Ludwig Drums, le batterie più note del mondo, festeggiano i loro primi 100 anni con una campagna stampa davvero interessante: Ludwig, terrorizing neighbours since 1909.

L’immagine evoca il lieto sconvolgimento di una vita tradizionale quando il rock entra a farne parte, “terrorizzando” i vicini di casa. Adolescenti di ieri e di oggi possono riconoscersi nelle immagini, che contrappongono con grande ironia passione per la musica (di un certo tipo) a tradizione e tranquillità.

Anche la triste, solita minestra viene sconvolta dal suono della batteria..

Le batterie Ludwig sono diventate un mito, ormai centenario, che si è saputo adattare ai cambiamenti nella comunicazione e nella musica, pur conservando un’immagine ben precisa e autorevole. Profilo Twitter, MySpace, Facebook FanPage, web tv sono alcuni dei mezzi attraverso i quali è possibile stare sempre in contatto con la propria passione per la batteria.

Una passione centenaria, ma trasversale, come recita il profilo Twitter:

Drums your dad played. Drums cooler than your friends are playing. Drums that your children will play and melt your face.

Joy

]]> http://christianjakob.wordpress.com/2009/11/26/schlagzeug-meets-jurassic-park/ Thu, 26 Nov 2009 09:27:21 +0000 Christian http://christianjakob.wordpress.com/2009/11/26/schlagzeug-meets-jurassic-park/

Terrorizing neighbours since 1909

Werbeagentur: Tillmanns, Ogilvy & Mather, Düsseldorf
Creative Directors: Volker Kuwertz, Andreas Steinkemper
Art Director: Marc Zinnecker
Fotograf: Michael Stemprock

via Ads of the World

Alex Van Halen DRUM SOLO Alexander Arthur Van Halen (born May 8, 1953)

Alexander Arthur Van Halen (born May 8, 1953) is a Dutch born- American drummer and co-founder of the hard rock band Van Halen.
Originally, his brother Eddie had taken lessons for drums, while Alex practiced guitar. After spending time playing Eddie’s drum kit, Alex became more skillful at the drums than Eddie.
In 1974 Alex, Eddie, David Lee Roth and Michael Anthony became known as Van Halen. They were signed to Warner Brothers in 1977 and released their first album in 1978.

Concert used memorabilia in collecting is rare and difficult to find. Authenticating that the item was concert used is even more difficult and documentation is even harder to find.

Which makes the pictured item rare indeed.

Concert used and signed drumsticks belonging to Charlie Watts of The Rolling Stones.

For starters, they are Ludwig drumsticks.
Charlie used and played Ludwig back in the 80’s.
He now uses Vic Firth.
Secondly they were played at a very unique concert.
December 18, 1981 Hampton, VA, the last show of the “Tattoo You” tour, Keith Richards birthday and a specially taped show for television.

Read the letter from Stones President Art Collins on how he obtained the sticks from Charlie after the show.

A few items signed by Charlie that aren’t as difficult to sign as drumsticks.

MC 011 – Themselves,  Ergo Phizmiz,  Amon Duul II ‘Made In Germany’ and ‘Legends Of Benin’

We have a lot to get through with this edition so I shan’t keep you to long.

The 20th anniversary of the Berlin wall coming down seems apt as I finally reach Amon Duul II’s LP ‘Made In Germany’. My article is full of information on the records subject matter, a 150 year journey through Germany’s history with all its references to war, art, opera and literature. This grand opus of a rock opera shares the same criticisms that most concept albums attract. Much lauded even by fans of German music this album has had a thorough kicking, in part due to its controversial topics. Recently Kasabian have come out and admitted to using the cover artwork as a backdrop to their own ‘West Ryder Pauper Lunatic Asylum’.

We have three albums up for review this time round. The  left field Hip Hop of Themselves, Surrealist experimental musician Ergo Phizmiz and the latest compilation from German label Analog Africa all make an appearance.

I shall leave you to it.

(DV)

Themselves - 'Crowns Down' 2009

Themselves – ‘Crowns Down’

Anticon 2009

Vinyl (double)

Side 1.

1.    ‘Back II Burn’

2.    ‘Oversleeping’

3.    ‘The Mark’

Side 2.

1.    ‘Gangster Of Disbelief’

2.    ‘Daxstrong’

3.    ‘You Ain’t It’

Side 3.

1.    ‘Roman Is As Roman Does’

2.    ‘Skinning The Drum’

Side 4.

1.    ‘Dead Catcher II’

2.    ‘Gold Teeth Will Roll’

In recent times we have seen a flourishing underground movement in Hip Hop that has moved towards a rawer and more left field indie direction. Both in the use of their original beats and the style of delivery artists such as MF Doom, Madlib, Mr.Lif, Aesop Rock and Edan have remained low key in the background busily reinventing the scene. They all make the ridiculous blown up pretensions of commercial Hip Hop look frankly out dated and stale. Just because the likes of Kayne West sample Daft Punk it doesn’t mean that he has taken any risks.
You see it’s all calculated to the nth degree so that he can sell more of his pop lite banal brand of rap, we seem to have created a monster! His rival to the crown of most over-rated rapper is Jay Z whose recent headline at Glastonbury just made the case for yet more of that smoke and mirrors nonsense of epic proportions.
The last decade in Hip Hop has ended up being watered down for the X-Box generation, either brute force messages about killing to stay alive or boring ditties about girls and money by 50 Cent seem to be the only choices on offer to the masses. But there is an amazing scene that runs counter to its bloated rival helped by social networking sites and low key gigs that have promoted some of the more cutting edge and experimental groups out there.
Artists like Yo! Majesty and Uffie have broken through yet remain gritty and carry a lot of kudos, granted that they may not have the most politically charged of subjects in their resume. Like Spank Rock they may just want to shake their booty. All these artists have incorporated a back to basics approach into their music, rocking beats from the golden period of Hip Hop in the Eighties and merging them with an updated style of now.

Which leads me to the inventive duo of Dose One and Jel, who have both been involved in a long list of creative projects including the highly acclaimed cLOUDDEAD and Subtle, whose influence is heavy on this the third album from their creatively successful moniker Themsleves.
Dose One and Jel return to the old skool set up of MC and DJ to create an extraordinary poetic slice of never ending prose, set to a mix of beats and samples that conjure up memories of the golden period in Hip Hop of 1985 to 1989.
On top of this we get a layer of industrial strength effects and abstract sounds familiar to those used on Subtle’s ‘Exiting Arm’ LP.
The rapping features the distinct nasal style of Dose who never lets up on the tracks ‘Oversleeping’ and ‘The Mark’, in fact it sounds like he’s not going to ever come up for a breath. He uses this delivery style almost like an instrument in its own right as he spits rapid readings like a form of lyrical autism.
Famously back in the day Dose faced off against an unknown Eninem at a scribble jam, which he lost by the way though I think we know who the real winner is!
Partner Jel supplies the music and drum beats though some cool and dazzling effects, he borrows from Ultramagnatic MC’s, Kool G Rapp and Marley Marl. Like on the opener ‘Back II Burn’ which uses a heavily influenced electro break fest from Graig G era Transformer’, or the darker tones of past masters Paris and Big Daddy Kane on the track ‘Roman Is As Roman Does’.
His drum machine creates some deeply unwieldy moods that threaten to crush who those that step up to the challenge.

Highlights on the album include ‘Skinning The Drum’ which has samples flying around with nods of recognition to the pioneers, much in similar fashion to Edan on his ‘Beauty And The Beat’ LP.
The lyrics further back up the mood with the repeated refrain of “who was inventing it, who was wrenching it”,
On ‘Daxstrong’ a swirling playground ambience turns into an assemblage of breaks that could have been on the cLOUDDEAD album as Dose eloquently builds up a picture of social ills expressed in his clever use of lyricism.

My only criticism is in the track ‘You Ain’t It’ which sounds like a horrible vocoder pastiche of Californian bump and grind mixed with Hal Mar Superstar’s smooth brand of funk.
I’m not sure what they are trying to do with this song but it doesn’t in my mind sit well with the rest of the album.

This album thoroughly deserves your attention even if you don’t usually follow Hip Hop. A mix of experimental sound collage and subliminal wordplay suffused with the inventive use of samples ‘Crowns Down’ could be the equivalent of TV On The Radio’s ‘Dear Science’ LP from last year.
It will defiantly make my best of 2009 list.

Dominic Valvona

Ergo Phizmiz himself steering the Dada ship ever forward.

Ergo Phizmiz (& The Rock ‘n’ Roll Machine) – ‘Dadaphone’

Available through FMA (Free Music Archive)

1.    The Bomb
2.     It’s A Sin
3.    Saturday Night
4.    Karma Police
5.    A Little Respect
6.    Lets Get Ready To Rhumba
7.    Turn Around
8.    Slap My Bass Up
9.    I Think We’re Alone Now
10.  That Bassline

Ergo Phizmiz is the modern day equivalent to the Surrealist Max Ernst and Fluxus movements La Monte Young.
His work across installation, sound and performance pushes the ideals of Dada to more extremes with his nonsensical and childlike approach to sometimes-heavy themes.
An in demand composer who has had work commissioned for numerous art institutions as well as the BBC, his back catalogue is far and wide in range.
The common thread that runs throughout is that he doesn’t seem to take himself too seriously, a joyful abandon cannot be contained no matter how stiff the subject.
I actually briefly contributed to one of his projects a while back. At the time he was artist in residence at the Dimbola Lodge gallery on the Isle Of Wight, famous for being the home of Victorian photography pioneer Margaret Cameron; the Annie Leibovitz of her day hanging out with Tennyson and Darwin among many other renowned characters.
Ergo weaved a set of recordings around the history of the place with his storytelling sound collages, I found myself taking part with a conversation piece between us being cut up and added.
Anyway I’m diverting attention away from the album, let me continue back on track so to speak.

