#the life and times of aljoscha

[notafraidofredyellowandblue]

Are there any photos of Aljosha post Feeling B maybe at a Rammstein concert? I'm not even sure of he stayed I contact with Paul and Flake after or felt some kind of resentment when R exploded and he never achieved success. Sad his life was cut so short.

I had this ask in my drafts a long time, but i wanted to do it justice 🌺

The book "Feeling B - Mix mir einen Drink - Punk im Osten" is actually in large part about Aljoscha's life also after Paul and Flake left Feeling B.

Aljoscha actually picked up Feeling B later with different bandmates

When one of their former Feeling B drummers, Christoph Zimmermann, passed away in 1999, Aljoscha and Paul were photographed at his farewell.

This is Aljoscha photographed in october 2000, he passed away just a month later 🌺

Aljoscha did attend some Rammstein concerts in Berlin, like in Wuhlheide. In the book, several of the interviewed express their impression of what Aljoscha thought of Rammstein, but it varies a bit what they say; some say he was happy for them to be succesful, some say he wasn't that into the music and ignored it a bit, some say Aljoscha was a bit annoyed because lots of people would ask him about Rammstein because they couldn't get to Paul and Flake themselves anymore.

Paul, Flake and Schneider are quoted too, all 3 with a slightly different phrase, but all 3 basically say they haven't really talked to Aljoscha about Rammstein.

Aljoscha himself is quoted too, on page 386 on the end of Feeling B, i'll try to translate that bit: "Feeling B always lived in the right time, The founding of Feeling B happened at the exact right time, and at the right moment we put the band on hold. In the east there was no commerce, it wasn't a problem then. Now in the west there is commerce and surely it was a problem for one of the others in Feeling B that put my foot on the brake. That was just one problem. The other problem was, that we had been together for 10 years, and that 3 very different people came together. Just try transforming all of that in one band. Specifically with regard to Paul: He found in Rammstein exactly the band where he always wanted to go."

🌺

[angelboydream]

CARHARTT WIP // Working On Society from Vincent Boehringer on Vimeo.

fed up with the discrimination they face in everyday life, three young people rebel against it in their very own way. the situations seem to be taken randomly from their lives, and yet they reveal parts of their personal background and socialisation. the young woman in the public swimming pool, the waiter in the restaurant, the boy with his father - each takes a small step towards overcoming injustice with a personal gesture and at the same time a great character development.

starring rabea lüthi / maximilian zschiesche / nicolas sidiropulos / andrea leonetti / sebastian schäfer / sophie urbain

written by daniel theobald & vincent boehringer

production company / filmakademie baden-württemberg producer / britt abrecht & bernhard strobel director / vincent boehringer 1st ad / tobit kochanek 2nd ad / joshua neubert dp / larius kieninger 1st ac / adrian huber 2nd ac / aljoscha wuzella gaffer / hannes hölz electricians / anian krone & daniel huss art department / franziska kabutke styling / laila eby make up / thi hake soundmixer & sound design / jonathan rösch edit / lucas cantera motion design / julia schneider score / julian klincewicz (tuckered out - lukasz) colorist / jonny thorpe (glassworks london)

extras marlen anstett / hannah dorothée / kevin boampong / tony couchi / luigina fallico / arthur stoklossa

special thanks valerie braun / gwenola heck / sophia dillmann / marie von hardenberg / tommy dobrowski / oona eberle / ivana vukasovic / s ec studio

© filmakademie baden-württemberg 2021

[famosoentrescalles]

Still baffled by this new German conspiracy theory that the Ever Given being stuck in the Suez Canal was a successful military operation to stop a super chemical from being delivered to Europe. This chemical, which needs years to develop, is supposed to initialise (together with 5G) the newest take of the Deep State against the people: The climate change.

Now that this chemical couldn't be delivered the COVID-19 case numbers are rising again, because the government needs to keep us under control. Or something like that. It was all very confusing to read.

[nyarisu]

Okay, now tell me your top 5 scenes in R+ fic :)

I really tried to follow your exemple and keep it one scene per fic per author but. heh :D So, in no particular order:

Am Horizont by Feverdream (Hochrot): it'a tie between the Till/Aljoscha scene and the whole stealing street signs bussiness. On one hand, you have to conversation between Aljoscha and Till, his insecurities, Aljoscha noting his similarity to Paul and Flake ("I’m surprised you feel that way, you’re a lot like them"), Till kind of flirting with him, "Losch" and the latter being sweet and encouraging towards Till. "Men would love you, Till. You’re mysterious. You have a great body. You’re sex-obsessed". Till's mumbled "I’m not sex-obsessed" is amazing in the context XD The way Aljoscha looks while saying "What do you think you’re doing, exactly?", as well as the softness of the "If you feel like having a chat or meeting people, you know you can always stop by. Paul and Flake are smitten with you and I trust them on that, so" and how the different the 2 lines are just make me go ashkl every time I think of them<3 ON THE OTHER HAND! You have the whole scene with those 3 on the streets of Berlin. And I really mean every single word! As I always said and I'll always say, that scene is one of the most atmospheric and nice and visual things I've ever read♡ The way the city is described at night, the fog, the cold, the voices of people coming in the distance. The rooftop part was the perfect ending for this scene and my most favourite. "The fog had started to recede and a few snowflakes were fluttering in the sky. It would soon turn into sluggish mud, but for now, it was ethereal, almost magical. As far as the eye could see, the soft, pulsating gleam of street lights, roofs dusted with white, the red headlamps of rare cars, the square glow of lonely windows" and the heart warming "So that’s your kingdom, huh?" "It’s your kingdom too". It’s yOUR KINGDOM TOO. You can't just write things like this and expect me not to melt on the spot.

