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theoutcastrogue · 23 days ago

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Ballads of the Hanged: Swinging from the Gallows Tree

A mixtape of execution ballads and assorted tales of guilt, wrath, terror, and defiance on the gallows, where all men are brothers.

[on spotify]

21 tracks, 1h 15min in full (spotify lacks one song)

I teased this many moons ago, and I finally finished it. No booklet in PDF form (too much hassle), but I got extensive liner notes, which you can also read here, for more pictures and a wider format. Enjoy!

LINER NOTES

1. Hans Zimmer - Hoist The Colours

Heave ho thieves and beggars never shall we die

What a heartbreaking thing to say on the scaffold. But we have to start with theatrics and a drum roll, and our introduction needs no introduction.

2007, from Pirates of the Caribbean: At World's End OST lyrics: Ted Elliott & Terry Rossio music: Hans Zimmer & Gore Verbinski

2. Shirley Collins - Tyburn Tree (Since Laws Were Made)

Next stop, Tyburn: England's most notorious gallows. In The Beggar's Opera, the highwayman Macheath (later also known as Mack the Knife) observes that if they hanged rich criminals like they hang the poor ones, "'twould thin the land". Shirley Jackson subtly changed this to the better.

Since laws were made for ev'ry degree to curb vice in others as well as me, I wonder there's no better company on Tyburn Tree.

But since gold from laws can take out the sting, and if rich men like us were to swing, it would rid the land their numbers to see upon Tyburn Tree.

recorded 1966, released 2002 in Within Sound lyrics: John Gay, from The Beggar's Opera, 1728 music: traditional ("Greensleeves"), 16th century

3. Joan Baez - Long Black Veil

A country ballad about a man falsely accused of murder, who lets himself get dragged to the gallows because he won't reveal his alibi: an affair with his best friend's wife. It's been covered by a million people, here's Baez live.

The scaffold is high, eternity near, She stands in the crowd, she sheds not a tear, But sometimes at night, when the cold winds moan, In a long black veil she cries o'er my bones.

1963, from In Concert Part 2 lyrics & music: Lefty Frizzell, 1959

4. Oscar Isaac with Punch Brothers & Secret Sisters - Hang Me, Oh Hang Me

A poor boy who got "so damn hungry he could hide behind a straw", made his last stand with a rifle and a dagger, and has been all around this world, and is positively done with it.

They put the rope around my neck, they hung me up so high Last words I heard 'em say, won't be long now 'fore you die Hand me, oh hang me, and I'll be dead and gone Wouldn't mind the hanging, but the laying in the grave so long

2015, from Another Day, Another Time: Celebrating the Music of "Inside Llewyn Davis", after Oscar Isaac's rendition in Inside Llewyn Davis, 2013, in turn after Dave Van Ronk's rendition in Folksinger, 1962 lyrics & music: traditional American/unclear origin, folk song with various titles (I've Been All Around This World, The Gambler, My Father Was a Gambler, The New Railroad), first recorded by Justis Begley, 1937

5. Chapel Hill - Seven Curses

Cover of a Bob Dylan song, telling us the dark tale of a judge who's about to send a man to the gallows for stealing a horse, promises his daughter he'll show clemency if she agrees to sleep with him, and then reneges on his promise.

The next morning she had awoken to know that the judge had never spoken she saw that hanging branch a-bending she saw her father's body broken These be seven curses for a judge so cruel

2013, from One For The Birds lyrics inspired by Judy Collins's "Anathea" (1963), in turn inspired by the traditional Hungarian ballad "Feher Anna", who curses the judge "thirteen years may be lie bleeding" lyrics & music: Bob Dylan, recorded 1963, released 1991 in The Bootleg Series

6. Ewan MacColl - Go Down Ye Murderers

A song about Timothy Evans, a man accused of murdering his wife and child, which he denied until his last breath. They convicted him and hanged him in 1950. He was 25 years old. Three years later the real murderer, his neighbour John Christie, confessed, and the case played a major role in abolishing capital punishment in the UK.

The rope was fixed around his neck, and the washer behind his ear And the prison bell was tolling but Tim Evans did not hear Sayin' go down, you murderer, go down

They sent Tim Evans to the drop for a crime he didn't do It was Christy was the murderer, and the judge and jury too Sayin' go down, you murderers, go down

1956, from Bad Lads and Hard Cases: British Ballads Of Crime And Criminals lyrics & music: Ewan MacColl

7. Jennifer Lawrence - The Hanging Tree

One of the stranger things that can happen at the hanging tree is camaraderie. "On the gallows tree, all men are brothers", to quote A Feast for Crows, and when the state murders, then in defiance, an execution ballad can become a protest song. Many have in real life, this one is fiction, from The Hunger Games. Wisely, the director asked the composer for a simple tune, nothing elaborate, something that could be "sung by one person or by a thousand people".