This ten track scattering of covers entitled ‘Dadaphone’ is a strange mix of Nineties commercial dance anthems, Eighties pop and some more credible labelled songs such as ‘Karma Police’ by Radiohead.
Erasure, Pet Shop Boys and shopping mall teen queen Tiffany all spring up and receive a tongue in cheek deconstructive form of dismemberment.
Ergo’s brand of medicine produces a mix of Captian Beefhart era ‘Electricity’ and Bonzo Dog band ‘Gorilla’, which on the Ant and Dec adjusted titled song  ‘Lets Get Ready To Rhumba’ is evident in the Bonzo’s Cambridge Footlights vaudeville humour.

The stand out tunes include The White Stripes style trash of ‘It’s a Sin’, which erupts into a slavishly grinded out blues number via the sonant ‘Greensleeves.’
As I mentioned before Radiohead’s ‘Karma Police’ is given the Ergo treatment, though his version becomes a jaunty polka knees up that drops a lot of the original sentiment out yet still captures some of the soul.
‘I Think We’re Alone Now’ is now a romantic mandolin led waltz through medieval France in the age of Chretien De Troyes. Both pleasant and joyful his appropriation of this Eighties pap actually lends it some gravitas that the original never envisioned.
By far my most favourite cover is Erasures classic ‘A Little Respect’, which in the hands of Ergo becomes a maelstrom of raw emotion played out by krautrockers noise merchants Faust.
Heavy yet not ridiculous it is a pretty deserving tribute.

Lesser highlights yet still worthy of your attention is the broken down cacophony of ‘That Bassline’. The bass line in question is Chic’s, which is accompanied by a mash up of competing riffs and refrains. Pure Beefheart in approach and spirit everyone sounds like they’re playing completely different tunes at the same time. It amusingly starts to work and instead of falling completely apart resignedly triumphs in its chaos.
Also on the album there are experimental nods to dance acts such as the Prodigy and pop princess Kylie as well as a sea shanty inspired rendition of the annoying hit ‘Saturday Night’. I can’t for the life of me remember who had the original hit but she was defiantly Dutch.

All of the tunes are freely available on the music site Free Music Archive, where you can choose at will or download the lot. My advice is to grab them all as everyone eventually grows on you.

God bless you Ergo Phizmiz! May your avant garde ship of tomfoolery continue to set its course through the oceans of mediocrity and boredom.
Not too strong I hope!

Dominic Valvona.

Analog Africas 'Legends Of Benin' compilation 2009.

‘Legends Of Benin’ (Afro Funk – Cavacha – Agbadja – Afro Beat 1969 to 1981) –  Gnonnas Pedro/ El Rego/ Antoine Dougbe/ Honore Avolonto.

Double Album available on both Vinyl (version reviewed and CD)

Accompanied by the following backing bands: -

Dadjes
Panchos
L’Orchestre Poly-Rythmo
L’Orchestre Black Santiago

Compiled by Samy Ben Rejob for Analog Africa Records, 2009

Track List:-

Side A

1.    ‘Dadje Von O Von Non’ – Gnonnas Pedro et Ses Dadjes (3:53)

2.    ‘Feeling You Got’ – El Rego et Ses Commandos (3:44)

3.    ‘Honton Soukpo Gnon’ Antoine Dougbe  (7:05)

4.    ‘E Nan Mian Nuku’ – El Rego et Ses Commandos (4:26)

Side B

1.    ‘Tin Lin Non’ – Honore Avolonto et l’Orchestre Poly-Rythmo (8:48)

2.    ‘Okpo Videa Bassouo’ – Gnonnas Pedro et Ses Panchos (3:30)

3.    ‘Ya Mi Ton Gbo’ – Dougbe et l’Orchestre Poly-Rythmo (6:34)

Side C

1.    ‘Nou Akuenon Hwlin Me Sin Koussio’ – Antoine Dougbe (5:03)

2.    ‘Na Mi Do Gbe Hue Nu’ – Honore Avolonto (6:44)

3.    ‘Vimado Wingnan’ – El Rego et Ses Commandos (3:01)

4.    ‘Dou Dagbe We’ – Honore Avolonto et l’Orchestre Black Santiago (4:26)

Side D

1.    ‘Djobime’ – El Rego et Ses Commandos (2:31)

2.    ‘Kovito Gbe De Towe’ – Antoine Dougbe (6:39)

3.    ‘La Musica en Verite’ – Gnonnas Pedro et Ses Dadjes (7:08)

Afro beat; Afro funk and all its many bewildering sub genres have always slightly perplexed me. I’ve often taken a peek and thumb through the African music section in all the record shops that I regularly frequent, though until now I have left it well alone. The sheer depth and number of styles have often left me confused, as a novice I feel a little shy to point out my ignorance, though it never usually stops me from having a punt and purchasing a record on chance alone.
Well on this occasion my first ever-actual buy was aided by complete chance.
I happened to be in Borderline Records store in Brighton, an emporium of reissues and forgotten gems from bygone ages. On that day they were playing some pretty groovy foot tapping sounds, a quaint version of early Stax mixed with liberal lashings of James Brown’s infused funky Zaire period soul.
Instantly I became hooked as my whole body decided to break out into some embarrassing Paul Simon induced dance routine. Cut a long story short I ended up asking the owner what he was playing, he kindly showed me what it was and I ended up with ‘Legends Of Benin’ a lovingly compiled album of 14 tracks by four of the African country of Benin’s finest artists. In case your knowledge of African geography is shaky, Benin is in the west and borders Togo, Nigeria, Burkino Faso and Niger. Tightly caged in by its neighbours the influence of all these regions leaks into the music to create a unique mash up of rhythms and beats, that switches from rhumba to rocksteady in the blink of an eye.

The artists on this album include the likes of Gnonnas Pedro, a politically charged crusader, El Rego, an entrepreneur of dubious enterprises including a brothel and a boxing club, Antione Dougbe a much feared Vodun priest and Honore Avolonto, responsible for the country’s biggest selling album of all time.
These pioneers of poly-rhythmic charged music were all collected together by German based label Analog Africa’s Samy Ben Redjeb, an honourable sounding advocate of the genre who should be commended for his efforts.
His personal sleeve notes lavishly grace the record with a real fondness and warmth, though he had many problems licensing and obtaining permission to release this record. Three of the four artists are no longer with us so their legacy has been left in the hands of relatives and old musical comrades, not all of them initially eager or trusting in the beginning.

The music itself is a combination of funk, rhumba, soul and an attempt at reggae, all served with a thick dose of infectious grooving traditional African rhythms and instruments. Local bands to the region back each of the artists, from the military moniker Commandos to the exotically named Black Santiago.
Being a former colony of France the songs are titled and sung in the former interlopers language, if it makes sense these tracks even sound like their being played in French.

Highlights on this record include El Rego’s ‘Feeling You Out’, which has an inviting bass line that introduces a prime slice of James Brown at the Apollo rawness whilst the sax sounding squeaks coupled with a break beat backing make this into sound like a missing Northern soul stomper.
Antoine Dougbe, the high priest of some primal religion who professed to be the spirit of a dead relative sent back to this world so he could heal and curse those who cross him, concocts a swinging style of pulsating and joyful abandon on ‘Ya Mi Ton Gba’. His more down to earth day job as a musician is less frightening then his reputation precedes.
Honore Avolonto on ‘Tin Lin Non’ delivers an Afro beat groove behemoth that just never lets up, whilst Gnonnas unleashes a call and response soul spine tinkler with ‘Okpo Videa Bassovo’. His ‘Dadje Von O Von Non’ opens with ghostly sounding twanging guitars and features catcalls over a bouncing melody.
Some of the tracks are more laid back and quite subtle evoking comparisons to ska.
There is a real sense of authenticity running through these tunes and they come across as quite fun to make.
All the musicianship is tight with plenty of space to let it breath, there are no solos or hogging of the limelight to be found.
As to all the different genres I’m still not too sure how they’re prescribed only that it has something to do with timing, the instrumentation and that some of the styles are derived from ceremonies and folklore. None of this matters of course as they all sound great.

Chuck this on to get any party moving and to impress your know it all friends.
Thanks Analog Africa for introducing me to an untapped rich library of quality world music.