Bearskin Rug by hwbswd: As much as my heart would want to pick the scene with Till sleepily jerking off Flake and Paul but not really, sleep is more important after all ("When he rises to awareness again, Paul is minutely thrusting into his slack fist, and Flake is quietly snoring. Till is soft but still held between Flake’s legs. He goes back to sleep.")... I think I'll go with the very first part of the second chapter: "Till makes his way barefoot to the kitchen in the dark. Dawn is still hours off. It’s weird turning on lights, it feels more like a midnight party than an early-morning start, even though Paul left a toothbrush out for him in the bathroom. He can’t find milk, so pancakes are out, but there’s sausage and eggs and potatoes." For some reason, the image of someone in the kitchen very early in the morning, cooking something charmed me so much! And Flake in a blanket wraping himself around Till and being fed patatos by him is so nice and domestic and aaaaah （*´▽｀*♥ Just. Late nights in the kitchen (everything is so warm and quiet)

ein Wesen mich zu gehen drängt by moon_waves: This hole fic is a favourite scene. Sub Till between Schneider and an oblivious Richard, needy as hell and letting out a whine every so often? Yes, please! "A small keening noise came from Till and the two of them turned to look at him. He was still flushing deep, vulnerability vibrant in his green eyes, biting on his lower lip, and Richard seemed to soften at the sight, placing his hand back on him again, patting him gently before stilling" like dadljzdlookawdzkl?? "He briefly squeezed Till’s thigh before slowly moving his hand higher, a smirk tugging at the corner of his mouth. He heard a very soft whine coming from Till before the singer squirmed a little under his hand" afslk??!?

First Time for Everything by marblecats (kitthefox): probably the first making out scene which definitely lasts until they move in the bedroom XD (tho Richard riding Paul while being jerked off by Till will always be a close second). "He's tipsy and he's overheated, Till is so close and Scholle's fingers are drifting towards the skin of his hip. His heart hammers in his chest as he tries to comprehend what's happening here. He feels Till shift and a large hand floats upwards to land against his cheek, Till turns Paul's head towards him and presses his mouth gently against his". Like how could you not?? "Paul's hands come up of their own accord to clutch at Till as they kiss. He's wanted this as long as he's known Till and now he's here, he isn't quite sure what he wants to do, so he lets Till kiss him, opens his mouth and meets his tongue. Scholle positively whines behind him" ALSO! "Scholle in basketball shorts and a black t-shirt that he wears like the finest tailoring and Till in suspenders and boots looking rugged and windswept and they're the most attractive people Paul thinks he's ever seen in his life" that last part ends me every time.

I mean... it's either Wider Bed or Skin. They're short and similar enough that I usually read them one after the other whenever the mood strikes for. Both with an OC, one fic only with Richard, the other with both Richard and Till. Just. Being cozy and warm in bed. That's both fics. They are very warm and sweet. "before making his way back to the bed, wrapping himself around you again. You stroke his back gently, and sigh. [...] Your stomach flips, and Richard tucks his head under your chin". I can't even choose something from Skin, that whole fic is one scene and then finish :))

5 ARE NOT ENOUGH TT_TT

[magistralucis]

Flake: I see the last years of Aljoscha like one long farewell. I think Aljoscha didn't miss anything in his life. And maybe, to say at some point - that's it now, and bye - is a good way to part with life. I remember often how he always laughed, regardless of the good or the bad. One time he tried to screw in a lightbulb, but screwed in his finger and got jolted. He was glowing to the soles of his feet, but there was just his bleating laugh. Even in the most embarrassing situations he would laugh his warm laugh: that's what I miss most about him.

- Flake Lorenz on Aljoscha’s passing, from Mix Mir Einen Drink (2010) by Ronald Galenza & Heinz Havemeister, pg. 420.

[i-have-feelings-bitch]

el desorden que dejas - the ending iago and roi deserved

so my beloved @roifernandez made me watch the show like a week ago and since we have literally no clue on how iago and roi are handling the aftermath, we sat together, aljoscha basically threw sentences at me and i created our own little happy ending for them. hope you like it! ♡

1.2k words // Iago x Roi // hurt&comfort // angst with happy ending

Raquel’s eyes are soft and understanding. Her voice is still husky, when she simply says, „It’s okay, Iago. None of this was your fault“.

Iago struggles to hold her gaze and eventually looks away. He knows he can’t fight back his tears any longer, so he turns to go back to his room without another word.

Shakily, he places one foot in front of the other. With every step though, Iago feels the darkness clawing at the back of his head, demanding entrance to his conscience, seeking awareness, trying to push him over the edge. He fails to keep his thoughts from starting to spin. His face twists in pain when everything that happened emerges in his mind once again, every horrible little detail visualizing in front of his inner eye. Iago’s legs can’t carry him any longer, so he just sinks down onto one of the terribly clean chairs in the hospital hallway. He doesn’t care if anyone sees him like that, he doesn’t care that he looks like he just crawled out of a dumpster; he certainly feels like he did.

