliin), Ilia Belorukov, Joel Grip, Nick Sudnik, Michel Doneda, Bryan Eubanks and with many others. 

———————————

Javier Areal Vélez (Buenos Aires, 1985) is an experimental music composer, improviser and curator. His recent work focuses on the coding of digital companions for the performance of live improvised music. Javier's electronic music develops around noisy polyrhythms of extra-human complexity to make the most deformed audiences move. He researches human+machine collaborations through the use of samples, synthesis, lights, and mechanical robots. Additionally, Javier has a long career as performer of prepared electric guitar. His characteristic style relies heavily on a primal technique that emphasizes timbre and rhythm over traditional forms, favoring intensity and dynamic contrast. Javier has released records on labels worldwide and has collaborated with artists such as Heiner Goebbels, Audrey Chen, Chris Pitsiokos, Violeta García, Brian Chase, Shayna Dunkelman and Jorge Espinal. He is a member of CALATO, KYSE and VVU and wrote commissions for ensambles Híbridx, Rotativo and Tempi. Over the past decade, Javier has performed extensively in Argentina and toured across South and North America, Europe and Japan. Javier is the founder and director of RUIDO Experimental Music Festival (active since 2017), and he coordinates the Sound Arts Center (CASo) of the Secretary of Culture of Argentina.

photo © Susi Maresca

---------------------------

Experimentik 2024  is supported by inm - initiative neue musik berlin / field notes

[isagrimorie]

Your Conspiracy Spiral post reminded me of the “Stalked Janeway” charge in Raffi’s file and got me wondering how things would’ve been like for her if she had somehow gotten the information to her. There are no specifics on when she approached her but I imagine it was quite early on in her research.

Oh definitely! I think that it would be earlier in Janeway’s career— and especially, if Delta Quadrant is something she’s been assigned to.

Those days Janeway would still be Vice-Admiral so she still has the other Admirals higher than her.

But if Janeway got hold of that data, she would have done something. Even if she dismissed it, initially, once the idea is in her head, curiosity will get the better of Janeway and she’ll end up investigating.

Being an Admiral has its privileges and will open more doors. Raffi wouldn’t have felt so alone so long— honestly, Raffi would fit in the Voyager/Prodigy family so well.

It’s amazing Janeway hadn’t set eyes on Raffi yet. Because if she had she’d look at Raffi, point at her and instantly decide she’s one of Hers.

Raffi Musiker is of Voyager/Prodigy clan!

Janeway would welcome her to the family.

Speaking of Stalking, I was reminded that Seven actually did quite a lot of that back in Voyager. Specifically to poor B’Elenna in the name of educating herself about romance or whatever else she thought would suit Seven’s to learn from her.

Personally, I just think Seven had a crush on B’Elenna that Seven only figured out after. Like, years after!

So… again, I think Seven would be understanding of Raffi in this regard!

[eurovision-revisited]

Eurovision 2004 - Number 1 - MIA. - "Hungriges Herz"

My number one this year are MIA. Those initials stand for a variety of things, although they started out as Me in Affairs before deciding that Musik ist Alles and serveral other names were better. They are group centred around school friends Mieze Katz (Kitty Cat real name Maria Mummert) and Andy Penn aka Andreas Ross. Introduced to their rhythm section by TV host Sarah Kuttner in 1997, the band built an indie/electropunk sound influenced by the New German Wave of the 1980s.

In 2004, they released their second album, had a fair degree of media and record label push and have a solid and growing fan base. They also courted controversy by releasing a song that touched on ideas of German identity and the German flag - tinderbox subjects in Germany and that caused more than debate among their fans.

That brings them to Germany 12 Points! in 2004. This year more than any other, NDR had pushed the boat out. It says something that even with their exceptionally young, Berlin-centric, fashionable fans that they were not favourites or even among the better know names in the competition. They also drew the death-slot in the running order.

Their song is Hungriges Herz (Hungry Heart) and boy is this song thirsty. It's an indie anthem about being desperate for someone who's closed off, calculating, and ice hold. Mieze's longs for something back, but their love interest is set about doing their own thing, holding Mieze in their own, uncomfortable way. Quite what exactly they're doing with their rough angel's tongue is never made exactly clear but they definitely don't want to be hugged back. Just what are they willing to do? How far will they go? In it's own repressed, restrained and confused way, this is extremely steamy.

The guitars idle with their melodic noodles, until Mieze says Du bist eis, which excites them into building up to the chant along chorus. It's designed to get a stadium singing 'wie weit' at the top of their voices. It's compellingly simple, emotionally invested, frustrated horniness in a song. That directness and theme is one rarely explored in Eurovision songs. The fact that it's so reminiscent of 1980s German electronica is only going to make me love it more.