Dominic Valvona

A German Music Odyssey – (1968 to 1975)

Part 8 – Amon Duul II   ‘Made In Germany’

Background: -

Sadly this will be the last in the series dedicated to Amon Duul II before I go to work on Colognes finest Krautrock advocates Can.
But I’m ending it with the bands sensational Teutonic rock opera of 1975 ‘Made In Germany’.
This epic homage to the Who’s ‘Tommy’, broadly mixes in all the low and high points of Germanys history, from the birth of a united country in the 1800’s to the fall out of World War II. Along the way countless references incorporate a host of cultural figures, from composers such as Wagner to the philosopher Kant.
Politically charged and self-mocking this album both courted mock disdain and controversy, which we will come to later.

Firstly that’s rewind back to 1974, a stressful period in the bands career. Coming home after a tout and emotionally draining tour the guys needed a little down time, members had upped and left whilst the direction of the music was in turmoil.
Along comes the A&R man Jurge S. Korduletsch, a man of considerable means who had recently set up his own label Lollipop Records. Certain promises were made and before you knew it he had signed them up.
At once he pushed the band into a recording session, this hastily orchestrated session became the backbone of their next release ‘Hi-Jack’. This strange record became their most commercial marketable album yet and oddly borrowed heavily from Bowie and glam rock.
It was at this point that Atlantic records came calling offering a deal to release their music in the states, though they would also release the LPs under the ATCO division in the US and Canada. This may have been in response to the relative success that Virgin were having with bands from Germany, Tangerine Dream and Can amongst others.
After some initial success with ‘Hi-Jack’ it was agreed that now would be the time to follow up with something quite ambitious, as well as a great fuck you to the establishment and sensibilities of the man.
John Weinzierl puts it that they basically become disillusioned with the so-called changes in society and empty gestures of the underground youth movements. Also it was apparent to him that history itself was not moving on and that his fellow compatriots were still seen as the bogeyman of Europe. Even though his generation had seen the horrendous fall out of the former regime and reacted to it by pushing the leftist antidote forward, they were still envisaged as bad guys. As much as they tried to separate and fight against it, the world carried on viewing them with suspicion and always eager to remind them of the war.
With all this in mind Weinzierl and the group embarked on a grand project which would see them releasing a double album of songs based around a central theme of irony and self-provocation. This would take both real and made up figures from the rich history of the country, borrowing heavily from literature, film, opera, fantasy and real life events.
The Weimer Republic, Fritz Lang, King Ludwig, Hitler and Marlene Dietrich all make an appearance in this cliché heavy diatribe. From the unification under the heavy brow beating of Prussia, which came after the eventual victory over Napoleon to an initial story involving a character named Mr.Kraut, this LP has it all crammed in.
‘Made In Germany’ is like nothing they’ve done before and continued instead a move towards a crossover rock and pop experimentation, which ‘Hi- Jack’ had tried before.
By this point they shared nothing in common with any of their fellow countrymen in style or direction as they went out on a limb with their new brand of classical music and intelligent rock.

In the krautrock fraternity this record is usually given a wide berth, which is unfair. A loyal bunch of us have a certain fondness though and will go on about it quite a lot, spreading the word so to speak. Recently to my surprise a new champion in the form of Kasabian came forward, who both rate the record and admit to using its cover as inspiration for ‘West Ryder Pauper Lunatic Asylum’.

The cover artwork of ‘Made In Germany’ is itself different depending on which of the two different versions you have.
In both the US and UK a compressed single LP version (see track list) was released. This had Renate dolled up to look like Marlene Dietrich from the movie ‘The Blue Angel’, she has an alluring but contemptuous gaze as she straddles a chair in true Cabaret style.
The original version used a picture of the band sitting for an old fashioned portrait bedecked in various costumes including Bavarian pomp, what looks like a Zeppelin pilot and Renate as a heroine from Wagners Ring Cycle. This is the picture that Kasabian re-enacted for their album.
This original was included in the single version on the inlay sleeve as well, so not sure why they buggered about with it.
The reasons for their being two variations comes down to a fall out with Atlantic boss Ahmet Ertigon, who was mightily surprised to find his latest signing offer up this platter of Germanic mayhem and political satire.
Finding it in poor taste and completely misreading the concept he got cold feet and cut the album down, only Germany itself to my knowledge received the proper double album. Rumours that Ahmet’s Jewish background played a part, though on being told that Amon Duul II wanted to embark on a US tour/invasion by travelling over in a Zeppelin can’t have helped matters. Remember this is only thirty years after the end of World War II itself.
Also the original contains a mock shock DJ interview with Hitler himself, which uses his speeches as the DJ pokes fun with a knowing wink and some poor taste quips. All this has been available on CD for years now so you don’t have to miss any of the stuff that was cut out on the single album.

The recording itself included session players such as Thor Baldursson, the Icelandic keyboardist and singer who worked with Giorgio Moroder and Grace Jones, Heinz Becker, Lee Harper, Bobby Jones and Helmut Sonnlestner, who all had a background in jazz.
New boy Nando Tischer became a fully ingrained member of the band playing guitars and singing as well as composing some of the songs. Robby Heibl was back on duty again and mucked in on near enough everything, he was also now the designated bass player of the group.
John Weinzierl is credited as guitarist but was the leader so to speak of Amon Duul II and is responsible for a far old share of the concept and composition.
Renate and Chris Karrer do most of the singing whilst Falk U Rogner supplied his sonic delft touches on synth and organ.
The talented Peter Leopold, who gets some room to show of his old ‘Yeti’ solos, supplied drums as usual.
All of the musicians do a sterling job and it is amongst the best of their whole catalogue. Obviously the songs are more structured but there is always room for inventiveness and some great lead guitar work.

Right I think that covers the background details now its time for the review.
I’ve chosen the original double album version to write about but have included both track listings for completion.
Also at the end of the review there is a complete list of all their releases up to date.
Weinzierl and some of the core members continue to tour and are embarking on a new album. Also they are set to be busy with showcasing some of their old material for a one off filmed performance that will take place in the original Bavaria studios.
Of course I will update you on when this will happen.

Review:-

‘Made In Germany’ 1975

Double gatefold LP on Nova Records, only released in Germany at the time.

Record 1.

1. Overture    (5:12)

2. Wir Wollen    (1:32)

3. Wilhelm Wilhelm    (3:10)

4. SM II Peng    (2:16)

5. Elevators Meets Whispering    (1:26)

6. Metropolis    (3:27)

7. Ludwig    (2:32)

8. The Kings Chocolate Waltz    (2:28)

9. Blue Grotto    (3:33)

10. Mr.Krauts Jinx    (8:44)

Record 2.

1. Wide Angle   (4:06)

2. Three-Eyed Overdrive    (1:17)

3. Emigrant Song    (3:21)

4. Loosey Girls    (5:13)

5. Top Of The Mud    (3:45)

6. Dreams    (4:08)

7. Gala Gnome    (3:52)

8. 5.5.55    (1:39)

9. La Krautoma    (6:08)

10. Excessive Spray    (1:41)

Single version on one record released in 1975.

UK – Atlantic Records

US/Canada – ATCO

Side A.

1. Dreams    (4:08)

2a. Ludwig    (2:33)

b. The Kings Chocolate Waltz    (2:52)

c. Blue Grotto    (3:33)

3. 5.5.55    (3:13)

4. Emigrant Song   (3:23)

5. La Krautoma    (4:45)

Side B.

1. Metropolis    (3:38)

2. Loosey Girls    (5:20)

3. Gala Gnome    (1:18)

4. Top Of The Mud    (3:44)

5. Mr.Krauts Jinx    (8:48)

Personal: -

Renate Knaup: Vocals

Robby Heibl: Vocals, Bass, Guitars and Violin

Chris Karrer: Vocals, Guitar, Banjo and Violin

Peter Leopold: Drums and Percussion

Falk U Rogner: Synthesizer and Organ

Nando Tischer: Vocals and Guitar

John Weinzierl: Guitar

Thor Baldursson: Keyboards

Heinz Becker: Timpani, Gong and Percussion

Lee Harper: Trumpet, Brass Section

Bobby Jones: Saxophone (Solos on ‘Loosey Girls’)