Are you, are you coming to the tree? Wear a necklace of rope side by side with me Strange things have happened here, no stranger would it be If we met at midnight in the hanging tree

2014, from The Hunger Games: Mockingjay – Part 1 OST lyrics: Suzanne Collins music: James Newton Howard

8. Let's Play Dead - Heaven and Hell

A fairly traditional execution ballad written recently for the series Harlots. Margaret Wells sings it to herself for consolation and courage, as she sits alone in a cell, waiting to get dragged to the gallows.

I'm no more a sinner than any man here I'm no less a saint than the priest at god's ear But now I am snared, they will punish me well With a ladder to heaven and a rope down to hell

2018, from the single Heaven and Hell, for Harlots Season 2 Episode 7 lyrics & music: Let's Play Dead

9. Odetta - Gallows Pole

Probably the most well-known execution ballad of the 20th century, thanks to several iconic renditions. This one remains my favourite.

Hangman, hangman, slack your rope, slack it for a while I think I see my father coming, riding many a mile Papa did you bring me silver, did you bring me gold? Or did you come to see me hanging by the gallows pole?

1960, from At Carnegie Hall lyrics & music: traditional (Child 95 / Roud 144), known under many other titles ("Hangman", "The Maid freed From the Gallows", "The Prickle-Holly Bush"); this version is directly influenced by Lead Belly's "Gallis Pole" (1930s), and they both informed Led Zeppelin's 1970 version

10. Johnny Cash - 25 Minutes to Go

Peak gallows humour, uproariously funny and defiant, and somehow still conveying the terror of a man who's about to die and emphatically doesn't want to. Performed live at Folsom Prison.

Then the sheriff said boy I'm gonna watch you die, 19 minutes to go So I laughed in his face and I spit in his eye, 18 minutes to go Now here comes the preacher for to save my soul, 13 minutes to go And he's talking about burning but I'm so cold, 12 minutes to go

1968, from At Folsom Prison lyrics & music: Shel Silverstein, from his 1962 album Inside Folk Songs

11. Johnny Cash - Sam Hall

A classic execution ballad with many versions (see here for its complicated history), some of which are stoic and dignified, and others humorous. But this one brims with rage. Sam Hall will not be repenting on the gallows, and he'll see you all in hell.

My name it is Sam Hall and I hate you one and all And I hate you one and all, damn your eyes

2002, from American IV: The Man Comes Around lyrics & music: : traditional, 18th century broadside ballad, Roud 369

12. Nick Cave & The Bad Seeds - Up Jumped the Devil

A song about a man doomed from the start to play the villain’s part, and the origin of this blog’s #swinging from the gallows tree tag.

Who's that hanging from the gallow tree? His eyes are hollow but he looks like me Who's that swinging from the gallow tree? Up jumped the Devil and he took my soul from me

1999, from Tender Prey lyrics: Nick Cave music: Nick Cave & The Bad Seeds

13. NOT ON SPOTIFY: Dead Rat Orchestra - The Black Procession

This ballad imagines a sinister procession of 20 criminals (black tradesmen brought up in hell!), each with their own specialty (it's mostly thieves of some sort), on the way to the gallows. The last and worst of them is the thief-catcher, and if one of them is innocent, they'll all go free. But of course none of them are. It's written in thieves' cant (lyrics and more context here), and the chorus means: "Look well, listen well, see where they are dragged, up to the gallows where they are hanged."

Toure you well; hark you well, see where they are rubb’d, Up to the nubbing cheat where they are nubb’d.

2015, from Tyburnia: A Radical History Of 600 Years Of Public Execution lyrics: from The Triumph of Wit by J. Shirley, 1688 music: Robin Alderton, Daniel Merrill & Nathaniel Robin Mann

14. John Harle & Marc Almond - The Tyburn Tree

And where does the Black Procession lead? To Tyburn, of course. The dark gothic side of Marc Almond.