In the televote, MIA. did not make the top four. They didn't get to Eurovision, but this stage definitely boosted their popularity and national awareness. Hungriges Herz became their biggest hit to date. Their career escalated from here. Their 2006 album Circus got to number two in the German charts with several singles also charting highly - up to 2020 they released a total seven albums most of which made the top 10. Most fascinatingly, they represented Berlin in the 2007 edition of Bundesvision - the German version of Eurovision in which German states rather than countries competed.

I love this song and performance - I wish they'd won or at least had another go. It's led me to discover a new band with a whole back catalogue to explore. If only this song didn't finish with a fade out.

Here's the song they took to Bundesvision in 2007 - Zirkus

[tacoma-narrows]

Finally went through my camera photos from my experience at Dorney Park's first ever Winter Chill Out event last weekend!! It was so cool to see the park closed during the off-season and all the rides being broken down for their off-season maintenance!

Recap of a lot of what we saw under the cut!

We got to see a whole bunch of different places including:

Seeing the new trains for Thunderhawk for that ride's 100th anniversary this coming season. They look absolutely fantastic!! I love the colors (first picture)

Got to go into an off-season maintenance building to see a bunch of ride vehicles and stuff including wheel assemblies, cars, vehicles for their newly rethemed set of flying scooters, and it was crazy to see a box with the B&M logo on it lmao (pics 2 thru 5)

We also were shown the thing they use to inspect the tracks of rides like Steel Force, Talon and Hydra! This crazy looking gyroscopic hamster ball on an arm thing that hugs the track of the ride and can be controlled along it for the technicians sitting in the ball to inspect the track (6th pic)

We got to go into a behind the scenes area behind Hydra and Steel Force to get some really cool shots of both (pics 7 and 8). They were also test cycling Steel Force while we were back there, so it was awesome to see it fly through the helix a bunch while we were back there!

It was also just rlly cool to see all the different rides closed down for the winter, with the Wave Swinger, Musik Express and Demon Drop shown here (pics 9 through 11)

And of course we got to see the brand new Iron Menace up close! It may not be the biggest or most dynamic dive coaster ever, but it looks fantastic, both in its own right and in Dorney's skyline! The colors are great and I absolutely cannot wait to see what the whole new Steelyard themed area around it will look like when it's done! (Pic 12)

We also got to take a light on tour of the park's Ghost In The Machine Halloween Haunt attraction! I didn't include any pics of that here, but it's tied in with the story of Iron Menace and was SUPER cool too!

Then lastly we got to go into the electrical room for the park's Intaimin Impulse Coaster, Possessed! (Pics 13 and 14) Just all the electronics and wiring that go into that thing was crazy. Since the ride is launched magnetically, it uses a HUGE amount of power. The guy showing us everything said that when it does the initial launch of 0-70 mph, the ride uses more power in that moment than the entirety of Dorney's attached waterpark COMBINED! And if you know how big Wildwater Kingdom is, that's no small feat lmao

Anyways, that's a sampling of some pics and a general rundown of what I saw at Dorney Park's Winter Chill Out! It was such a cool event and I'm so happy I was able to go! Hopefully Dorney continues to put these on, because I'd love to go to more of them in the future!

[usafphantom2]

12th May 1936. First flight of the Messerschmitt Bf 110 heavy fighter, initially known as the Zerstörer (destroyer). Partly due to serious issues with its intended successor, the Me 210, the Bf 110 remained in use throughout the war. Often unfairly portrayed as a failure, this versatile aircraft was extremely useful to the Luftwaffe.

Used initially as a long-range fighter, the Bf 110 performed well in the early months of the war, but the Battle of Britain exposed its vulnerability to single-engined opponents. Nonetheless, they continued to serve in this capacity successfully for some time in the Mediterranean, North Africa and on the Eastern Front, where there was initially less fighter opposition.

Operational testing of the Bf 110 as a fighter-bomber soon proved in could perform well against ground targets. Its heavy armament of 2x20mm cannon and 4 machine guns was coupled with a useful bombload of up to 1,000kg to make it a highly potent attack and close support aircraft. Bf 110s would serve in this capacity for much of the war. Other aircraft, with reduced armament to allow the fitting of cameras, were used for reconnaissance.

Early Luftwaffe experience against American 4-engined day bombers over Europe showed that there was a need for dedicated bomber destroyers. Bf 110s were fitted with a variety of 20mm, 30mm and even 37mm cannon as well as up to four unguided rockets and could devastate bomber formations. However, the arrival of long-range escort fighters made their missions extremely hazardous.