Jurgen S.Korduletsch: Additional Backing Vocals and Producer

Helmut Sonnleitner: First Violin and String Section

A rolling timpani and clashes of cymbals announce the theatrical opening bars of ‘Overture’. A prelude orchestral snippet of all the tunes to come, it is used in a similar fashion to the same titled song on The Who’s ‘Tommy’.
This Wagner evoking composition transcends his ‘Ring Cycle’ stiffness and is instead an uproarious celebration of this inspired requiem that Amon Duul II have set sail on.
Played out in full classical pomp this overture of sorts’ sets us up for the 150-year journey through Germanys history.
The track makes its way through all the different melodies on this album, 8 bars or so of each song to come is given the ceremonial treatment before a final clash of the gong and the next track ‘Wir Wollen’ strikes up.
Roughly translated as Come On!, this rock steady instrumental groover continues the classical mood. Old joy de vie orchestral pieces from past dead German composers interact with the lead guitar of John Weinzierl as the percussion crashes about in the background., culminating in an epic finale.
‘Wilhelm Wilhelm’ breezes along on some hip riffs as Renate and Chris Karrer enter the fray with their harsh Germanic tones that tell the tale of King Wilhelm I of Prussia (between 1861 – 1888) and later on the whole of united Germany (1871 – 1888).
Wilhelm had fought against Napoleon in his youth and went onto to rule the kingdom of Prussia before eventually brow beating all the separate states, of what was to become Germany, into eventual unification.
He famously appointed Otto Von Bismarck as his Prime Minister, which was in part due to the ill feeling and distrust between the royal household and parliament. Bismarck was to act as his man on the inside and to be sympathetic to the Kings views but this gave way to him taking on most of the decisions and led to him gaining most of the real power.
Added to this the founding of the a new Fatherland were plots of assassination by anarchist and left wing groups, which led to draconian laws being introduced against the liberals and free thinkers. King Wilhelm was lucky to escape with his life and was wounded in one of these attempts, which he saw as a wake up call and prompted a lock down mentality and placed the country in a militarised state, ring any bells!
Our three-minute funky number encapsulates all this background into a poppy little ditty that is both sung in English and their native tongue. A chiming melody and a crunchy wah wah effects driven guitar gives this song an almost rock disco feel, whilst Peter Leopold lets loose on the cymbals that end in an eruption.
The strange and exotic titled ‘SM II Peng’ is next up, another instrumental interlude. It ambles along in fine fettle abandon riffing off a 12 bar blues boogie with the accompaniment of some spooky sounding effects from Falk U Rogner. The track sounds like a cheerful wander through a graveyard or a sit down at an séance in a Gothic palace.
This is followed by another instrumental segue way entitled ‘Elevators Meets Whispering’, which apart from its strange use of English is another slice of mysterious creepy and misty fog bound graveyard atmospherics.
Our odd curio is given some gravitas from Weinzierl and his strung out haunting guitar strums before this short interruption abruptly ends and makes way for the big guns.
‘Metropolis’ begins with a grand piano, which accompanies a staccato riff of rock as Renate’s sultry Teutonic tones gloriously paint a picture of 1920’s Weimar through the films of Fritz Lang.
Lang and his most famous work of art ‘Metropolis’ is dissected and referenced throughout the tune, nods to both locations and the underlying plot are connected to paint a picture of disillusionment. Angles, Dr.Mabuse and Zeppelins all pop up, as the workers remain left at the bottom of a modern day version of the Tower of Babel. As in the biblical tale a common language is lost between those in control who reached the peek by standing on the underclass’s faces and those who ended up in a shitpile after building futile monuments to false ideologies.
This expressionistic romp both mixes Sparks and Roxy Music into a boogie Euro stomp; Renate adds a dose of eccentricity with her approach to the vocals that are sung with enthusiasm but also with the hint of cynicism. She sounds like a heroine from one of Klimts paintings or an oracle from Wagners ‘Valkyrie’. This is one of the albums many highlights.

Next up is the three-part story arc suite of poor old King Ludwig, a much maligned and ridiculed figure from German history.
The first of these acts is ‘Ludwig’ which tells the tale of his apparent suicide by drowning, though a strange plot to get rid of him by his ministers makes for a good conspiracy theory.
Ludwig II of Bavaria was brought up in a privileged world and he inherited his fathers’ exuberance for fantasy and myth. His love of arts and music led to him patronising the controversial Richard Wagner, who had been involved in anti-establishment intrigues and had run away once after taking part in protests. This lonely king was more at ease with images of old folklore and Arthurian legend then with the day-to-day running of his country.
After the unification of all the individual kingdoms by Wilhelm, Ludwig stayed on his throne but with a diminished role. Following his late fathers building plan of extensive palaces and castles, he plunged his domain into bankruptcy. Not wishing to take advice from his ministers he threatened them with being removed.
Plots to have the king certified as mentally unstable were slowly put into place, a hasty draft was sent for approval to Bismarck himself who dismissed the claims.
Another attempt with the involvement of four prominent physicians of the day sealed his fate, though he didn’t come quietly and its alleged he may have been shot whilst escaping on Lake Starnberg. It was announced to the world that he had committed suicide but we know better – right?
‘Ludwig’ crams all of this background into a satire inspired boogie that has Renate on lead vocals again.
‘The Kings Chocolate Waltz’ is an instrumental stopgap built around a sad sounding Wurlitzer loop. Some echo and deep reverb drenched guitars are added to the stirring ambience.
Our short story arc is finalised with ‘Blue Grotto’, with its poetic and crooned delivery from Renate. Ludwig and his eccentricities are given an airing in this ballad to the misunderstood actions of the deluded king.
What chance did he have when he was famously brought up in the Disney like palace of Neushwanstein, which was situated near to Schwansee or under its better-known moniker Swan Lake. In fact Ludwig was nicknamed the Swan King after it.
All the references in this song are adhered to in the true misfortunes of the foppish monarch, moonlight picnics and hanky panky in the nude with his male servants add to the fascinating tale of a little boy lost.
Renate has named this her favourite song in the whole Amon Duul catalogue.

Leaving behind the fateful old charming Ludwig we end the first part of the album with the eight minute long tale of ‘Mr.Krauts Jinx’. A heavily German toned vocal from Karrer sets up the story of our unfortunate character Mr.Kraut, more of that tongue in cheek approach of self-disdain.
Our character is exploring the Valley Of Kings in Egypt on some cheap package tour I expect though this one ends with him being beamed up by extra terrestrials. This unforeseen addition to his holiday sees him travel through the cosmos before he is promptly placed in a space zoo as the latest exhibit. Some anthropologist type of table turning or reference to the search by right wing ideologist for a white superman we can’t be sure. But over the course of the song we go from a warm acoustic introduction in the vain of Dylan before we progress to what amounts to some thrashing out rock aspirations.
The end of our story is a kind of positive as Mr.Kraut is thrown a concubine of well-equipped proportions to spend his eternity with; our man now has a smile on his face.
A final refrain of “Cause future ain’t tomorrow, future is today” rings out in uplifting defiance or because ones fate is finally sealed.
Karrer seems to have a few problems with singing this track, as he almost goes out of tune with some of the lines.
I’m at odds with this track as it remains in my eyes a bit of a filler and lets the whole album down with its almost Euro embarrassing direction.

The second part of the album starts with the country rock inspired buoyant jaunt of ‘Wide-Angle’. Renate is at her ‘All Years Round’ best as she reminisces about the days of self abandon in the Munich communes. Dropping acid and hanging onto every word of a lost love interest that long since moved on and left the original principles of change back at the bed-sit.
Both the aspirations and drugs are now replaced in the stars backstage with “compromised cocktails” lavishly bestowed upon our band by the new suit wearing management. I can’t help but think this is a dig at how their music has been adopted into a more commercial arena along with bands like Can who after 7 or 8 years have finally to a point compromised their sound.
‘Three Eyed Overdrive’ is another one of those instrumental interludes, which features more haunting synths and organs. This time the main thrust is a pulsating synth that becomes pretty disturbing as it moodily stews away.

Karrer delivers a heavy burdening thick German accent in the next tune ‘Emigrant Song’. Cuckolding a parody driven lament to the story of the first German settlers to try and make their way in the USA. Escaping all the loons and stiffs from back home they hope to take a slice of the new world but end up in the inhospitable lands of Sierra Nevada. It would take brave men indeed to tame this mountainous region which had the worst of both climates, it could be either stiflingly melting hot or become snow bound frozen tomb.
Some stereotyping of German traits is delivered with an outburst of banjo and homage to the Native Indians history as penned by Bob Dylan.

The paintings of Otto Dix, Max Beckmann and George Grosz influence the Weimar Republic hedonism of ‘Loosey Girls’.
Heavy doses of Pink Floyd era ‘Meddle’ are played out over this alluring jazz number, which features a saxophone solo and the hard pressed vocals of Karrer.
A cabaret inspired world of depravity in the days before the stirrings of the far right put an end to such loose times, this song weaves a heartfelt poem of woe as our prostitute heroine falls into a society of despair. It all sounds like Karrer has seen it happen too many times, though it has quite a moving melody and hits the right spot even though it carries some sentimentality.
‘Top Of The Mud’ ups the tempo as we get a heavy rock rendition of blues that ends in a glam infused knock at the current music scene. Renate and Karrer sing in unison as they lampoon their own route from space rock troubadours playing music from another dimension to the more structured ambitions of recent years. With lines like “might not be much fun, without any fans” they comment on their own situation within the industry and sound jaded and knocked about by the increasing lack of faith in what they are doing. Though it is unfair as this album could be their best.