The Tyburn Tree, I weep for thee, blood in the roots 'Tis not a tree with bark and leaves of spring awakening 'Tis not a tree with blossom and fruit, 'tis not a tree No boughs to bend beneath the unruly breath of winter No memories of woods warmed by spring's sweet touch 'Tis not a tree — take a ride to Tyburn and dance the last jig

2014, from The Tyburn Tree (Dark London) lyrics: Marc Almond music: John Harle

15. CocoRosie - Gallows

Speaking of dark and gothic.

They took him to the gallows, he fought them all the way though And when they asked us how we knew his name We died just before him, our eyes are in the flowers Our hands are in the branches, our voices in the breezes And our screaming is in his screaming

2010, from Grey Oceans lyrics & music: Sierra Rose Casady & Bianca Leilani Casady

16. The Tiger Lillies - Hang Tomorrow

In their Two Penny Opera, the pioneers of dark cabaret reimagine Brecht’s Threepenny Opera, and take all the suaveness out of Mack the Knife. Here they also take all the fight out of him. What's even left? A pathetic empty husk, a bastard (let's not forget that Brecht's MacHeath is no rogue with a heart of gold, he's a horrible man) who can't even be intriguing. How disturbingly pedestrian.

So here I am in jail again, oh god it stinks of piss I've been in here since I was young, so I can reminisce It's looking rather grim this time, it's looking rather bad But if I swing tomorrow in some ways I'll be glad

2001, from Two Penny Opera lyrics & music: Martyn Jacques

17. Tom Hollander - Ballad In Which MacHeath Begs All Mens' Forgiveness

In The Threepenny Opera, Mack the Knife stands on the scaffold and asks for pity. No point being judgmental now, that he's about to die. He morbidly describes how his dead body will end up, and then he lashes out at everyone, cops and criminals (same difference), while still begging them all for forgiveness. Very VERY sarcastically. The ballad's concept is borrowed from François Villon (see below), and this translation is unusually bold (honorific, see here and here for other translations and context).

You crooked cops with your Mercedes, your mobile phones, your trendy jackets, your cuts from drugs and dice and ladies, your Scotland Yard protection rackets.

Let heaven smash your fucking faces, slash you and let the blood run free and break you in a thousand places. I've pardoned you. You pardon me.

1994, from The Threepenny Opera - Donmar Warehouse Original Cast lyrics: Bertolt Brecht 1928, loosely inspired by François Villon's "Ballad of the Hanged" c. 1489, translated by Jeremy Sams 1994 music: Kurt Weill 1928

18. Saga de Ragnar Lodbrock - Ballade des pendus

And here's the OG Ballad of the Hanged, written in the 15th century by the OG poète maudit, François Villon (translation here). It paints an indelible picture of strung up corpses swaying in the wind, decaying, pecked by birds, ravaged by the elements and time. And crucially, it's in the first person. The hanged speak, begging their fellow-humans for pity, and god for forgiveness.

Frères humains, qui après nous vivez, N'ayez les cœurs contre nous endurcis, Car, si pitié de nous pauvres avez, Dieu en aura plus tôt de vous mercis. Vous nous voyez ci attachés, cinq, six: Quant à la chair, que trop avons nourrie, Elle est piéça dévorée et pourrie, Et nous, les os, devenons cendre et poudre. De notre mal personne ne s'en rie; Mais priez Dieu que tous nous veuille absoudre!

recorded 1979, released 1999 in the Saga de Ragnar Lodbrock reissue lyrics: François Villon, c. 1489 music: Saga de Ragnar Lodbrock

19. Nick Cave & The Bad Seeds - The Mercy Seat

Honorary inclusion, a song not about hanging: the mercy seat is the electric chair. But the lyrics are a punch and this is a torrent of a song, a whirlwind, a masterpiece, a 7-minute cynic snarl. So it couldn't possibly get left out of this compilation.

And the mercy seat is awaiting, and I think my head is burning And in a way I'm yearning to be done with all this measuring of proof An eye for an eye and a tooth for a tooth (a life for a life and a truth for a truth) And anyway I told the truth, and I'm not afraid to die (and I'm afraid I told a lie)

1999, from Tender Prey lyrics & music: Nick Cave

20. Graveyard Train - Ballad For Beelzebub

And after? Welcome to Hell, ladies and gents, and bards. (Bards are rogues, too.) The Graveyard Train play a kind of Southern Gothic (but very southern, they're Australian), and here they entertain the thought of a band that ends up in hell and has to keep playing, without end, for an audience that can't hear. What a bleak prospect.