It is perhaps as a night fighter that the Bf 110 proved most effective. Carrying sophisticated radar and, increasingly, the lethal ‘Schräge Musik’ upward-firing cannon, they would exact a heavy toll against RAF Bomber Command. Many Luftwaffe night fighter pilots claimed a significant number of victories in Bf 110s, among them Heinz-Wolfgang Schnaufer who was credited with 121, a figure which postwar research suggests may be accurate.

Pictured:

1) Bf 110Cs of Zerstörergeschwader 76 ‘Haifisch’ over the English Channel, August 1940.

📷 battleofbritain1940.com

2) Bf 110E fighter/bomber of

ZG 1‘Wespe’. Note the bomb rack under the fuselage, capable of carrying up to 2x500kg weapons; additional underwing racks could be fitted.

3) Bf 110G-2 bomber destroyers fitted with a ventral gun pod for 2 additional 20mm cannon and four underwing rocket tubes, plus drop tanks.

📷 acesflyinghigh.wordpress.com

4) Bf 110G-4 night fighter which made an emergency landing in Switzerland in April 1944. Carrying the latest Lichtenstein radar, it was later destroyed by the Swiss in return for delivery of 12 Bf 109Gs.

📷 ©️IWM HU 108218

[bga-koeln]

Äquidistanz und Naivität als Programm

Palestinians and Jews for Peace bei Arsch Huh

Die Kölner Musiker Initiative Arsch Huh rief für Sonntag, den 03.12.2023, zur „Friedenskundgebung“ am Aachener Weiher auf. Abraham Lehrer, Vizepräsident des Zentralrats der Juden in Deutschland, hatte seine Teilnahme im Vorfeld abgesagt. Seine Absage hat Lehrer u.a. damit begründet, dass im Aufruf zur Kundgebung keine Unterscheidung zwischen den Gräueltaten der Hamas und der Selbstverteidigung Israels in Reaktion darauf getroffen wurde. Hierzu veröffentlichten wir eine gemeinsame Presseerklärung mit der Deutsch-Israelischen Gesellschaft (DIG) AG Köln zur „Friedenskundgebung“.

Die Veranstaltung fand mit etwa 700 Teilnehmenden statt, die Kölner Gruppierung Palestinians and Jews for Peace (PJfP) hielt einen Redebeitrag. Die kürzlich gegründete Gruppe veranstaltete in den vergangenen Wochen zwei „Friedensdemos“ und erhielt große mediale Aufmerksamkeit. Beispielsweise gab der WDR in einem Bericht über die Gruppe die Aussage von einer der Gründer*innen wieder, dass sie als Jüdin dafür angegriffen werde, wenn sie die israelische Politik kritisiere.[1]

Frieden in Nahost, Juden*Jüdinnen und Palästinener*innen, die Seite an Seite stehen – an und für sich mehr als erstrebenswerte Anliegen. Doch sowohl bei der Kundgebung von Arsch Huh als auch beim öffentlichen Auftreten von PJfP ist besonders das, was nicht gesagt wird, aufschlussreich. Die Leerstelle, dass das Massaker vom 7. Oktober das größte Pogrom an Jüdinnen*Juden seit der Shoah war. Die Auslassung, dass es eine Waffenruhe gab, bevor die radikalislamische Hamas sie am 7.10.2023 auf blutigste und barbarische Weise gebrochen hat. Die allenfalls nachrangigen Erwähnungen des schier unvorstellbaren Ausmaßes an sexueller Gewalt und die Verbrechen gegen die Menschlichkeit, die von der Hamas verübt worden waren, die nicht einmal vor Babys halt machte. Dass nur am Rande erwähnt und teilweise relativiert wird, dass die Hamas die ihr unterworfene Bevölkerung in Gaza in den darauffolgenden absehbaren militärischen Reaktionen Israels und bekannterweise auch schon in zahlreichen vorherigen Auseinandersetzungen als menschliche Schutzschilde missbraucht. All das spricht für sich. Das Ziel der Hamas ist die Umsetzung der in ihrer Charta festgeschriebenen Vernichtung der Jüdinnen*Juden, wie sie in den vergangenen Tagen, im Nachgang von weiteren Anschlägen, in öffentlichen Drohungen, dass der 7. Oktober erst der Anfang gewesen sei, unterstrichen hat. [2]