A sob shakes his whole body, tears are now running down his cheeks in an endless stream, his heart feels like it’s going to collapse right in his chest. Desperate for any kind of support or stability, Iago clenches his hands into fists, his fingers entangling and his knuckles turning white from the force. Buckling over, Iago rests his forehead on his hands, a storm of self-hatred, guilt and black despair raging inside of him.

He cannot remember the last time he cried. It feels horrible, he feels horrible.

A desire creeps up in his chest, a desire he hasn’t felt in a long time. The desire to fill the void of loneliness. That very loneliness that has been a part of him for as long as he can remember; that very loneliness that has made its home inside of him and never wanted to leave.

He doesn’t want to be alone anymore. He’s sick of it.

Before Iago can lose the sudden will to look for company, he gets up and, without really thinking about the direction he’s heading in, strides down the hospital hallways, his legs and feet taking over while the tears are still blurring his eyesight.

 Two soft knocks draw Roi’s attention to the door. He didn’t expect to have any more visitors today. Roi doesn’t have time to answer though, as the door is opened not a second later. The view he’s given has his heartbeat staggering. It’s Iago. His Iago. With tears all over his face, a deeply pained expression on his pretty features, and his eyes so full of sadness that it has a stinging ache jolting through Roi’s chest.

Iago doesn’t quite meet Roi’s gaze, be it because of the tears or whatever other reason, Roi doesn’t care. All he wants is to hold Iago, hold his pieces together.

Silently, Iago closes the door behind him. His usually square shoulders are slumped down as if to hide himself, the rest of his body looking oddly small and lost in the hospital gown. Without a word, Iago takes a step towards Roi’s bed, but falters slightly in the motion. Raising his eyes to lay them upon Roi, he inaudibly asks for comfort, for help.

Roi feels like a cold hand is reaching for his heart, crushing it in its powerful fist, rendering him motionless. He’s never seen Iago like that before. Not when he dragged him out of that bathroom with Viruca, not even when Viruca died.

Forcing himself to break free from his momentary, circumstantial rigidity, Roi is quick to shuffle over to one side of the bed, although it is already fairly small. Offering Iago a hideout, he lifts his blanket.

It takes a weight off his mind when Iago actually moves, albeit slowly and carefully, to lie down next to Roi. His body radiates coldness, so Roi cautiously shifts closer, drawing the blanket across Iago and himself.

He’s unsure how to act other than that. Iago is shaking next to him, so obviously desperate for care, for love. Hesitantly, Roi moves to lay an arm around his friend, but is interrupted by Iago, who suddenly moves.

An ugly sob is breaking its way out of Iago’s throat and he turns to press his face into Roi’s hospital robe, hiding. His fingers cling to the fabric, clawing into it, and his whole body is jolted by his heavy crying.

Roi clenches his jaw, it utterly breaks him to see Iago like that. He feels tears welling up in him as well. Finally, he carefully pushes his arms to either of Iago’s sides, catching him in a soft, comforting embrace. Roi wants to help him better – he wants to say something, anything that would make the pain go away, at the least soften it. But he can’t think of any words that would change the situation, because it’s the truth. It’s the horrible truth, that they now have to live with. That Iago now has to live with. All Roi can do right now is hold his friend in his arms, and he does.

They lie like this for an eternity. Roi doesn’t know how much time has passed, for how long they have kept this hug, motionless, soundless, save for Iago’s sobs. But Roi couldn’t care less about time. Looking down upon the mess that was Iago, Roi can’t stop himself from lowering his head and gingerly pressing a light kiss on his head.

For a second, it has Iago pulling onto Roi’s hospital gown even tighter, searching for comfort, but eventually, Iago withdraws a little – only to look up at Roi, his eyes watery and brows tightly drawn together. His voice is hoarse and it breaks a little when he quietly whispers, “Thank you, Roi.”

Roi doesn’t know what to respond. He just gazes at his friend, finding himself – once again – lost in his facial features. Even now, Iago is the most beautiful person to Roi.

Without really realizing what he’s doing, he lowers his head, his face approaching Iago’s like in slow motion, until he can feel Iago’s warm breath stroking his own cheekbone. He pauses for a second, silently asking for consent and giving Iago some time.

Roi feels the slightest pull on his hospital robe and it’s the last breeze to push him over the edge, his lips meeting Iago’s in a feather-like touch. A ball of warmth and contentment erupts in Roi’s chest, his eyes fluttering shut. It never felt like that when they kissed before, he knows this time it would be different. Everything would be different, better.

 ~

Barcelona was loud and busy, but also calm and soothing when he needed it to. Sometimes he would just sit by the window, look down upon the street and pick out a random person to follow them with his eyes until they vanished from his view. It was a rocky road they had to go, and still have to go. But Roi was right there by his side, all the way through judicial hearing, through the imprisonment of his father, through therapy.

He heard indistinct clattering from the kitchen and a soft smile spread across his lips. Life was different now, it was better. Roi taught him how to feel real love, and taught him what it meant to be loved. How it felt to be loved. And it felt amazing.

[luluxa]

A couple of quotes from Flake’s book, Heute hat die Welt geburstag (translated from German to Russian, and then to English by me, so there may be some infidelities to the original text).