Well the air on the stage is burning our lungs And we're all going deaf from the beating drums And you can't see a thing for all the blood and the sweat in our eyes

Well we played till we died, and now we're all dead But the Man says we got to get up there again And you can't come down till the brimstone turns to ice

2008, from The Serpent And The Crow lyrics & music: Graveyard Train

21. Samuel Kim feat. Colm R. McGuinness - Hoist the Colours

Yo ho, all together Hoist the colours high Heave ho, thieves and beggars

But we won't end in hell. The only acceptable ending to this compilation is the triumphant version (wait for it) of its beginning: a pirate's end. Traditionally the gibbet, yes, but also the ghost ship that still sails, the ripple that still travels, and the story that still gets told.

Did I stutter the first time?

NEVER SHALL WE DIE

#long post #swinging from the gallows tree #mixtape #trs #prison ballads #pirate #bard #The Threepenny Opera

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thefisherqueen · 1 month ago

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The Merry Widow (1968) with Jeremy Brett

I've not been a lot on social media lately because of the complete takeover from US'ers (which - understandable, I'm worried and grieved too, but still there are other countries and issues and the way people often neglect to specify they're talking about the US and assume all their readers are in the US too is kind of obnoxious) so I've directed my very limited time and energy towards something which has given me a lot of joy in recent years and is often freely accessable too: old media. I'm making a valliant effort to actually finish Moby Dick and Les miserables and Raffles, I've read the first collection of Arsène Lupin, I'm trying to get into Hercule Poirot (not entirely convinced yet but we'll see), and last weekend I watched The Merry Window movie of 1968, starring Jeremy Brett. It is entirely on youtube here. Not in the best visual or auditory quality, sadly (it has not been remastered yet), but still very watchable.

I went into this without any knowledge of the story or rich history of this operette, only having heard a few fragments of the songs before. And I was so, so entertained throughout, even though I did not understand everything that was going on.

A summary of my prompt research: The Merry Window (Die Lustige Witwe) was composed by Austrian-Hungarian composer Franz Lehár and first performed on stage in 1905 in Wien, running a very succesful row of almost 500 live performances. It has since been adapted both on screen and stage often, even through this very day. The Metropolitian Opera has a comprehensive synopsis on the story on their website, but more fun is this comic.

The basic story goes as follows: the embassy of a small Balkan country (fictional, but likely to be inspired by Montenegro), situated in Paris, is thrown into merry chaos as they learn that a very rich widow originally from the same Balkan country also is residing in Paris. Shenagans and plotting occur to try and convince her to marry one of their countryman, so her sweet sweet money won't leave the country, which is in dire need of it. There's only a problem: the proposed candidate, a count played by Jeremy Brett, already knows the widow, and the two of them have a History. Avoidant behaviour, sassiness, misunderstandings and other delicious drama ensue.

I did not expect the amount of music and songs in this movie. I think 80% or 90% of the script is in song rather than dialogue. Entire performances are shown, during which the plot just stands still, and honestly? I loved it. Modern movies/shows often move too fast for my sluggish autistic brain to keep up with, and this languid tempo just worked well for me. The folk and, I imagine, quite scandalous can-can dances are a joy. I'm usually not that fond of the more classical technique of singing but I found the music here quite gorgeous, too, a delightful mix of classical sound with fun folk elements. Jeremy Brett's rich voice really stood out of me. You can listen to the entire soundtrack here.

Jeremy Brett is a treat to watch in his role as a bit of a playboy, avoiding responsiblities and commitment and feelings of heartbreak by dancing and drinking at a local nightclub each night instead. Not suprisingly for everyone who has seen him in Granada's Sherlock Holmes: he's really excellent at dramatic posing, lounging on surfaces not meant for that, and 'trying to look cool but actually besotted'. There's a lot of humour in the dialogue and performances of the entire cast, too. For example, there's an entire extramarital affair going on right under the nose of an antirely oblivious baron's nose, and it's pretty hilarious. Further example of some funny lines: "What have you been doing lately?" Absolutely nothing!" "Excellent!" Jeremy's rivalry with the widow (played by Mary Costa) is especially a lot of fun, both really sell that part. I really got quite emotional by the final "Love unspoken, faith unbroken..."

There's an interesting background of historical social context to this operette, too: widows in that time enjoyed an amount of financial freedom denied to either unmarried or married women, and watching high class men competing for a woman's money was, I suppose, a nice bit of social commentary. I also really enjoyed a song by a group of men all wondering what they have to offer women if it isn't money - a question, in my opinion, that may be asked more often. The widow using her relative freedom to protect another woman from scandal at the end was rather sweet, too. The story ends, of course, by not upsetting the status quo too much. But it's such a fun ride.