Auf die inakzeptable Äquidistanz, die sich ergibt, wenn man einen demokratischen Staat mit einer Terrororganisation auf eine Stufe stellt, wurde bereits hingewiesen. Die israelische Regierung ist aktuell de facto ein Sicherheitskabinett, dessen Teil auch Vertreter der Opposition sind. Die Umfragen zur Regierung Netanjahu sind derweil schlecht. Israel ist auch nach dem 7.10.2023 ein liberaldemokratischer Rechtsstaat – umgeben von Feinden (Hamas, Hezbollah, Iran). Die mangelnde Abgrenzung des Staates Israel und seines Rechts auf Selbstverteidigung zu den Taten der menschenverachtenden islamistischen Terrororganisation Hamas öffnet alle Tore für Antisemitismus im Sinne einer Dämonisierung des jüdischen Staates und doppelter Standards. Den sich kritisch wähnenden Mitgliedern und Fans von PJfP wie auch Arsch Huh müsste zu denken geben, dass andere Kriege und Konflikte der Gegenwart und jüngeren Vergangenheit – die oftmals wesentlich mehr Opfer gefordert haben und weiter fordern – meist zu keinen„Friedenskundgebungen" auf deutschen Straßen führen. Auch könnte denjenigen, die sich berechtigterweise um die Versorgung der Bevölkerung Gazas mit Nahrung und Medikamenten sorgen, auffallen, dass aktuell fast 800 Millionen Menschen weltweit – also jeder zehnte Mensch – an Hunger leiden und täglich tausende Menschen an leicht heilbaren Krankheiten sterben, weil ihnen keine medizinische Mindestversorgung zuteil wird. Skandale, die im Übrigen schnell politisch abschaffbar wären, wenn es denn ein globales Interesse daran gäbe. So richtig und wichtig es ist, die Versorgung der Menschen in Gaza zu verbessern – was zuvorderst die Hamas ermöglichen könnte –, so verrückt ist es, dass Hunger und eine mangelhafte medizinische Versorgung vor allem dann in deutschen Internetkommentarspalten und auf deutschen Straßen zum Skandal werden, wenn Israel in einen Konflikt involviert ist. Und ja, selbstverständlich haben solche doppelten Standards etwas damit zu tun, dass Antisemitismus global betrachtet heute vor allem in Form einer „Israelkritik" auftritt. Diese doppelten Standards werden auch daran offenkundig, dass es kaum Proteste gegen Ägypten gibt, das den Bau von gesicherten Flüchtlingslagern (ohne Waffen/Hamas) am Grenzübergang zu Gaza seit Wochen verweigert.

Jürgen Becker setzt in seiner Rede auf der Kundgebung am 03.12.2023 kein Zeichen gegen Antisemitismus, wenn er von einem überdurchschnittlichen Erfolg jüdischer Künstler*innen schwadroniert und die vermeintliche „Unterschiedlichkeit" von Jüdinnen und Juden betont.[3] Ob intendiert oder nicht, werden hier antisemitische Stereotype bedient. Seine so bezeichnete wahr gewordene „Utopie" von einer israelischen Botschaft im früheren Nazi-Deutschland, die er mit der Möglichkeit vergleicht, dass „auch Israelis und Palästinenser, Juden und Muslime wieder friedlich zusammenleben" können, kann als Holocaust-Relativierung gelesen werden. Seine Gleichung von Israelis gleich Juden und Palästinensern gleich Muslimen offenbart eine Unkenntnis über die komplexe Historie und jegliche Hintergründe des Nahostkonfliktes. Es ist bezeichnend, dass Jürgen Becker als Mitveranstalter die vorangegangene Kritik in einem Interview als „Zeichen unserer Zeit“ einordnet und behauptet, dass „kaum noch etwas gemacht werden kann, ohne massive Kritik von irgendeiner Seite zu bekommen“.[4] Mit derartigen kontrafaktischen Auslassungen – als habe es in halbwegs aufgeklärten Gesellschaften nicht immer Kritik gegeben – wird vor allem abgewehrt, den Inhalt der Kritik auf seinen Wahrheitsgehalt hin zu prüfen.