On Paul: “Paul always and with great pleasure makes coffee before concerts. Paul makes the band’s life really great. He has a gift of enjoying life and everything that we owe to our success. He loves making friends with other bands that we’ve only heard on the radio. He’s sincerely pleased to meet them on festivals and then greet them loudly and at length. In the evening, he likes to have a fancy dinner and drink nice wine. He’s bought himself a super expensive car and was beyond happy about it… At first I didn’t understand such emotional and naïve cheerfulness. But then I remembered that this Paul is the same Paul who for many years couldn’t afford a case for his guitar and carried it around wrapped in a plastic bag. That same Paul, who, in his youth days, only ever ate stale bread and wore shoes found in a dumpster. But he always was an excitable guy. When we founded Feeling B with Aljoscha Rompe and began to give concerts, Paul could jump off the stage and spend the whole night dancing with the audience.”

On Till: “I thought Till was a mindblowing musician, despite that in many ways he wasn’t playing the drums properly. His technique wasn’t exquisite but it was saturated with awesome energy. You could watch Till play for an eternity. But one time, when his band was playing encore, he stood up and began to sang, it was captivating. It appeared that he has an astounding voice and a fantastic performance temperament. That song later became very popular. […] Till’s voice had touched my soul, I loved simply listening to it, especially since he sang in English a lot. I was amazed.”

Okay, I didn’t expect THAT (back in the 90s, pre-fame): “All six of us had settled in one room. One of us had brought a girl along. The pair began to fuck and the rest, seeping beer, participated by joking and giving instructions.”

[inspirationinbadthings]

CARHARTT WIP // Working On Society from Vincent Boehringer on Vimeo.

fed up with the discrimination they face in everyday life, three young people rebel against it in their very own way. the situations seem to be taken randomly from their lives, and yet they reveal parts of their personal background and socialisation. the young woman in the public swimming pool, the waiter in the restaurant, the boy with his father - each takes a small step towards overcoming injustice with a personal gesture and at the same time a great character development.

starring rabea lüthi / maximilian zschiesche / nicolas sidiropulos / andrea leonetti / sebastian schäfer / sophie urbain

written by daniel theobald & vincent boehringer

production company / filmakademie baden-württemberg producer / britt abrecht & bernhard strobel director / vincent boehringer 1st ad / tobit kochanek 2nd ad / joshua neubert dp / larius kieninger 1st ac / adrian huber 2nd ac / aljoscha wuzella gaffer / hannes hölz electricians / anian krone & daniel huss art department / franziska kabutke styling / laila eby make up / thi hake soundmixer & sound design / jonathan rösch edit / lucas cantera motion design / julia schneider score / julian klincewicz (tuckered out - lukasz) colorist / jonny thorpe (glassworks london)

extras marlen anstett / hannah dorothée / kevin boampong / tony couchi / luigina fallico / arthur stoklossa

special thanks valerie braun / gwenola heck / sophia dillmann / marie von hardenberg / tommy dobrowski / oona eberle / ivana vukasovic / s ec studio

© filmakademie baden-württemberg 2021

[jlertle]

CARHARTT WIP // Working On Society from Vincent Boehringer on Vimeo.

fed up with the discrimination they face in everyday life, three young people rebel against it in their very own way. the situations seem to be taken randomly from their lives, and yet they reveal parts of their personal background and socialisation. the young woman in the public swimming pool, the waiter in the restaurant, the boy with his father - each takes a small step towards overcoming injustice with a personal gesture and at the same time a great character development.

starring rabea lüthi / maximilian zschiesche / nicolas sidiropulos / andrea leonetti / sebastian schäfer / sophie urbain

written by daniel theobald & vincent boehringer

production company / filmakademie baden-württemberg producer / britt abrecht & bernhard strobel director / vincent boehringer 1st ad / tobit kochanek 2nd ad / joshua neubert dp / larius kieninger 1st ac / adrian huber 2nd ac / aljoscha wuzella gaffer / hannes hölz electricians / anian krone & daniel huss art department / franziska kabutke styling / laila eby make up / thi hake soundmixer & sound design / jonathan rösch edit / lucas cantera motion design / julia schneider score / julian klincewicz (tuckered out - lukasz) colorist / jonny thorpe (glassworks london)

extras marlen anstett / hannah dorothée / kevin boampong / tony couchi / luigina fallico / arthur stoklossa

special thanks valerie braun / gwenola heck / sophia dillmann / marie von hardenberg / tommy dobrowski / oona eberle / ivana vukasovic / s ec studio

© filmakademie baden-württemberg 2021

[notafraidofredyellowandblue]

Durch die Nacht mit Flake Lorenz und Joey Kelly - Arte TV 2020

Documentary from german/french tv channel Arte TV, with Joey Kelly of The Kelly Family (for those who don't know them: An actual family who travelled around making music, all kids being part of the group from a very young age, and who where huge (Huge!) for many years, definitely in Germany, but also others parts of Europe and all over the world) and Flake, visiting Joey who lives near Cologne.

Joey nowadays is involved in extreme sports and also befriended with Till Lindemann with whom he did the Yukon expedition.

During clips of 'Deutschland' there is no audio otherwise the video would have been taken down.

Some snippits:

What is striking straight away is that Flake is driving a car with the steering wheel on the right side (an 'english car', normally in Germany a car will have the wheel on the left), but there's a simple explanation: his hearing is pretty bad on the right, so with a 'normal' car, he would be sitting left and his wife on the right next to him, which means he can't understand what she's saying.

