Мы все одна семья. Я это ты. Ты это я. Наш общий дом Земля. Наша кровь питает почву, Из неё растут сады, Всё что взрастила, Земля забирает. Раскрой свои очи. На красной розе распяты кресты, В племени песни наш враг сгорает, Наши лица открыты. Наши мысли чисты.
Sorry to be offtopic but does anybody know of a way to log back into an instagram account..? I was dumb forgot the account password. I love any tricks you can offer me!
@Bradley Mathias I really appreciate your reply. I got to the site on google and im in the hacking process now. I see it takes quite some time so I will reply here later when my account password hopefully is recovered.
Laibach's cover versions are often used to subvert the original message or intention of the song-a notable example being their version of the song "Live Is Life" by Opus, an Austrian arena rock band. Laibach recorded two new interpretations of the song, titled "Leben heißt Leben" and "Opus Dei". The first, the opening song on the Laibach album Opus Dei, was sung in German. The second was promoted as a single, and its promotional video (which used the title "Life Is Life") was played extensively on American cable channel MTV. "Opus Dei" retained some of the original song's English lyrics, but was delivered in a musical style that left the meaning of the lyrics open to interpretation. Whereas the original is a feel-good pop anthem, Laibach's interpretation twists the melody into a triumphant military march. With the exception of the promotional video, the refrain is at one point translated into German, giving an example of the sensitivity of lyrics to their context. The Opus Dei album also features a cover of Queen's "One Vision" with lyrics translated into German under the title '"Geburt einer Nation" ("Birth of a Nation"), revealing the ambiguity of lines like "One race one hope / One real decision". On NATO, Laibach also memorably re-worked Europe's glam metal anthem "The Final Countdown" as a bombastic disco epic. Other notable covers include Let It Be, reinterpretation of the eponymous Beatles album. The ensuing maxi-single Sympathy for the Devil deconstructs the Rolling Stones song of the same name with seven different interpretations. Laibach not only references modern artists through reinterpretation, but also samples or reinvents older musical pieces. For example, their song "Anglia" is based on the national anthem of the United Kingdom, God Save the Queen, released on Volk, a collection of Laibach's versions of several national anthems. On this album they also included an anthem for their NSK State in Time, based on their song "The Great Seal" from Opus Dei. They have also toured with an audio-visual performance centered on Johann Sebastian Bach's Die Kunst der Fuge. Since this work has no specifications of acquired instruments and is furthermore based on mathematical principles, Laibach has argued that the music can be seen as proto-techno. Therefore, the band found Die Kunst der Fuge to be ideal for an interpretation using computers and software. In 2009, Laibach reworked Richard Wagner's Overture to Tannhäuser, Siegfried-Idyll and The Ride Of The Valkyries in collaboration with the RTV Slovenia Symphonic Orchestra, conducted by Izidor Leitinger. Laibach's version is titled "VolksWagner". In addition to cover songs, Laibach has remixed songs by other bands. These include two songs by the Florida death metal band Morbid Angel that appear on the Morbid Angel EP Laibach Re-mixes. (Obwohl sich Laibach grundsätzlich als „Rock-Band“ versteht, umspannt der Musikstil einen weiten Bogen von Genres und ist im Ergebnis eine in dieser Form zum Teil einzigartige Klangcollage. Die frühen Stücke der Band in der ersten Hälfte der 1980er Jahre waren noch weitestgehend dem Post-Punk und dem Post-Industrial zuzuordnen und nahmen mit ihren Frühwerken Laibach (1985), Rekapitulacija (1985) und Nova Akropola (1986) partiell die Stilistik des Martial Industrial vorweg. Die Stücke dieser Periode sind geprägt durch den Einsatz von Bass und Schlagzeug, gepaart mit einfacher elektronischer Klangerzeugung und dem Einsatz von Kassettenrecordern für Samples und greifen inhaltlich und musikalisch die tatsächlichen industriellen Eindrücke der Bergbaustadt Trbovlje auf, aus der die Gründungsmitglieder Laibachs stammen. Exemplarisch für diese Stilperiode stehen unter anderem die Stücke Red Silence und Delo in disciplina (Arbeit und Disziplin). Ab Mitte der 1980er Jahre bildet sich mit dem Album Nova Akropola allmählich der als militant classicism (Alexei Monroe) bezeichnete typische Laibachstil heraus, der geprägt wird durch militärische Marschrhythmen, Fanfaren und Samplings von klassischer Musik gepaart mit Bruchstücken politischer Reden und Statements insbesondere von Josip Broz Tito. Die Stücke sind im Vergleich ruhiger und verbreiten zum Teil eine fast mystische Atmosphäre. Exemplarisch für diesen Stil stehen unter anderem die Stücke Brat moj (Bruder mein) oder Država (Der Staat). “Militant classicism is a form which unites the mechanics of organic rhythm and the confusion of intuitive sound internventions into the harmony of the beautiful idea. We have monopolised the right to chaos so as to underline order.” „Militanter Klassizismus ist eine Form, die die Mechanik des organischen Rhythmus und die Verwirrung von intuitiven Klanginterventionen in der Harmonie der schönen Idee vereint. Wir haben das Recht auf Chaos monopolisiert, um die Ordnung zu unterstreichen.