Auch die neu gegründete Initiative Palestinians and Jews for Peace bedient sich unterkomplexer Narrative. Warum wird der aktuelle Krieg und der Nahostkonflikt, der vorwiegend ein Territorialkonflikt ist, einzig als ein Konflikt zwischen Juden*Jüdinnen und Palästinenser*innen dargestellt? Und welche Bedürfnisse stehen bei einer nicht-jüdischen, nicht-israelischen und nicht-palästinensischen Gesellschaft, die auch offenbar stark von solchen „Friedensdemos“ angezogen wird, hinter dem Wunsch nach einer vermeintlich einfachen Lösung? In Kommentaren zu Instagram-Beiträgen der Gruppe ist zu lesen, dass man sich wünsche, auch als Deutsche*r „mal wieder was sagen zu dürfen", wenn es um Israel geht. Besonders bitter wird es, wenn diese gedanklichen Verrenkungen zuweilen so weit gehen, dass zwar auf eine historische Verantwortung Deutschlands verwiesen wird, diese jedoch auf eine Art verdreht wird, bei der am Ende Israel als das ultimative Böse dasteht, gegen das man sich eben aufgrund dieser Verantwortung stark machen müsse und nicht „tatenlos zusehen“ dürfe. Dieses Narrativ gilt es zurückzuweisen. Nicht zuletzt zeigen auch Studien, dass in den deutschen Medien an kaum einem anderen Land so häufig Kritik geübt wird wie an Israel.[5]

In einem kurz nach dem Massaker der Hamas entstandenen Instagram-Post von PJfP liest man von „rücksichtslosen Taten der rechtsextremen, rassistischsten, fundamentalistischsten Regierung in der Geschichte Israels“ und einem Massaker, das Israel an den Menschen in Gaza verübe, während dieser Begriff in Bezug auf die Taten der Hamas in demselben Post nicht einmal fällt.[6] Insgesamt sind die Postings, Interviews und Redebeiträge geprägt von Kritik an der israelischen Regierung, während auf die Taten und Vorgehensweisen der Terrororganisation Hamas höchstens am Rande eingegangen wird. Auch wird die historische Genese der aktuellen Situation nicht erwähnt. Die Geschichte des jahrtausendealten Antijudaismus wie des modernen Antisemitismus wird ebensowenig von PJfP erwähnt wie die Konflikte um den Umgang mit der zionistischen Bewegung in der arabischen Gesellschaft der 1920er Jahre, der Einfluss der NS-Propaganda auf die arabisch-palästinensiche Bevölkerung in den Jahren bis 1945 oder die diversen gescheiterten Friedensverhandlungen (und der komplexen Gründe dieser) in den letzten 75 Jahren – um nur einige wenige Beispiele zu nennen.

Der Komplexität der Situation können oder wollen sich PJfP nicht stellen. Das Anliegen, sich ohne Schuldzuweisungen und ohne eine „Seite“ einzunehmen, für Frieden einsetzen zu wollen, ist daher zum Scheitern verurteilt. Um so mehr jedoch macht es PJfP für jene Milieus attraktiv, die es eigentlich gar nicht so genau wissen wollen. Denen es vielmehr darum geht, sich so kritisch wie wohl fühlen zu können, indem sie sich einreden, auf der „richtigen Seite“ – nämlich der „des Friedens“ – zu stehen und „beide Seiten“ in gleichem Maße irgendwie doof finden zu können. An Stelle von Flaggen, die die Gruppe bei ihrer Demonstration am 19.11.2023 nicht dabei haben wollte, waren Plakate zu sehen, auf denen u.a. von „Genoziden“ oder „75 Jahren israelischer Besatzung” die Rede war.[7] Dass der Begriff Frieden bei PJfP zudem schwer abstrakt bleibt, gehört zu einem der Erfolgsgeheimnisse der Gruppe.

Ein weiteres Erfolgsgeheimnis von PJfP ist zudem – ähnlich wie bei Arsch huh – die zelebrierte Äquidistanz. Dies wird zum Beispiel dadurch deutlich, dass das Recht auf Sicherheit der israelischen Zivilbevölkerung als „primitiver“ Instinkt abgetan [8] oder Israels Selbstverteidigungsrecht „in der aktuellen Situation“ in Frage gestellt wird.[9] Abgesehen davon, dass die pluralistische und heterogene israelische Bevölkerung mit der Regierung gleichgesetzt wird, bleibt bei den Meinungen von PJfP die Frage offen, wie man eine Waffenruhe mit einer Terrororganisation schließen soll, die einen auslöschen will. Dass die Hamas ihre Waffen niederlegt und alle Geiseln frei lässt, wodurch die Angriffe schon morgen beendet werden könnten, wird seltsamerweise nicht gefordert.

Auch wenn die Gruppe sich von linkem Antisemitismus zu distanzieren versucht, weist sie doch Argumentationsstrukturen auf, die häufig in ebendiesem zu finden sind. Der vorwiegend israelbezogene Antisemitismus, der dabei mal mehr, mal weniger subtil bei PJfP durchscheint, macht es entsprechend möglich, dass auch antizionistische Gruppierungen – wie zum Beispiel die trotzkistische SAV (Sozialistische Alternative) – sich von den Demonstrationen angezogen fühlen. Wenige Tage nach der Demonstration der PJfP nahm die SAV übrigens an einer Kundgebung vor der Universität zu Köln teil, in welcher dezidiert antiisraelische Hetze verbreitet wurde.