Before starting a game of car-ball, Joey asks Flake if he's allowed to do dangerous stuff, and Flake says no, Joey gets it: they can't risk having a Rammstein member less on stage. Joey doesn't have the same problem, his family was huge, so there would be loads of people on stage anyway, rarely one would be missed; Joey actually missed one show because he called one of sisters a 'fat pig' and got grounded and wasn't allowed to play that evening. Flake thinks in that case he should start calling people 'fat pig' too 😊

(0h12) Flake has brought Rammstein fan Joey a gold record as a present, only remembers it when he opens the back of his car to get out his laptop, the record is tossed in the boot. The awards where under a desk at home but got wet a while ago, so the one he gives Joey is a little bent, so now Flake is giving them away before they get ruined.

Both Flake and Joey give readings/talks about their life, Joey about extreme-sports (he hiked through Germany, north to south, without money, food or drink, no begging, only living of the land), Flake about himself (he starts his talk pointing to himself on screen "Normally i look like this, i play in a music-group"). Flake shows photos, starting with Feeling B, playing in the GDR where their biggest enemy wasn't the Stasi (east german police) but the alcohol, especially singer Aljoscha on occassion couldn't even finish a show. Later, at abt 0h30, he explains that because of these early years he always thought that musicians had to drink, that it was part of the job. Only when he was ill for a while and wasn't allowed to drink, for the first time he did a show sobef and hated it, it was so boring and lasted so long.. (in the end it was his wife who convinced him he had a problem, because he needed alcohol everywhere he went, and who told him she'd leave him if he continued drinking, only after he'd done more shows without alcohol he learned to like playing without a drink, eventually even better than with alcohol.

After Feeling B he was invited to a rehearsal from these 5 guys who played for hours on end, it was the best night of Flake's live, so he decided to join. Only problem was performing live, so their first record label sent them to play at a gathering of people who had been listening to talks all day, and then in the evening expected a little music. So the first night it didn't work out at all, the public wasn't paying attention, the band was bored and wanted to leave, but they had to play another show next day. So they went to the gasstation to buy a jerrycan of gas (Benzin), Till had a few sparklers left over from a party, so before the start of the show they sprayed the gas on the floor in front of the stage, and when Till started to sing he pointed the sparklers to the floor. Even the band was surprised how well gas inflamed

Flake never locks his car (0h25) because there's always a risk you can't get it open again. Besides, anyone who wants to steal one of Flake's cars must be crazy, so they deserve to have it.

At 0h27 Joey asks if in Rammstein they also have the problem that there's always someone being difficult, making drama (like they have in The Kelly Family), but Flake says No. 😊 (good boy Flake, for being loyal to his mates).

Flake's brother also has a band (Rammstein's first gig was as a warmup for that band), they mainly do parody, like 'Wie ein Würstchen' (Like a sausage) on Madonna's 'Like a Virgin'. And what does his brother think of Rammstein's huge shows? Don't know, says Flake, it's been a long time since he went to a Rammstein show. Joey is amazed, but Flake considers it a job; a plumber also doesn't take his family to work with him. (I'm sure Flake exaggarates here by the way 😊).

0h39 they talk about Till cooking Flake on stage, Joey asks if this isn't dangerous, how do you breathe? Flake: "I don't breathe, because the flames take away all the oxygen". The dangerous stuff happens when they are rehearsing, because then they don't know yet what the best way is, one timeTill and Flake had practised a lot with the kettle, Till shooting flame after flame, and when Flake got out, he grabbed the rim of the kettle, that was red-hot, and seriously burnt his fingertips.

At 0h41 a Kelly-fan asks a photo with Joey, to which he kindly obliges (joking "you're probably a fan of Paddy or Angelo" (his brothers, generally the fan-darlings of that band), but she ensures him she's a fan of himself 😊 Joey then says "And here is Flake from Rammstein" but the fan admits a bit embarrased that she doesn't know him 😊 Earlier Flake talks about going walking for hours every day, when they are on tour as well, to which Joey asks "is that safe? don't you take security with you?" and Flake says "If i'm on my own no one recognises me.." (again showing how much bigger The Kelly Family is in Germany 😊)

Around 0h50 they visit a motorbike show, and Flake and Joey are invited to enter the dome the bikes ride in. Again they ask Flake if he's allowed, and he mentions he isn't really allowed to do anything dangerous; before they go on tour they have to sign an agreement to be careful of their health, because if one breaks a limb or something and a show has to cancelled, insurance doesn't pay, so that costs a lot of money.