Confidently sweeping in is the heavy South American tango tinged ‘Dreams’. Passionate Cuban like sounds and melody infused with the ruminants of a flamingo style shindig add to this track that has Karrer swoon about sharing thoughts of a love that got away through his dreams.
A segue way instrumental ‘Gala Gnome’ intrudes proceedings with an ambient brief interlude. Delayed synth combined with a low engine like hum produce an unnerving breather before the next song ‘5.5.55’ arrives to much anticipation.
Better known as the 5th of May 1955 this is the date that West Germany gained full sovereignty, though the US kept its presence there hoping to put off any plans the Soviets might have creeping over the boarder.
The economic miracle of which this track speaks started off through the seeds of the Marshall plan and catapulted the Germans to becoming one of worlds most productive and eventually rich economies. By 1973 they had help found the G6 nations group and became the industrial capital of Europe, all within thirty years of the end of the war.
Contrary to belief they didn’t exactly get away with it easily as both culturally and scientifically all intellectual property was either appropriated by the US or swallowed up into the allied nations own companies.
Both France and the UK received more money through the Marshall plan then Germany, it wasn’t until the Eighties that we in the UK paid our debt off. Germany had paid a higher interest fee off and eventually by the mid Seventies had got rid of its debt.
All this is adhered to in the song as this rock heavy jolting tune asks what could have been, space programmes are both mentioned in the sense of lost opportunity but also pilloried as being paid for by those who can’t afford it.
A reference is also made to the Kraupp dynasty, a 400 year old industrial family who owned some of the biggest steel and ammunitions factories in the country. Sympathetically playing to whoever was in charge at the time the family business survived most leaderships. A cosy relationship with the Nazi party helped them get all the major contracts to supply the army.
Alfried Kraupp was head of the company at the time of the thirties and forties, an opportune shady wheeler-dealer he used slave labour during the war supplied by an ever-helpful Herr Hitler. Alfried got cold feet after the failure of the German invasion of Russia and started to siphon off money and try to keep a distance from the regime. After the war he was put up for war crimes and received a 12 year sentence and made to sell off his company, but here’s the sickening part. No one brought his business and after spending half his initial sentence incarcerated he was allowed out to take control again. This reinforces in part the underlying mistrust by the next generation who inevitably ended up trying to overthrow the system.

At the end of ‘5.5.55’ there is a short interjection. In the style of a shock jock US radio interview, a rambling 80 syllables a second ranter puts across questions to Hitler as though he was questioning the leader of some band. Hitler answers with snippets of his original speeches as our DJ mockingly goads him. This interview builds up with what sounds like an audience waiting in a theatre for the performance to begin. All of a sudden they all break out into a feverent applause and cheering as Amon Duul II strike up their last jam. It becomes apparent that this audience is the one at Nuremburg.
The six minute instrumental ‘La Krautoma’ is based on the popular South American derived ‘La Paloma’, an old folk type song that has been recreated a million times across every country. Hell Elvis used it for his hit ‘No More’.
This space rock balling freak out mixes in the old country tune as Peter Leopold lets rip with one of his most ambitious drum solos of all time.
Aggressive guitars intercede as notes are left on sustain and put through pitch shifters, whilst all hell breaks loose as pure flights of fancy take hold of the band.
As the last galactic charging rhythms and effects fade out ‘Excessive Spray’ draws this grand opus to a close.
Military played recall on the snare accompanied by ‘Yeti’ era subtle ambient stirrings end in triumph. Falk’s synth has its last say with some Gothic pretensions, whilst we feel a sudden sadness loom over the horizon. Never again would we hear Amon Duul II in such a creative manner, complete sounding even if it is a move away from the improvised jams of yore.

So ends Krautrocks most overtly ambitious and aspiring work of art, a beacon of farce that attracts only those willing to learn and willing to experience a direction in music rarely repeated.
To be fair I’ve dissected this album to the point of obsession but hope in doing so that my enthusiasm sends you in the right direction and that you don’t dismiss the record as folly or high jinx theatrics.
Though I hate bands who gabble on about their influences, Kasabian’s unexpected nod to ‘Made In Germany’ may give it some attention, the richly deserved sort of attention that bands like Neu! and Can attract with ease. Though these guys sound practically stiff and cold in comparison to this.

Amon Duul II - 'Made In Germany' 1975.

DISCOGRAPHY:-

1969 – ‘Phallus Dei’

1970 – ‘Yeti’

1971 – ‘Dance Of The Lemmings/ Tanz der Lemminge’

1972 – ‘Carnival In Babylon’

‘Wolf City’

‘Utopia’ (Side project)

1973 – ‘Live In London’ (Live)

‘Vive La Trance’

1974 – ‘Hi-Jack’

‘Lemmingmania’ (Compilation)

1975 – ‘Made In Germany’

1976 – ‘Pyragony X’

1977 -  ‘Almost Alive’

1979 – ‘Only Human’

1981 – ‘Vortex’

1987 – ‘Anthology’ (Compilation)

1989 – ‘Milestones’ (Compilation)

1992 – ‘Live In Concert :BBC recording from 1973 (Live)

1996 – ‘Eternal Flashback’

‘Kobe’ (Reconstructions)

‘Nada Moonshine’

‘Live In Tokyo’ (Live)

1997 – ‘Flawless’ (Compilation)

1999 – ‘The UA Years: 1969-1974’ (Compilation)

2000 – ‘Manana’ (Compilation)

Official site:-

http://www.amonduul.de/main.html

PART 9:- We’re off to Cologne next as we leave our Munich friends behind for the first part in the series on Krautrocks most popular group Can.

The freethinking improvised masters of everything from west coast rock to world music via cut up experimentation, changed music forever during the Seventies.
We kick off with their first album ‘Monster Movie’, heavily influenced by The Grateful Dead, Hendrix and that West Coast of the US psychedelic rock. This record includes some pretty amazing beats and playing from the guys.

Dominic Valvona.

It’s raining dollars!  What would Frederic Bastiat have to say about this if he could speak to us from 1848?

As government regulations grow slowly, we become used to the harness – Judge Robert Bork

Frederic Bastiat

NEWS FLASH!

We interrupt our regular programming.  The President bans windows in order to benefit candle makers; candle production, he says, will stimulate the economy as long as candles aren’t melted by sunlight.  The administration also announces it will nationalize candle manufacturing, allow greedy wax suppliers only 10% of the money they are owed by the candle makers, plus grant a 30% share of Acme Candles, Inc.  to the UCMDWU (United Candle Mold Delivery Workers’ Union).   New York Times White House correspondent asks Press Secretary Roberty Gibbs what enchanted moment inspired this economic epiphany.

OK, I’ve got the facetiousness out of my system.  I wish I could take credit for this prescient concept.  I’ll admit to only my personal sarcasm in tying the philosophy of that remarkably witty proponent of freedom and liberty: Frederic Bastiat, (see link to Wikipedia entries from the pictures on the sidebar) to our current state of affairs.  Frederic Bastiat was a member of what was known as the French Liberal School in the 1840s (liberal as in the classical/original free market definition), warning of the folly of government intervention in the marketplace.  His parable of a fictitious petition by candle makers to the French government to eliminate windows in order to prevent candles from melting – thereby increasing economic prosperity by insuring the success of the candle industry (at the expense of the window industry…oops) – is a hilarious anecdote.  It also unfortunately illustrates the genesis of the president’s belief system.

Obviously above, I make reference to the bailout of GM, the perversion of the rule of law in throwing Chrysler bond holders to the wolves, and the artificial propping up of the UAW rather than normal bankruptcy pecking order.  Bastiat’s fable of altruistic but ultimately damaging marketplace intervention, is echoed consistently by the current administration’s adherence to this paradigm of unlimited spending by fiat justified by its immediate/short term effects on various and sundry interest groups.  In fact, Friedrich Hayek (see my previous two posts) said in a review of Bastiat that, according to 1930s economist John Maynard Keynes, the assumption of a multiplier effect (simply meaning a belief that the government can stimulate the economy by spending, producing a return greater than the cost of the stimulus; thereby increasing employment) on general economic prosperity would precisely mimic the argument of the candle makers!

Cash for clunkers (and maybe the upcoming Stimulus II cash for “cluckers” chicken farm bailout?) would most certainly fit neatly into these fallacies: money will do more good in the hands of the government, and it is the duty of government  to see that all get what they “deserve”.

Lastly, Frederic Bastiat’s landmark book: The Law has remarkable parallels to the economically damaging entitlement philosophies of the current congressional majority.  For example Bastiat says in the section The Results of Legal Plunder, “No society can exist unless the laws are respectable to a certain degree.  The safest ways to make laws respected is to make them respectable.”  This quote illustrates the current congress’s path towards a society in which greater than 50% of workers pay no taxes, and receive payments in the form of the Earned Income Tax Credit.  Therefore, this non-tax paying majority – the receivers of public services and governmental largess – are able to award themselves through the ballot ever increasing free goods and services from the minority: the tax payers/suppliers of public services and governmental largess.  I see no end to this increase in receivers, to include the resulting unconstructive inertia towards manufactured dependence.

So to bring my polemic to a close, I quote Bastiat one more time: “Legal plunder is identified as “… the law takes from some persons [what] belongs to them, and gives it to other persons to whom it does not belong…The person who profits from this law… will claim that the state is obligated to protect and encourage his particular industry…”

— Or nationality, ethnicity, income demographic, religion, color, blue collar, white collar, government employee, Woodstock museum, first time home buyer, union member, sexual preference, illegal immigrant, home in foreclosure, Wall St., Main St., small business, large business, self esteem damaging tatoo removers (I didn’t make this one up: see   http://www.mcclatchydc.com/226/story/63697.html), “green” energy producer, municipality, farmer, auto parts supplier, environmentalist, “too big to fail” bank and insurance companies, student, teacher, cop, mechanic, ethanol producer, the bicycle spoke hooker-uppers’ guild, donut shop owners’ amalgamated, and last but not least……….Acme Candles, Inc.

Comments on the blog con or pro most welcome.