All in all, very much recommended.

#the merry widow #jeremy brett #old movies

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whencyclopedia · 2 months ago

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Béla Bartók

Béla Bartók (1881-1945) was an innovative Hungarian pianist and composer most famous for his classical works for piano and orchestra, string quartets, and songs, many of which present traditional Hungarian and other European folk themes. Bartók, a prodigious scholar and collector of folk songs, is widely considered one of the greatest musicians Hungary has ever produced.

Early Life

Béla Bartók was born on 25 March 1881 in Nagyszentmiklós (now called Sânnicolau Mare), then located in the Hungarian part of the Austro-Hungarian Empire (but today located in Romania). Béla's father was a teacher in the local agricultural college, and his mother was a piano teacher. Béla's father died when he was seven years old, and so mother and son moved to Pressburg (called Pozsony by the Hungarians), today's Bratislava in the Slovak Republic. Béla's mother taught him to play the piano from the age of five. He showed a rare talent and was already performing in public by the age of eleven; he had started composing his own pieces even earlier, at the age of nine.

Béla turned down a free scholarship to study at the music academy in Vienna and instead decided to attend the Royal Hungarian Academy of Music in Budapest from 1898. Bartók graduated in 1903. First earning a living as a concert pianist, from 1907, Bartók worked as a piano professor at the Academy. Although the post gave Bartók some financial stability, it was not quite what he had hoped for; he remarked that he was, in truth, "a reluctant teacher and would have preferred a research post" (Steen, 722). Bartók continued to compose, with early influences coming from the works of Franz Liszt (1811-1886), Johannes Brahms (1833-1897), Richard Strauss (1864-1949) – particularly his symphonic poem Also sprach Zarathustra –, and Igor Stravinsky (1882-1971).

Bartók's character and drive is here summarised by the music historian H. C. Schonberg:

Bartók was a tiny, frail man with explosive psychic force, prepared to go his own uncompromising way even if his music was never played. A stubborn integrity and an all-encompassing humanism animated the man, and he would not swerve from his ideal of truth.

(656)

Béla Bartók, 1903

Unknown Photographer (Public Domain)

#History #BelaBartok #ClassicalMusic #Composer

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jokeroutsubs · 5 months ago

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[ENG TRANSLATION] "It seemed like an impossible dream to perform on Sziget's Main Stage" - Exclusive interview with Joker Out

Original article written by Peti for MusicDaily on 25.07.2024. English translation by IG gurdonanna, X brnbergeron and X zozzzzie, proofread by IG gboleyn123

Video interview available here:

youtube

Formed in 2016, Joker Out became the fan favourite band of the Eurovision Song Contest in 2023. The boys represented the neighbouring Slovenia with their hit 'Carpe Diem', and this year they are finally coming to our country for the first time. Namely to Sziget Festival, at which they say was one of their biggest dreams to perform - or rather, never in their wildest dreams they could imagine to ever get about an hour long time slot at the main stage of such a big festival to prove their dedication and talent.

If you ask them, they describe their musical style as 'shagadelic rock n'roll', which roughly translates to very sexy rock n'roll mixed with the extravagant style of the '80s. They've toured the old continent, and in the UK, even Lewis Capaldi was curious to see what kind of party they put on. One thing is for sure, with their coolness, they put Slovenia on the musical map of the world, as they proudly use folk music in their sound, sometimes in the ex-Yugoslavian style.

We sat down with the boys for a Zoom call before their performance at Sziget Festival, where Kris, Jan, Jure and Nace were present.

We asked them about their song 'Bluza', of course, but also about the new album, Sziget and their experiences at the Eurovision Song Contest. The guys already knew a few Hungarian words, which we will only reveal in the video version, while you can read the whole interview below - exclusive interview with Joker Out.

It's so nice to see you. How are you today?

We are good, right? I think we are well woken up right now, because usually this would be too early for us, but we've been doing interviews for the past hour and a half, so we are in a good mood right now.

You'll be playing your first show in Hungary in less than a month. Have you ever been to Hungary before?

Yeah, yeah. But I think we've only been to Budapest so far.

This summer, you'll be performing at Sziget, which is like one of the biggest festivals in Central Europe. How excited are you about the show, and what can your fans expect from it?