Did Flake ever meet his favorite band Rolling Stones? (0h53) No, he was at a show of theirs only one, 1990 or 92, and he thought they were ancient back then, almost mummies. Only recently Flake realised that he is older now than they were back then, even over 10 years older, he feels like a total granddad and shouldn't even be allowed on stage anymore. He wonders why nobody has noticed it yet. 😊

At 0h57 they play a couple of old songs, like Kelly Family's first single 'David's song' which was a huge succes but they didn't earn much out of it (back recorddeal, Flake knows the feeling), and 'Kim Wilde' by Feeling B, on which Flake does the vocals. Joey: "That is you?" "Yeah" "You sing better than Till" Flake chuckles "Well.." 😊

And at the end, Flake gets a Kelly Family record in return, a new one, of the latest Kelly Family album, that went straight to Gold again 🌺

---

okay 'some snippets' turned out to be 'lots of snippets' 🍀

[artwalktv]

fed up with the discrimination they face in everyday life, three young people rebel against it in their very own way. the situations seem to be taken randomly from their lives, and yet they reveal parts of their personal background and socialisation. the young woman in the public swimming pool, the waiter in the restaurant, the boy with his father - each takes a small step towards overcoming injustice with a personal gesture and at the same time a great character development. starring rabea lüthi / maximilian zschiesche / nicolas sidiropulos / andrea leonetti / sebastian schäfer / sophie urbain written by daniel theobald & vincent boehringer production company / filmakademie baden-württemberg producer / britt abrecht & bernhard strobel director / vincent boehringer 1st ad / tobit kochanek 2nd ad / joshua neubert dp / larius kieninger 1st ac / adrian huber 2nd ac / aljoscha wuzella gaffer / hannes hölz electricians / anian krone & daniel huss art department / franziska kabutke styling / laila eby make up / thi hake soundmixer & sound design / jonathan rösch edit / lucas cantera motion design / julia schneider score / julian klincewicz (tuckered out - lukasz) colorist / jonny thorpe (glassworks london) extras marlen anstett / hannah dorothée / kevin boampong / tony couchi / luigina fallico / arthur stoklossa special thanks valerie braun / gwenola heck / sophia dillmann / marie von hardenberg / tommy dobrowski / oona eberle / ivana vukasovic / s ec studio © filmakademie baden-württemberg 2021

[moviessilently]

Who’s ready to dig into Kino Lorber’s mammoth Fritz Lang box set? It’s twelve discs of German cinema directed and written by Lang.

As always, thanks to Kino for the review copy.

The box is available now. There is no DVD edition but all of the films can be purchased separately on DVD from Kino. (The only exception is The Plague of Florence, which is a box set exclusive. Lang did not direct but he did write the screenplay.)

This is a region A Bluray set, so be sure you can play this region if you live outside of the Americas or parts of Asia.

The Films

The box includes a 32-page booklet and a book-like case with each Bluray in a cardboard sleeve embedded in the page. (See video above.) Because this set is so huge, I decided to break things up by film.

I cropped out the pillarboxes and resized the screencaps to reduce load time (this is a HUGE box) but have not otherwise altered them. To save room, I have displayed the images in galleries. Click on any image to enlarge.

The Spiders (1919)

Lang’s attempt at a Feuillade-like serial. The score is by Ben Model and the disc contains both chapters in the series.

Harakiri (1919)

Lang’s take on Madame Butterfly. The music is by Aljoscha Zimmermann.

The Wandering Shadow (1920)

An honest-to-goodness melodrama. Included on the same disc as Harakiri. Music by Aljoscha Zimmermann.

Four Around the Woman (1921)

The upper crust and the lower rungs of society mix in this film. Music by Aljoscha Zimmermann.

Destiny (1921)

Often marked as Lang’s true arrival to cinema. Music by Cornelius Schwehr. The extras include an audio commentary and footage demonstrating the restoration process.

Dr. Mabuse, the Gambler (1922)

Fritz Lang continues his descent into Langiness. Music by Aljoscha Zimmerman. We also get a three-part documentary (52 minutes total) on the music, the original novel and the film. On two Bluray discs.

Die Nibelungen (1924-1925)

Both films in Lang’s Wagnerian duo. Music by Gottfried Huppertz. Extras include newsreel footage taken on the set and a documentary on the film and its restoration. On two Bluray discs.

Metropolis (1927)

The One with the Robot. This film includes 16mm footage recovered in Argentina, making it the most complete version to date. Music by Gottfried Huppertz. Extras include a documentary on the film, plus an interview with the curator of the Argentinian archive where the missing footage was found.

Spies (1928)

Espionage galore in this picture, so points for accurate titling. Music by Neil Brand. Extras include a documentary on the film and the original German theatrical trailer.

Woman in the Moon (1929)

Lang returns to science fiction. Music by Javier Perez de Azpeitia. Also includes a short documentary on the making of the film.

The Plague of Florence (1919)

Lang did not direct but he wrote the screenplay. The film was helmed by Otto Rippert. Music by Uwe Dierksen.

Phew! That’s all of them! The box is co-branded with the Murnau Stiftung, which has been responsible for many excellent restorations of German silents over the years.

The set has a list price of $149.95 but most retailers are offering generous discounts from what I can tell. In any case, the per-disc price is pretty good, so this is a nice excuse to bite the bullet and expand your German cinema collection. You can learn more and order the film here.

This is an excellent gift for the film nerd in your life and I can also see it appealing to sci-fi/fantasy geeks given Lang’s enormous influence on the genres.

***

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Unboxing the Silents: Fritz Lang, the Silent Films 12-Bluray Set Who's ready to dig into Kino Lorber's mammoth Fritz Lang box set? It's twelve discs of German cinema directed and written by Lang.

[famosoentrescalles]

My best friend singing Mr. Saxobeat at the top of his lungs in the Discord voice channel >>>>>>>>

[todaynewsstories]

World War I: Brussels at the end of the Great War | Europe| News and current affairs from around the continent | DW

“Is the war really over?” On November 11, 1918, rumors began circulating in occupied Brussels; the Germans had finally been defeated, it was said, and a ceasefire had been signed.