Die Behauptung einer Rednerin von PJfP auf der Kundgebung von Arsch Huh, Antisemitismus werde inflationär als Vorwand verwendet, um Kritiker*innen der israelischen Regierung zum Schweigen zu bringen, ist nicht neu.[10] Trotz Pauschalisierungen und der Dämonisierung der israelischen Regierung, inszeniert sie sich als Fürsprecherin der Jüdinnen und Juden in Deutschland. Richtigerweise bemerkt sie, dass Antisemitismus wie andere Ideologien – zum Beispiel Rassismus oder Sexismus – tendenziell mörderisch sind. Gleichzeitig ließ sie am 19.11.2023 öffentlich verlautbaren, dass es bei der vermeintlich so ausgeprägten Solidarität der deutschen Regierung mit Israel [11] nicht wundern würde, dass „irgendwelche Schwurbler“ antisemitischen Verschwörungstheorien anheimfallen.[12] Allen, die sich antisemitisch äußern, dürften solche entlastenden Aussagen sehr gelegen kommen. Dass sich die „deutsche Solidarität“ vorwiegend auf Sonntagsreden und floskelhafte Wiederholungen des Begriffes der Staatsräson beschränkt, nicht aber beispielsweise in einer klaren Stellungnahme bei der UN-Vollversammlung vom 27.10.2023 glaubhaft demonstriert wird, scheint nicht wichtig zu sein. Ebenso wenig die nach wie vor guten Beziehungen der Bundesrepublik zum Mullah-Regimeim Iran, welches die Hamas als ihren Proxy finanziell unterstützt, weil es einem eliminatorischen Antizionismus anhängt.

Weiterhin behauptete die Rednerin von PJfP im Rahmen der Kundgebung von Arsch Huh dreist, die Deutsch-Israelische Gesellschaft würde zusammen mit der Synagogen-Gemeinde als Sprachrohr der Regierung Netanjahu agieren.[13] Es bedarf keiner großen Recherche um herauszufinden, dass der Zentralrat und die Deutsch-Israelische Gesellschaft sich beispielsweise kritisch zu der von der Regierung Netanjahu geplanten Justizreform positioniert haben.

Zudem haben sich nicht „die“ Deutsch-Israelische Gesellschaft und „die“ Synagogen-Gemeinde zur Kundgebung kritisch geäußert, sondern – unabhängig voneinander – einerseits Abraham Lehrer und anderseits die AG Köln der DIG sowie das BgA Köln in einem gemeinsamen Statement.

Auch das BgA versteht sich nicht als Sprachrohr irgendeiner israelischen Regierung sondern als Organisation, die sich eine Kritik des Antisemitismus zum Ziel gesetzt hat. Eine solche Kritik erfordert einen Begriff davon zu haben, wann Kritik an politischen Entscheidungen oder Phänomenen wie dem Rassismus – welcher, wie in allen modernen Gesellschaften, auch in Israel anzutreffen ist – in einen israelbezogenen Antisemitismus kippt, dessen Bestandteile zum Beispiel Dämonisierung, Doppelstandards und Delegitimierung sind.

Anstatt den vermeintlichen Anliegen – z.B. eine militärische Auseinandersetzung überflüssig zu machen sowie Antisemitismus und Rassismus zu bekämpfen – einen ernsthaften Rahmen zu bieten, waren beim Zusammenkommen von Arsch Huh und PJfP am 03.12.2023 Äquidistanz und Naivität Programm. Dort fanden Menschen eine Umgebung, in der sie ihren Verdrängungsregungen Ausdruck verleihen konnten, endlich einen „Schlussstrich“ unter die deutsche Nazi-Vergangenheit zu ziehen, und sich dabei auch noch moralisch überlegen vorzukommen. Derartige Veranstaltungen haben das Potenzial, israelbezogenen Antisemitismus in Deutschland weiter salonfähig zu machen und müssen daher Ziel von Kritik sein.