Although Beatles Rock Band has been out for almost 2 months I just got the game a few weeks ago and haven’t posted on it yet only because I’ve been too busy playing it. The game starts out with a great intro. It takes you through an abbreviated version of The Beatles career, which you are soon to make your way through, but much slower. Although the price for the full set of microphone, drums, guitar, and game is a bit steep set at $250, I would say it is worth it. You can also just buy the game by itself if you already own the instruments from a previous Rock Band game for around $50. You can also unlock over 100 exclusive photos that really show you the maturing and changing of The Beatles throughout their 10 year run with huge fame. The songs include dozens and dozens of classics, although there are a good few missing from the game, but it will also help many fans familiarize themselves with less known Beatles songs.

Overall, this game completely blew my mind. The graphics, songs, and the total game experience was just phenomenal. I would buy this game ten times over just to try it new again each time. The Beatles Rock Band is the perfect product for any Beatles fan and anyone who likes Rock Band games in general to just introduce themselves to The Beatles.

“Eine Stadtbahn im Jagsttal wird es auf absehbare Zeit nicht geben. Das stellte Landrat Detlef Piepenburg am Montagnachmittag im Verwaltungsausschuss des Kreistages klar.” schreibt die Heilbronner Stimme. Wieder einmal berichtet die Zeitung falsch und oberflächlich, und es zeigt sich, dass auch Landrat Detlef Piepenburg offensichtlich schlechte Berater hat, die ihn auch noch mit falschen Zahlen füttern.

Im Gegensatz zu den Bedenkenträgern im Landratsamt Heilbronn hat Landrat Dr. Achim Brötel vom Nachbarlandkreis die Zeichen der Zeit erkannt und fordert einen S-Bahnverkehr auf der Frankenbahn bis Osterburken.

Landrat Piepenburg lässt dennoch nicht locker und versucht erneut mit falschen Horror-Zahlen die Diskussion abzuwürgen. So schreibt die Heilbronner Stimme am 18. November 2009: “Landrat sieht in neuer Studie keinen Sinn”

Mehr dazu im Weblog zur Frankenbahn.

Am 7.November 2009 öffnen Oberhausener Künstlerinnen und Künstler ihre Ateliers, um Kunstinteressierten einen Einblick in ihr “Meistern” zu geben. Insgesamt kann man an 18 ganz unterschiedlichen Orten kleine Ausstellungen besuchen. Die Ausstellung von Malerinnen in einem Malerbetrieb, arbeitende Künstlerinnen im Foyer der Clemenskirche oder auch – neu dabei – die Tattoo-Gallery „lionheart“ mit Malerei. Ausgestellt wird beim Optiker, in einer Salzgrotte und in einem Malereibetrieb, da gibt es allerdings stoffliche Variationen.

Den offiziellen Flyer finden Sie hier.

Quellen: Stadt Oberhausen und KandelaberBlog.

Zusammen mit Andreas Wencel stelle ich Bilder im Theater an der Niebuhrg aus. Andreas Wencel zeigt Bilder und Skulpturen. Um 19.30 Uhr beginnt seine Feuershow.

Als Gastausstellerin sind meine Bilder und einige Zeichnungen zu sehen, wer möchte kann sie auch erwerben. Auch für die musikalische Unterhaltung wird gesorgt, denn die Musik kommt von den Landlords.

Wir würden uns sehr freuen, wenn Sie bei uns vorbeischauen!

Beginn: 17 Uhr bis open end..

Theater an der Niebuhrg

Niebuhrstraße 61

46049 Oberhausen

(Mit öffentlichen Verkehrsmitteln: RB 36 bis “DU-Meiderich Ost Bf.”

oder Linie 906 “DU Obermeiderich Schule” Fußweg ca. 5 Minuten)

Here’s another view from Neuschwanstein castle.

View from Neuschwanstein Castle toward Hohenschwangau Castle (click pic for larger view)

…

4.002*

İnsan, her anlamın dilegetirmesini sağlayan diller kurma yeteneğine sahiptir; her sözcüğün nasıl ve neyi imlediği konusunda hiçbir fikri olmaksızın. -Nasıl ki insan, tek tek seslerin nasıl çıkarıldığını bilmeksizin, konuşur.

Gündelik dil, insan örgenliğinin bir parçasıdır ve ondan daha az karmaşık değildir.

Ondan, dilin mantığını dolaysız olarak çıkarmak, insan için olanaksızdır.

Dil düşünceyi örter. Öyle ki, örtünün dış biçiminden, örtülen düşüncenin biçimi konusunda sonuç çıkarılamaz, çünkü örtünün dış biçimi, tamamiyle başka amaçlar için kurulmuştur; gövdenin biçimini belli etmek amacıyla değil.

Gündelik dilin anlaşılması için yapılan sessiz düzenlemeler, korkunç derecede karmaşıktır.

4

…

*Ludwig Wittgenstein – Tractatus Logico – Philososphicus, Çeviri: Oruç Aruoba.

How Celebrities Love Us

Just checking in on AETV yesterday, I saw an update on (don’t laugh) Dog the Bounty Hunter, who was recently in Vancouver, B.C. CANADA!! I loved this quote from him, he said, “I love being in Canada! No guns here.” 

Isn’t that what one of Canada’s impressions has always been on the world? We are a peace-loving nation, backing up the military efforts of our mother nation, the UK, and glad to be there I might add. We are also a very proud nation. What the US might overlook a little bit, while also grudgingly acknowledging it, is that we have also evolved from “the Melting Pot”. Granted, there was no Ellis Island here, but most of our “arrivals” disembarked in Newfoundland, New Brunswick and Nova Scotia. YES, even Montreal was a huge point of entrance for hundreds and thousands of immigrants. Our nation has a rich history of involvement with Spain, France, Great Britain/Ireland/Scotland, spanning hundreds of years, and even the West Coast of Canada has experienced major influx of immigration from Japan and other Asian nations just in this last century.

I am not sure how many of you Americans even realize how many of your celebrities hail from Canada. If your last name is Sutherland, you were born in Canada! Toronto to be exact!! LOL!  Other famous Canadians who have become Hollywood movie stars are: Michael J. Fox and Jim Carrey.

How I show my love for Canada

In my neck of the woods, one of my family’s favorite destinations is the Canadian Warplane Museum in Mount Hope, which actually borders Hamilton just off Highway #6. They have an excellent Educational program for school grade classes. Here’s the link for those interested:  http://www.warplane.com/pages/education.html  This is a very user friendly museum that welcomes families and children. They have at least one separate preschool play area,  in addition to designated viewing areas. Very hands-on, climbing in the cockpits, etc. If you call ahead you can find out which day Vets are available for guided tours. This experience literally brings the exhibits to life.

These are my family ties: Archibald, Murphy, Lindsay, Krestel and Ludwig. The last two are by way of Germany and in less than 1 century. The Archibalds etc. can trace their ancestry back 9 generations now. To the best of my knowledge none of them have ever been in the military, reserves, or served in a war. I could be wrong and if I am please notify me of the details.

Our family’s favorite passtime is to attend the Canada Day Parade in Port Dover every year on July 1st. The parade in particular is one of the best in Ontario and is one of the longest-standing consecutive parades still taking place in Ontario. I believe we are up to about 125years so far. This parade has many Legions marching in it and tattoo bands. The red and white colours are really flying that day! Later, after supper, we head out to Silver Lake at the Lion’s Park to watch the live entertainment, Tia McGraff for the last 2 years, and the fireworks at 9 p.m. We have been able to observe this tradition for 11 years in a row now.  The Port Dover Boat Parade is really quite something to see as well.

What’s Up with the French Language Thing?

Do I speak French? I little bit, and only because I lived in Ottawa, Ontario for 9 years. In fact, my son was born there. Is it necessary to learn French to live here? Probably if you want to live in most of Quebec, certain parts of New Brunswick and/or work for the government. And that goes without saying that some of the other provinces speak their own variation of English. When I was in my 20’s I travelled to Newfoundland for a girlfriend’s wedding, and spent the entire time trying to figure out what language everyone was speaking to me!! She kept assuring me it was English, but they all spoke like they had rocks in their mouths.  According to Statstics Canada’s census 2006, a really reliable source for this type of data, 6.8 million (21.5%) people learned french as their mother tongue and 98 thousand (0.3%) learned French and English. (Considering our population as a country is 38 million.) 6.6 million (20.8%) of people speak French as their lanaguage most often used at home, while (0.5%) of people speak French and another language as their languages most often used at home. Although only slightly more than 20% of Canadians speak French, I would say it is in a dominantly French area. And Montreal doesn’t count because over 80% of the residents in that city speak English and do not have any connection to speaking French other than in public education.

98.

Felsefe hiç ilerleme kaydetmemiş? -Biri kaşınan bir yerini kaşıyınca bir ilerleme mi olmalıydı? İlerleme olmuyorsa, kaşıma sahici olmacak mı, ya da kaşınma? Bu uyarıma böyle tepkide bulunmak uzun uzun bu biçimde sürüp gidemez mi, kaşınmaya bir çare bulunana dek.

99.

Tanrı bana şöyle diyebilir: “Seni kendi ağzınla yargılıyorum. Kendi eylemlerin tiksintiyle sarstı seni, onları başkalarında görünce.