But around the city — at the town hall, at the train station, in many streets — shots were still being fired. The fighting continued in many areas, and people didn’t know exactly what was going on. The German occupiers had censored the press in Belgium, and reliable information was only available from a few underground newspapers and news trickling in via foreign media — from the Netherlands, for example.

Days later, however, people finally had the confirmation they had been hoping for: the war was indeed over.

Read more: World War I: The ‘Black Army’ that marched in from Africa

Revolution, cautious euphoria

In the final days of the war in Belgium, rebellious German soldiers declared a revolution after the fall of the German Empire. On November 10, a Sunday, they founded a soldiers’ council in an effort to control the city. But officers and soldiers loyal to Kaiser Wilhelm II refused to join them, shooting at their former comrades and waiting for orders from Berlin which never came.

“The situation was very strange,” said Chantal Kesteloot, a historian at the Center for Historical Research and Documentation on War and Society. Until November 14, “the power was more in the hands of the German soldiers. The city was not freed by the Allied troops, but by German soldiers.”

Read more: When church bells were transformed into weapons of war

The revolutionaries of the soldiers’ council even tried to ally themselves with the Belgians. But the people of Brussels had suffered greatly during the four years of German occupation. They were starving, they were freezing; both food and coal were scarce in those cold November days.

“It was not the euphoria which one might have expected,” said Kesteloot of the days following the armistice. “People stayed at home, they were afraid because of the violence…between the two groups of German soldiers.” Celebrations were muted as long as the Germans were still in the city; Kesteloot said the Allied troops only arrived in the city on November 16, five days after the ceasefire.

One day later — on Sunday, November 17 —Mayor Adolphe Max returned from prison. As he spoke on the Grand Place in front of Brussels’ historic town hall to a crowd of thousands, it was finally clear: the war was over.

It was as if the country had won the football World Cup, said Kesteloot. Once again, people dared to celebrate in the streets, waving the tricolor Belgian flag for the first time in years.

King Albert I made a triumphant return to his capital city on November 22

The king returns

King Albert I also took his time to make his way back to Brussels. For four years, he had commanded the Belgian army from the western part of the country, which had not been occupied by the Germans. With the war finally over, the image-conscious king wanted to make a triumphant entrance into Brussels.

The king’s official return was slated for November 22, said Kesteloot — a day or two after he actually arrived back in the city. “That was really the day Brussels was liberated, the symbolic moment of Belgium’s liberation,” she said.

In the time between his arrival and the official celebration, statues and monuments were quickly erected. Thousands of onlookers travelled to Brussels from all over Belgium, arriving by foot or by wagon; the king had remained popular with his subjects throughout the long occupation. Historical footage from the time captured the king’s dramatic entrance, riding a silver-white horse so that he could be easily distinguished from other riders on their dark mounts.

Albert announced democratic reforms on his return, introducing the electoral principle of “one man, one vote” — further endearing himself to his public.

Refugees and a new threat

With the war over, life slowly began to return to Brussels. Kesteloot said the city had escaped the destruction of other Belgian cities, parts of which were heavily bombarded in the fighting.

In 1918, around 700,000 people lived in the greater Brussels area. In addition to this came the 100,000 refugees from the battlefields of northern France and Flanders.

“Helping the refugees was for some people a patriotic duty, a kind of resistance against the Germans, showing their solidarity,” said Kesteloot. “But other people were more xenophobic.”

To accommodate and feed so many people was difficult. Well into 1920, food in Brussels was distributed with special coupons and subject to state-run rationing. “The population was very weak compared to [prewar period],” said Kesteloot.

1914/1918 – Not then, not now, not ever

Germany / Günther Uecker: Untitled

The exhibition “1914/1918 – Not Then, Not Now, Not Ever,” shown at the German Reichstag in Berlin, was commissioned to commemorate the end of the First World War on November 11, 1918. The works were created by artists from the 31 countries involved in the conflict. This one is from the German sculptor and installation artist Günther Uecker.

1914/1918 – Not then, not now, not ever

Günther Uecker: Untitled, detail

Uecker has been using nails in his art since the 1950s. The Düsseldorf artist’s symbolic works, which deal with different political issues, have been featured in different Bundestag exhibitions, including the 1996 installation entitled Fall, in remembrance of the pogrom night in Germany on November 9, 1938. He also designed the Bundestag’s Prayer Room in 1998–99.

1914/1918 – Not then, not now, not ever

Bulgaria / Nedko Solakov: Dead Warriors

Each artist was given the same material to create a work for the exhibition: a cube of wood of 30 by 30 by 30 centimeters (12″ x 12″ x 12″) from oak trees that stood in a fiercely disputed section of the front in Alsace. Through discolorations or even leftover war projectiles, traces of the conflict can still be seen in the wood itself. This work is by Bulgarian artist Nedko Solakov.

1914/1918 – Not then, not now, not ever

Nedko Solakov: Dead Warriors, detail

One of the best-known Bulgarian artists of his generation, Solakov has regularly participated in international exhibitions, such as the Documenta 12 (2007) and Documenta 13 (2012), and the Venice Biennale in 2001, 2003 and 2007. His storytelling works include historical references and touches of humor. Here, he added a few ink spots to the cube of wood to create a work called Dead Warriors.