---

[1] https://www1.wdr.de/nachrichten/rheinland/demonstration-palestinians-and-jews-for-peace-100.html

[2] https://www.derwesten.de/politik/israel-hamas-nah-ost-konflikt-hamad-d-id300704787.html

[3] https://www.instagram.com/p/C0cnrkbsahi/?igshid=MzRlODBiNWFlZA==

[4] https://www1.wdr.de/fernsehen/aktuelle-stunde/alle-videos/studiogespraech-juergen-becker-kabarettist-arsch-huh-100.html

[5] https://www.zeit.de/politik/deutschland/2014-08/israel-medien-kritik

[6] https://www.instagram.com/p/CybgzrfoMhz/?img_index=1

[7] https://www.instagram.com/reel/Cz39eNFI5UB/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==; https://www.lokalfoto.com/juedisch-palaestinensische-demo-in-koeln/

[8] https://www.instagram.com/p/C0M2geNs7zC/?igshid=N2ViNmM2MDRjNw==

[9] https://shows.acast.com/feuer-und-brot/episodes/palestinians-and-jews-for-peace (01:36:44-01:37:50)

[10] https://www.youtube.com/watch?v=tv5ujnkEQm0&ab_channel=PalestiniansandJewsforPeace

[11] https://www.theguardian.com/commentisfree/2023/nov/28/germany-israel-right-left-turkey-truth

[12] https://www.instagram.com/p/C0Mz7JAsF_Y/?igshid=N2ViNmM2MDRjNw==

[13] https://www.ksta.de/koeln/nach-eklat-nur-wenige-teilnehmer-kommen-zu-arsch-huh-kundgebung-in-koeln-1-695472

[wilsweb-asientour]

Tag 29. 01.08.2023

Kunstausstellung bei Nacht. Nach 2 vollgepackten Tagen in Kyoto machten wir uns auf den Weg nach Osaka. Mit insgesamt 6 Gepäckstücken fuhren wir mit dem JR-Zug die halbe Stunde Richtung Süden und kamen ca. 11:30 verschwitzt im Hotel an. Nach einer kurzen Erfrischungspause liefen wir zu 7/11, um was anzubeißen (u.a. köstliche Curry Buns), und anschließend setzten wir uns in ein Café, um die Unterkünfte in Hiroshima und Seoul zu buchen.

Nach der Kaffeepause ging’s zurück in die Hitze in die Einkaufsviertel von Dotonbori, Shinsaibashi und Amerikamura. Wir kauften zuerst bei Rikuro den berühmten Käsekuchen und beäugten danach sporadisch verschiedenste Schaufensterpuppen. Wilson kaufte sich die 3. Billig-Sonnenbrille des Urlaubs nachdem die letzte Kyoto nicht überlebte; Webster sammelte währenddessen japanische Song-Empfehlungen der Verkäufer. Zum Abendessen ging’s erneut zum Förderband-Sushi (dieses Mal Kura Sushi), wo wir 30 Teller verputzten und genauso viel zahlten wie einmal Mittagessen bei Zhaka in Leipzig - not bad.

Mit vollen Bäuchen legten wir unseren Käsekuchen im Hotelzimmer ab und fuhren Richtung Süden zu einer Kunstausstellung. Es handelte sich um den Botanischen Garten im Nagai Park. Hier stellten Künstler verschiedene Lichtkonstellationen zusammen, die die Bäume beleuchteten und bei Berührung ihre Farbe änderten. Dazu wurde hypnotisierende Musik gespielt. Die selbstgeführte Tour war ungewöhnlich jedoch extrem nett. Nach einem von Webster eingeleiteten 2km-Umweg über den Supermarkt, schafften wir es schließlich nach Hause, schnitten den mittelmäßig-schmeckenden Kuchen an und schauten ein paar Folgen der britischen Comedy-Series „The Inbetweeners” mit Bier und Reis-Crackers. Morgen haben wir wiederum Osaka im Visier, an den Folgetagen jeweils Nara und Kobe. Gute Nacht!

Day 29. August 1st, 2023

Art exhibition at night. After 2 packed days in Kyoto, we headed to Osaka. With a total of 6 pieces of luggage, we took the JR train for half an hour south and arrived at the hotel around 11:30, sweaty. After a short break, we went to 7/11 to grab a bite (including delicious curry buns), and then we sat in a café to book accommodations in Hiroshima and Seoul.

After the coffee break, we returned to the heat in the shopping districts of Dotonbori, Shinsaibashi, and Amerikamura. First, we bought the famous cheesecake from Rikuro and then casually looked at various mannequins. Wilson bought the 3rd cheap pair of sunglasses of the trip after the last one didn't survive Kyoto, while Webster collected Japanese song recommendations from the sellers. For dinner, we went back to a conveyor belt sushi place (this time Kura Sushi), where we devoured 30 plates and paid just as much as one lunch at Zhaka in Leipzig - not bad.