I think we are all very, very, very excited for it, because especially playing on the main stage has always been one of those unachievable dreams, like we never thought it will ever happen. So it's very surreal, that we'll play there, and so accordingly we are gonna give it our all onstage.

We'll have everything with us: screens, lights, special effects, to make it worthwhile for everyone, for those who already know us and those who don't yet.

And your fans are very curious if there will be any unreleased songs at the concert...

We haven't decided on the setlist yet.

We have so many released songs, so it would probably be a mistake not to play them. The thing is, we probably won't have a lot of time to play, so we have to prioritise... and those are definitely going to be the released ones.

And speaking of concerts, do you have any pre show rituals that you always do before concerts?

When the intro starts rolling... there is always an intro. When the intro comes on, and we hear it in our earpieces, we do this [demostrates] and it's like, unifying our energy before we go on stage.

Sziger Festival is also called "The Island of Freedom". So I'm curious, what does freedom means to you personally?

Freedom from alarm clocks. That is definitely one of the biggest freedoms I enjoy and do not take for granted in my life.

Freedom is to be able to freely express your opinions on any topic, and to walk around on the streets of your town without feeling danger, that anything might happen to you. That is a kind of freedom we take for granted, but maybe it is good to sometimes think that it's not the same for every person in the world.

And the freedom when we are creating music. We don't have labels on us that are pushing us. And being able to live from music. That's freedom to me. Being able to do what you want and to have the financial means to feel free and to enjoy this.

If you could change just one thing about the world, what would it be?

That there would be no jealous or greedy people in the world anymore.

And I would try to make the borders between countries disappear as much as possible.

No more music on Spotify, only on CDs and records. And stop spreading false information and only share what is objectively true. It's a hard one, but it's a good sentiment.

You just released your latest song 'Šta Bih Ja'. Can you tell us a bit about the background of the song? What inspired it, and what is the message you want to convey with it?

The background to the song is that we went to London for two months, in January and February, to create our new album, and this was the first song we composed. We actually put this song together very quickly in January, in maybe like the first or second session in our new rehearsal space there.

Musically it's very up-tempo, energetic and a bit ex-Yugoslavia inspired, but the lyrics are darker than the music itself.

So there's a bit of contrast. The message or the vibe of the song is kind of what we felt when we went to England. The feeling of being a stranger in a big city, not knowing many people, and knowing that someone you love is waiting for you somewhere else, but you can't reach them at that moment. That's pretty much what it's about.

How is your new album shaping up?

Slowly, but good. Very slowly. But very good.

What three words would you use to describe the album?

To describe the album in three words? Not released yet.

If I had to say one word, I'd use "cocktail". Because it will have different languages and musical styles. Love... of course. And an album full of hits. So the three words: cocktail, love and hits.

Your fans are particularly excited about one song, and that's 'Bluza'. Do you know when it will be officially released?

I just recorded the drums for the second time yesterday, so slowly, probably in a couple of weeks. I mean to finish it, not to release it. We haven't even finished it completely, but we'll probably release it before the album.

This is going to be the next single, so probably in late August or

September.

September, yeah. Hopefully. Don't take it for sure, but yeah, because

it's a song that we all really love, and we feel it's very special, so we want it to be perfect for release.

Now let's talk about Eurovision, a very famous competition with a very long history. So I wonder how you prepared for it emotionally?

I think there was not much emotional preparation. Everyone says that Eurovision is intense, and you have to prepare and stuff like that. But nobody, at least the first time they go to Eurovision, really understands what is meant by that. So you just go into it like 'yeah, I'm gonna do this', and then when things start happening you realise it's really intense, but by then you're already way too deep into it to start preparing. So what we did was more like surviving Eurovision, doing everything we could and then trying to process what happened.

It's much easier for us because we're a band. We can do it together and so relieve the pressure of interviews or performing on stage. So it's much easier than being a solo artist.

Do you have a favourite memory from your Eurovision journey?

Barcelona, Barcelona. The pre-parties. Those were awesome. Oh yeah, getting to the final... the semi-final too. The semi-final was great.

Finally, do you have any message for your Hungarian fans?

First of all, it's very nice to see that we have Hungarian fans, because although it's a neighbouring country to Slovenia, it's a very different country. We don't share many cultural aspects, especially in music, so we're happy that we have fans there to play for, and we hope that one day we can play our own concert in Budapest.

We promise to try to make that happen as soon as possible. See you there, and at Sziget!

#joker out #jokeroutsubs #bojan cvjetićanin #jan peteh #nace jordan #kris guštin #jure maček

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