1914/1918 – Not then, not now, not ever

Austria / Hermann Nitsch: Untitled

Austrian avant-garde artist Hermann Nitsch turned the cube of wood into a symbolic butcher’s block covered with blood, recalling the brutality of war. World War I caused 20 million deaths and about 23 million military personnel were wounded, making it one of the deadliest conflicts in human history.

1914/1918 – Not then, not now, not ever

Hermann Nitsch: Untitled, detail

Nitsch has long shown his fascination with bloody scenes. His performances in the early 1960s were so provocative that they led to court trials and imprisonment. Although the 80-year-old artist now avoids killing animals during his performances, his “120. Aktion” from 2004 still involved a slaughtered bull, five dead pigs and 600 liters of blood. The blood on the wooden block, however, is paint.

1914/1918 – Not then, not now, not ever

South Africa / Wim Botha: Untitled

Botha is best known for his sculptures carved out of books. The South African artist often juxtaposes light and movement with dark figures in a state of conflict. The pieces of glass placed around the wooden skeleton in this piece mirror the work’s current surroundings, adding new elements and questions to the history of war.

1914/1918 – Not then, not now, not ever

Wim Botha: Untitled, detail

Born in 1974, Botha is one of the youngest artists in the show, along with the Ukrainian Aljoscha and the Turk Cevdet Erek. The exhibition’s oldest artist, the Romanian Geta Bratescu, was born in 1926. Interestingly, her installation was the only one to include a video on an iPad. “Variety in the forms of expression was important in the selection of the artists,” said curator Mattijs Visser.

1914/1918 – Not then, not now, not ever

Ireland / Sean Scully: The Disappearing Boys

The Irish-born American-based artist Sean Scully is renowned for his large abstract paintings. However, for his work entitled The Disappearing Boys, he created a very concrete sculpture. John, Johannes, Jean: three versions of the same name in English, German and French are engraved on a coffin, referring to three of the major European powers at the center of the world conflict.

1914/1918 – Not then, not now, not ever

Sean Scully: The Disappearing Boys, detail

The curator of the exhibition, Mattijs Visser, said he was fascinated by how the works on show reveal deep connections with the country of origin of the artists. The title of Scully’s work can be seen as a reference to those who were abducted, killed and secretly buried during the Troubles in Northern Ireland. These victims were known as the Disappeared.

1914/1918 – Not then, not now, not ever

Australia / Fiona Hall: Fell

War and death also have consequences for subsequent generations. The Australian artist Fiona Hall placed a charred cradle on a coffin in her work, entitled Fell. The sculptor was the first to represent Australia in its new pavilion at the Venice Biennale when it opened in May 2015.

1914/1918 – Not then, not now, not ever

Fiona Hall: Fell, detail

Hall is renowned for transforming ordinary, everyday materials into organic forms in her works, giving them historical and contemporary relevance. With the sawdust from her sculpture, she also created a bread that’s wrapped in barbed wire. Sawdust was sometimes added to baked goods during World War I to compensate for shortages of flour.

1914/1918 – Not then, not now, not ever

Armenia / Jean Boghossian: Double World

Born in Syria, the painter and sculptor Jean Boghossian is Lebanese and has been living in Brussels since 1975. Since he is also of Armenian descent, the international artist represented the country at the Venice Biennale in 2017 as well as in the “1914/1918 – Not Then, Not Now, Not Ever” exhibition. He split his block of wood into two pieces.

1914/1918 – Not then, not now, not ever

Jean Boghossian: Double World, detail

Boghossian is renowned for his experimentation with fire and smoke in his works. In Double World, one side is burnt, representing the losers of the conflict. The sharp edges of the two pieces show how the different camps appear threatening to each other and clash, but the two laser-cut blocks also fit perfectly together, which the artist sees as a symbol of hope.

1914/1918 – Not then, not now, not ever

1914/1918 – Not Then, Not Now, Not Ever

Tours can be booked to visit the memorial exhibition “1914/1918 – Not Then, Not Now, Not Ever,” on show in the German Reichstag building until January 6, 2019. The exhibition will travel to the UN’s headquarters in New York in 2019.

Author: Elizabeth Grenier

That weakness would prove fatal when another (invisible) enemy arrived in the Belgian capital: the Spanish flu. Worldwide, the virus would go on to kill at least 25 million people between 1918 and 1920. In Brussels, thousands of people died — far more than were killed during the war.

The virus — which despite its name did not come from Spain but was probably brought to Europe by US soldiers — had a devastating effect on the weakened population, particularly the younger population between 18 and 28.

“It was very difficult for parents to accept that their son had survived four years in the trenches or in an occupied city, to just suddenly die of the flu,” said Kesteloot, who experienced their grief through the diaries of the soldiers and their families.

To commemorate the end of World War I in Brussels, around 300 street names recall past battles or war heroes. Dozens of memorials have been erected, including those for fallen railway men or for carrier pigeons, used as messengers on the front. One hundred years after the war, their memory remains.

“Brussels, November 1918,” an exhibition at the BELvue Museum in Brussels, features historical photographs, films and documents detailing life in the city in the confusing final days of World War I. It runs until January 6.

Every day, DW’s editors send out a selection of the day’s hard news and quality feature journalism. Sign up to receive it here.

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[famosoentrescalles]

People keep thinking Aljoscha is a girls' name, when it's literally the nickname for Alexej, which is short for Alexander.