With full bellies, we left our cheesecake in the hotel room and went south to an art exhibition. It was the Botanical Garden in Nagai Park, where artists created various light installations that illuminated the trees and changed colour when touched, accompanied by hypnotic music. The self-guided tour was unusual but extremely enjoyable. After a 2km detour to the supermarket initiated by Webster, we finally made it back home, cut the mediocre-tasting cake, and watched a few episodes of the British comedy series "The Inbetweeners" with beer and red pepper rice crackers. Tomorrow, we'll focus on Osaka again, followed by Nara and Kobe in the coming days. Good night!

[be-the-news]

Kindertagesstätte Hohnhorstweg feiert buntes Fest

Farben, Freude, Familie – ein Sommerfest, das Kinderherzen höher schlagen ließ. . Kindertagesstätte Hohnhorstweg feiert buntes Fest von Patrick Reinisch-Fahrland . Sommerfest der Kita Hohnhorstweg begeistert über 300 Gäste – mit Sponsorenlauf für neues Spielgerät, Musik, Spiel und kreativen Aktionen. . Mehr lesen auf www.Be-The.News https://buergerjournalisten.de/2025/07/02/kindertagesstaette-hohnhorstweg-feiert-buntes-fest/ . . . . . #Kinderfest #Elterninitiative #fest #spaß #kita #Sponsorenlauf #Lehrte #initiative #Freude #eltern #Sponsoren #Sommerfest #Engagement #Hohnhorstweg #spielgeraet #kinder #sommer Read the full article

[johnkatsmc5]

Olivier Roy "Pochette-Surprise" 1979 France Minimal Synth,Electronic,Experimental

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https://vk.com/wall-49098896_37539?z=attachment_audio_list-49098896_37539

One man and his String Synthesizer (with occasional Mini-Moog). Pretty good for what it is (cosmic electronic musik), and practically defines the DIY aesthetic of the FLVM label. Recorded between 1975 and 1979.....~ Rummaging through the rich French scene of "musique planante" of the late 70s, we have today this unknown synthetist of the only album, for the ghostly label FLVM. It is a clear example of how this music was faced in the second country most given to it, after Germany. With little more than a string synthesizer and some mini moog, Olivier ROY marks a pretty neat Electronic Prog album. The initial "Oreille" (1'43) is still a nice short intro to the excellent track "Donner des Titres" (6'38). Romantic influences are notorious, especially Debussy, where all his drama is meticulously constructed into a beautiful piece of sensitive feeling. "M'Est Apparu Comme" (6'03) has more of an air of suspense soundtrack, with decisive originality and, in its development, a strong flavor of Héctor Berlioz. In "T'Enfermer dous des contextes Pre-Determines" (8'01) we continue with that marked electronic romanticism, which sometimes relates him to the Vangelis of the 70s. In a dreamy melodic dreamlikeness, very pleasant and receptive. I'm writing this on Christmas Day, and it's actually appropriate for that date. On the other side of the vinyl we start "Alors a ton de Jouer" (5'22), another piece of reflective melody indicative of the compositional concreteness of this French synthetist. "Offre a ton Esprit une Representation" (2'42) is a short cosmic-cinematic essay perfect for "Blade Runner", or its sequel, which is promising. This style is not bad for Roy either. As can be seen in "Mentale du son sans reference a un ecrit" (11'05). Here the aforementioned kosmische is wisely simultaneous with compositional bursts of absolute beauty. Klaus Schulze and his constant tributes to Wagner would be an appropriate comparison. And the Frenchman is not short on imagination and emotional interpretation. One of the key moments of the album, without a doubt. Finally we have "Plus ou moins Directif" (3'39) with a marked Froesian reference, in another amazing journey. In short, a graceful album with a sensitive electronic pulsation, made with few means but infinite illusion. Disconnect from the world guaranteed.....~ Almost unknown French synthetist who released this only LP under the F.L.V.M. label. I have the original LP that I bought because I knew it thanks to Cruz Gorostegui's radio program Syntorama in the 80s. It has some great songs like A2 and A4. He is inspired a lot by Vangelis and to a lesser extent by Heldon. When I find the LP I will take some photos of the cover to improve the ones I have found on the internet....~ Track listing A1 Oreille 1:43 A2 Donner Des Titres 6:38 A3 M'est Apparu Comme 6:03 A4 t'enfermer dans des contextes pre-determines 8:01 B1 Alors A Ton De Jouer 5:22 B2 Offre A Ton Esprit Une Representation 2:42 B3 Mentale Du Son Sans Reference A Un Ecrit 11:05 B4 Plus Ou Moins Directif 3:39

Oliver Roy “Pochette Surprise” 1979 France,Electronic,Minimal Synth,Experimental

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