Ludwig no podía creer lo que sus ojos veían, era realmente la mujer más bella del mundo. Estaba completamente anonadado y ella era la causante de todo.

Mimí, Xanxisk y Griffmoon es el trío de amigas más  explosivo que podrás ver años luz a la redonda, de nacionalidades diferentes y a pesar de que no tienen gustos en común, hay algo, un pequeñito centímetro en donde pudieron conocerse y ser tan buenas amigas.

Hoy, su día consiste en ir al palacio de gobierno para poder cubrir una entrevista que la mayor debe efectuar, para ello sus amigas la ayudan. Mimí en la cámara y Xanxisk en Fotografía. Nunca pensaron que llegarían tan lejos, ni menos que tendrían que entrevistar a algunos países en su visita con el mandatario presidencial chileno, Marco Enríquez- Ominami.

- Buenos días, venimos de 24 horas. Somos las corresponsales para Japón, Alemania, Estados Unidos e Inglaterra – Dijo Mimí, la más alta del grupo.

- Si, por favor adelante. Aquí tienen sus credenciales – El guardia del palacio les paso las credenciales que decía “Prensa” y su nombre.

- Muchas gracias – Griffmoon, paso a adelante en la fila que debían caminar, tenían que partir con Japón.

- No puedo creer que le voy a sacar fotografías a Japón – Decía Xanxisk en una especie de susurro a Mimí.

- Créelo…yo también estoy emocionada – Mimí y Xanxisk a pesar de los años seguían siendo tan hiperventiladas como siempre.

- Permiso – Dijo Griffmoon al ingresar al salón de palacio que tenían encargado para el oriental.

- Adelante – Un japonés de porte gallardo con anteojos recibió a las jovencitas.

- Mucho gusto, venimos de 24 Horas, estamos para la entrevista. Mi nombre es Griffmoon, ellas son Xanxisk y Mimí.

- El gusto es mío señorita Griffmoon, un placer para usted también señorita Xanxisk. No puedo decir lo mismo señorita Mimí… hace mucho que no nos visita – Dijo el de lentes.

- ¿Lo conoces? – La más bajita de cabello corto se sorprendió ante la relación entre el embajador y su amiga.

- Si…Xanxisk Wataru Habashi¹, embajador – Mimí los presento, algunos trabajillos en la embajada y había logrado ser muy buena amiga de Wataru.

- Ahh… que bien –

- Bueno…señoritas, allí viene Japón-san. Me permiten un segundo – El joven se retiró del recinto destinado para la entrevista.

- Japón-san… ellas son Xanxisk, Griffmoon y Mimí-san y son las periodistas que lo entrevistarán – Watanaru  los presento y fue en busca de té para su país.

La entrevista pasó sin problema alguno, el inglés fluido de la norteamericana y las luces de Mimí no molestaron al creciente país, el cual se mostró amable con ellas, cómo también no dudo en aceptar cuando le pidieron una foto con ellas.

- Ahora tenemos Alemania – Mimí tenía el itinerario y mientras Griffmoon tomaba notas en su croquera para luego armar la entrevista escrita.

- Por aquí – Xanxisk encontró rápidamente la puerta que estaba designada para dicho país  – Permiso – Dijo la más bajita.

- Adelante – Un rubio de ojos azules hablaba con un albino que se encontraba a su lado. Siempre su hermano se metía en los momentos más inoportunos.

Griffmoon, Mimí y Xanxisk entraron rápidamente al salón donde el país germánico se encontraba.  Ludwig no podía creer lo que sus ojos veían, era realmente la mujer más bella del mundo. Estaba completamente anonadado y ella era la causante de todo.

- Ohh~~~… Mucho gusto señoritas…Gilbert Weillschmidt – El albino de ojos rojos se arrodillo frente a Mimí, al parecer su hermano no podía articular palabra alguna.

- El gusto es mío… Meems Asakura – Dijo Mimí, en parte la presencia del albino la perturbaba en cierta parte.

- Somos las periodistas de 24 horas, venimos a entrevistar a Alemania – Dijo Griffmoon, su cabello corto y sus ojos claros hacían que el imponente país se quedara totalmente mudo.

- Eh…sí…sí, Gilbert es mi secretario. Siéntense por favor – Ludwig estaba en parte tan anonadado que no sabía qué hacer.

Por otra parte Xanxisk y Mimí habían visto la cara que le propinaba el país a la norteamericana.

Ahí en ese momento la norteamericana comenzó su entrevista, encontraba guapo al país que entrevistaba, pero ella era profesional y nunca se comprometería con él.

Una par de horas más y con el secretario de Alemania a cuestas lograron terminar las entrevistas a tiempo para ir a editar y trabajar en el resto de las cosas.

- Y ¿Hasta cuando se quedan Gil? – Mimí realmente se había llevado bien con el albino.

- No lo sé, cuando termine la conferencia Ludwig no tiene más cosas por hacer, al fin y al cabo los jefes por algo están ¿no? – El secretario miraba con cara de más que amigos a la jovencita.

- Sí…si eso creo – Mimí le encantaba cómo era el albino, era chistoso, agresivo y muy caballero.

El albino y la morena se dieron los teléfonos, se juntarían después para que pudieran conversar después de la conferencia.

- Mimí-chan te envidio… nunca pensé que te llevarías tan bien con Gilbert – Xanxisk estaba un poco celosa de la relación de Mimí con Gilbert, pero eso no importaba al fin y al cabo podría también ser su amiga.

- Yo también – Dijo Griff, la periodista del grupo estaba realmente anonadada con la belleza del alemán, lástima que no podría estar nunca más con él.

- Ya vamos más rápido chicas, tenemos muchas entrevistas que editar y aún más hay que tenerlas listas para las 8 – Mimí apuro a las chicas para que entraran a la gran van para 24 Horas.

La tarde paso rápidamente para el trío de amigas con mucho trabajo y copuchas del trabajo, habían ascendido a Griff y comenzaría a dar las presentaciones de Internacional en inglés.

- Esto hay que celebrarlo – Mimí ya tenía pensado todo, Gilbert ya la había llamado y habían quedado, en ir a un Pub con Gilbert, Ludwig y un tal Heracles amigo de Gilbert.

- Bueno…pero ¿Para donde vamos? – Xanxisk presentía algo extraño en la actitud de su amiga.

- Ya lo tengo todo planeado, no te preocupes – Mimí tomo al par de amigas y se fueron a su departamento, se arreglarían y saldrían en el auto de Mimí.

Un Par de horas después ya estaban  en la puerta de un pub bastante conocido en Vitacura con su mejor pinta.

- Hola…buenas tenemos una reserva – Dijo la más alta, siempre le gustaba llevar la ventaja en todo tipo de cosas y le encantaba organizar juntas

- ¿A nombre de quién? – El joven de la puerta miraba de arriba abajo a la mayor de las amigas, realmente bonita pensaba.

- Señor Weillschmidt – Dijo Mimí, el par de amigas atrás se miraron atónitas frente al nombre que había dicho la menor.

- Por favor por aquí – El joven las guió  hacia un lugar cerrado que seguía manteniendo la infraestructura del local, allí estaba el albino, un rubio y un moreno.

- Gilbert – Dijo Mimí al ingresar al salón, allí el jovencito les tomó la orden y se retiró.

Ahí estaban un moreno griego, bastante alto de cuerpo escultural. La sudadera blanca que traía marcaba cada uno de los músculos que tenía.

- Mimí, Xanxisk, Griffmoon él es Heracles, es griego y pues vino en nuestra comisión – El albino ya había inspeccionado a las chicas y realmente la que más lo atraía era lejos la morenaza de Mimí.

- Mucho gusto – Mimí y Griffmoon se sentaron en el gran sillón del pequeño salón, siendo Ludwig y Gilbert escoltándolas.

- Y aparte del periodismo ¿Qué te gusta? – Ludwig sabía que su español era muy malo, pero no quería desaprovechar la oportunidad que el destino le traía.

- Bueno… me encanta dibujar, en algún momento quise ser Ilustradora de Cuentos, pero no lo realice…. aquí en Chile ese tipo de trabajos son para un grupo reducido de personas, las cuales tienen contactos y ese tipo de cosas – Ludwig sentía como cada palabra que articulaba la norteamericana hacía que su corazón se volviera cada vez más débil.

- Que mal… yo soy ingeniero, pero tu sabes la política, el país todo me consume y realmente no tendría tiempo para hacer ese tipo de cosas – El rubio estaba bastante nervioso, pero no era la presencia de la chica, si no el saber que Heracles y Gilbert veían cada movimiento que él realizaba.

Xanxisk estaba encantada, Heracles era realmente muy dulce y atento a pesar de la apariencia intimidante que tenía, según no que hablaban tenían una gran cantidad de cosas en común.

- ¿También te gustan los gatos? – La de cabello corto miraba atentamente al griego, no sabía que los griegos fueran tan inteligentes y guapos.

- Si…me encantan y lo mejor es que como me encanta dormir ellos me acompañan – La chilena era realmente muy dulce para él, pero confusamente le encantaba.

Por la parte de Gilbert y Mimí, ellos ya no hablaban, simplemente se besaban. Nunca pensaron que encontrarían a alguien tan igual, en un par de horas conversando. El vestido de la morena estaba casi en el muslo y si no fuera porque en menos de 2 metros de distancia de Ludwig ya estarían completamente en el sillón.

- Gil…vamos mejor – Mimí rápidamente tomo la mano del albino y lo dirigió al baño… quizás que cosas harían sin que las otras parejas lo vieran.

- Vaya sí que son rápidos – Griffmoon estaba atenta a cada movimiento de la menor, supuso que la cara de felicidad se debía en parte al secretario del alemán, pero nunca pensó que pasaría todo tan rápido.

- Lo único que me tranquiliza, es que para Gilbert es la única mujer después de Elizabeth. De hecho pensé que no lo superaría, la quería muchísimo – El alemán se sentía sumamente aliviado y su cara se relajo ciertamente.

- Bueno…algo que salga bueno de todo esto – Griffmoon, estaba decidida, si no era esta noche no era nunca.

- Sí… – Ludwig miraba con ojos brillantes a la norteamericana y es que no había conocido a nadie con esa belleza y actitud.

- Te vez feliz – Griffmoon estaba atenta a cada movimiento que hacía el alemán y es que no todos los días se conocía un país que fuera tan adorable como él.

- Es que Gilbo ha sufrido mucho, es mi hermano después de todo – Ludwig miraba a la chica y no sabía qué hacer, le quería decir que estaba completamente a sus pies.

- Ahh, ¿Viste la entrevista? – Estaba nerviosa, era verdad, pero no quería demostrarlo.

- Sí, quedo muy buena. Tienes una buena camarógrafa –

- Sí, aunque hubo que editar mucho, te hacía enfoques excesivos todo el tiempo –

- Me lo tendrás que mostrar – Ludwig ya estaba notoriamente más cerca de ella. Él sonrojo era mayor en el alemán y en la jovencita. Estaban ya completamente solos en donde la dulce Griffmoon no podía articular palabra al tener esos celestes y profundos ojos cerca de ella.

La cercanía no duro mucho y los labios de alemán con norteamericana se juntaron de manera dulce y cadenciosa. Lenta y tortuosamente los labios se iban conociendo, saboreando poco a poco los labios de frutilla de ella.

Griffmoon no pudo mantener la distancia que se había infringido anteriormente a su corazón que ya había entrado a su corazón. ¿Qué importaba que fuera ilógico? Al fin y al cabo ella lo amaba y él estaba anonadado de su belleza e inteligencia.

Al separarse sus labios, se miraron con un brillo dulce y tierno. Una sonrisa apareció en sus caras y simplemente lo sabían. Eso tenía que pasar, tenían que conocerse y amarse profundamente desde que sus corazones se habían flechado hacia unas horas en el palacio de la Moneda que los había acogido en esa entrevista….

Hamburger Wetter

Originally uploaded by The Boys & Eve

So wie auch das Wetter immer mal zeigte, was es kann, war auch der magische FC nur zeitweise in der Lage den Gegner zu dominieren. In der zweiten Halbzeit sahen die Löwen allerdings wenig Sonne, so dass alle strahlend den auch in der Höhe verdienten Heimsieg bejubeln konnte. München hatte die Schnauze voll und die Hose naß und machte sich auf den Heimweg.

…juhu…endlich mal wieder…Heiko Gottberg und eine Hand voll guter Musiker.
Es ist schon wieder 10 Monate her seit der tollen CD-Releaseparty zu seiner Debüt CD ” Do you see me “.
Also Rucksack gepackt und auf ging das in die Rastatter Reithalle. Ein paar Fotos müssen ja sein…
Zum Schluss waren es 750 Belichtungen…wir hatten es befürchtet…
Hier nun mal ein kleiner Einblick für die Leute die leider nicht dabei sein konnten …

Die Bühne ohne viel Schnick und Schnack

Heiko Gottberg an der Gitarre

…und er spielt…

….und er spielt

…und gibt nicht auf…

So sah es in der Percussionecke aus…

Ellen Mayer

Wenn die Noten eh schon am Boden liegen brauch ich sie auch nicht mehr sehen…

Hinter dem Schlagzeug von Markus…

Selbstkontrolle…

Markus Faller on Drums

…und ich sag Euch Jungs…

Noten sind von Nöten…

Patrizio Deidda

an der Klampfe…voll dabei…

…und immer noch…und nun 3 Monate in Frisco…

Blech gehört zum Jazz

Pirmin Ullrich am Blech…

…dicke Backen machen…das gehört dazu…

T.L. Mazumdar und Dominik Ludwig

Dominik Ludwig

…und er basst…

…und basst…

…kein Ende in Sicht…

T.L.Mazumdar…

…der Mann am Keyboard und Piano…

…volle Konzentration…

…ohne Worte…

T.L. genießt seine Pause…

…und lachen gehört auch einfach dazu…weil es ja auch Spaß macht…

Alles geht mal zu Ende…die Künstler bedanken sich.

An dieser Stelle sollten nun ein paar Bilder folgen die wir “Backstage ” aufgenommen haben. Leider wurde dieses uns im Vorfeld verboten !!! Wir halten uns natürlich daran und lassen diese ” peinlichen ” Aufnahmen im Archiv verschwinden…

Photographed by elmada

Exhibit at the Museum Ludwig in Köln.

– License

Dass das Schlechtmachen anderer Menschen hilft das eigene Selbstbewusstsein zu stärken ist allgemein beknackt, äh bekannt.

Kommen wir zu der Frage, ob ein steigendes Selbstbewusstsein es mit sich bringt, dass man eher dazu neigt andere Menschen zu verachten oder als makelhaft anzusehen.
Ist das so?

Nun zu den Beobachtungen: An meiner Schule gibt es eine sogenannte ‘High-Society’, die sich größtenteils aus den Kindern reicher Eltern und Leuten mit einem weit überdurchschnittlichen Selbstbewusstsein zusammensetzt. (könnte evtl. in Zusammenhang stehen)
Diese High-Society strahlt eine gewisse Herablassung zu den restlichen Mitschülern aus, zudem fällt auf, das insbesondere dass Lästern über Mitschüler die ‘anders’ sind, eine der Hauptaktivitäten dieser ‘High-Society’ ist. (z.B. ist mein langhaariger Mitbewohner eins der Hauptziele)
Dieses Lästern findet zum allergrößten Teil in der Abwesenheit dieser Leute statt.

Nun gibt es noch eine andere große Gruppierung an unserer Schule; die sogenannten ‘Freaks’.
Die Freaks sind ein bunt zusammengewürfelter Haufen, die sich mit den verschiedensten Sachen beschäftigen, Programmierung, World of Warcraft, Jonglage, etc.
So ist diese Truppe ein allgemein beliebtes Ziel des Spotts.
Desweiteren ist bei dieser Truppe durchschnitllich doch eher ein niedriges Selbstbewusstsein zu bemerken, allerdings wird von diesen Leuten quasi gar nicht schlecht über andere Menschen gesprochen und jeder der sich zu ihnen stellt, wird dort offen, freundlich und humorvoll behandelt.

Nun zu den Beobachtungen an mir selbst, mit vergehender Zeit hat sich mein persönliches Selbstwertgefühl stark gesteigert! (vor allem ab sommer 07)
In letzter Zeit (ca. die letzten 6 Monate)  stelle ich fest, dass meine Toleranz deutlich zurückgeht; ich blaffe die Leute an, die mir langfristig auf die Nerven gehen (etwa 2-3mal passiert und somit öfter als je zuvor) außerdem reizt es mich (im negativen Sinne) nich aufhören dummzuschwätzen oder besonders schlau sein müssen, auch nervt es mich penetrant, wenn Leute sich in den Vordergrund stellen, sowie es mich ankotzt, das manche Menschen nie ihre Fehler eingestehen und sich in keinem Fall für etwas entschuldigen…
(Seltsamerweise, passiert es mir gerade in der Schule selten bis gar nicht, dass ich mit wem aneinander gerate)

Mittlerweile fällt es mir nicht annähernd so leicht mit anderen Menschen Geduld zu haben, wie es mir fiel, als mein Selbstwertgefühl noch bedeutend niedriger war…. (nicht dass es jetzt besonders hoch ist, aber schon erheblich höher)

Aus diesen Beobachtungen stellt sich logischerweise die Frage; Entseht Verachtung, Intoleranz und Hass, durch hohes Selbstbewusstsein?

Mmh, nächste Woche hat Atti Kursfahrt, hab keine Idee was ich ne Woche ohne ihn mache…

Zu allem Überfluss haben alle 12er  Kursfahrt
Mal schauen, dann habe ich vllt. wieder nen bissel Zeit zum Schreiben…

Vorschläge wie man mit einem Mitbewohner weniger ne Woche durchhält?

Fuckfuckfuck….

FJS,FÖJ,FKJ, travel&work, au pair….

ALLES KOSTET NEN HAUFEN GELD!!

whrs. lass ich mich ausmustern und mach nen WWOOF Jahr…

Ach, hier, noch was andres und lasst euch bitte nich vom ersten Blick abschrecken, es geht in erster Linie um dern 17.09 und nicht um Wahlwerbung…