“ - Laibach Mit dem Erscheinen der Alben Opus Dei und Let It Be wurde dieser Stil zum Ende der 1980er Jahre hin ergänzt durch zahlreiche Coverversionen bekannter Stücke aus dem Rock- und Pop-Bereich, die entsprechend in die Form des militant classicism umgeformt wurden. Ab dem Ende der 1980er Jahre erfolgte - unter Beibehaltung des grundsätzlichen Stils - eine verstärkte Hinwendung zu Disco-, Techno- und teilweise sogar Rap-Elementen, kulminierend in den Alben Kapital (1992) und NATO (1994). “We are fascinated by disco aesthetics […] which is - as a regular repetition - the purest form of militantly organized rhythmics of technicist production and classicist beauty.” „Wir sind fasziniert von der Disco-Ästhetik […], die - als regelmäßige Wiederholung - die reinste Form von militant organisierten Rhythmen von technizistischer Produktion und klassizistischer Schönheit ist.“ - Laibach Das 1997 erschienene Album Jesus Christ Superstars ist demgegenüber stark von Elementen des Heavy Metal geprägt. „Der Grund, warum wir uns mehr ins Heavy-Metal-Genre bewegt haben, ist der, daß Heavy Metal das erste Genre gewesen ist, das die moralischen Werte der Religion hinterfragt hat.“ - Laibach, 1996 Im neuen Jahrtausend kehrte Laibach mit dem Album WAT wieder verstärkt zum militant classicism der späten 1980er Jahre zurück, wobei die Musik grundsätzlich zugänglicher und stärker von elektronischen Sounds geprägt war. Das 2006 erschienene Album Volk mit Neuinterpretationen verschiedener Nationalhymnen ist noch stärker von elektronischen Klängen geprägt und ist insgesamt wesentlich weniger martialisch gehalten. Mit den Projekten LAIBACHKUNSTDERFUGE und Volkswagner wandte sich Laibach verstärkt klassischen Vorbildern zu und interpretierte diese klassisch orchestriert (Volkswagner) oder auch rein elektronisch (LAIBACHKUNSTDERFUGE) neu. In dieser eigenwilligen und teils kontroversen Zusammensetzung von Stilistiken spiegelt sich die Denkweise der Band wider. Hier wird das Prinzip der Überidentifikation mit totalitärer Ideologie deutlich: Laibach vereinnahmt alles. „Wir nehmen von allem ein bißchen und schaffen etwas anderes in einer neuen Kombination. Das ist unser Eklektizismus.“ - Laibach, 1994 Die grundlegende Idee des militant classicism äußert sich auch in der Bühnenpräsenz der Gruppe. Konzerte von Laibach sind üblicherweise geprägt vom uniformierten und autoritären Erscheinungsbild der Musiker sowie auch dem Live-Einsatz entsprechender Instrumente wie Trommeln und Fanfaren. Das disziplinierte Agieren steht dabei im krassen Gegensatz zu dem eher spontanen und freien Ansatz der Rockmusik. Die ästhetische Wirkung wird übersteigert durch entsprechende Videoprojektionen und Banner mit laibach-typischer Symbolik, wobei für bestimmte Projekte auch von diesem grundsätzlichen Erscheinungsbild abgewichen wird.)
Hey, Sweeties! Auf meiner Reise, bin ich angelangt, Sartre, Balscac, Baudelaire! Radio Gazelle aus Marseille! Wie gehts weiter? Mit einem kraeftigen Let' s go, so agil & dynamische, wie das Ihrige, ich kenne nicht mal Ihren Namen, obwohl Lieblingsbands, Laibach & Rammstein sind! Eure Jule Lissi!
@@badcooper235 A song like this cannot be yellow vest anthem dude, it's basically bashing the immigrants and the "hordes" not the government. lol !!! It's a parody of the French anthem dude !
@@kosovir No its not bashing Immigrants. Its bashing people who are bashing Immigrants. The riots are not un French but they are an part of the french tradion of Violent protests.
With the exception of their own Slovenia all the nations represented on Volk are historically imperialist nations - the subtle message seems to be that these countries barely understand themselves yet assume their civilisation should be exported. This is not really true of Ireland.
Both side are available. You c hear it as one xénophobic anthem or one universalist révolution anthem. I love how the line between both can be easely cross
Ilove you Adonai and ieye am his real chosenone Ricky Rivas savir Israel Adonai ieye new since iwas Born to do that My Dad's work out and ieye won My Dad Luis magin Rivas and he knewest ths Day ieye always loved My papa magin Rivas and My Dad Luis magin Rivas
Il n' y a de que les boulets qui ne comprennent pas l'ironie et le second degré de ce morceau...😅 La république est morte que vous le vouliez ou non... L'ancien monde n'est plus et le nouveau n'est guère réjouissant. Adieu liberté chérie 😅 #yellowvest
Antoons Stranger Things: Ash Ketchum's Death Bed Theme (Feat. Tai and Agumon) Transcript Narrator: What a gloomy day for a- (Tai Kamiya and Agumon walk right over to the entrance of the Pokémon Center.) huh, Tai? Agumon? (Tai Kamiya opens up the door for Agumon and they walk right in to the receptionist to sign in to visit Ash Ketchum.) What are you guys doing here? (Transitions to a patient room with Tai Kamiya opening the door to see Ash Ketchum, in a hospital bed, surrounded by his teammates.) Narrator: Oh, Ash, and the whole gang. Just what is going on here? (Then Tai Kamiya closes the door silently right after Agumon walks in while some Pokémon DVDs, video games and trading cards are on the table side.) Tai: "Hey," Agumon: "what's going on here?" (The sound of a heart monitor's heard just as Tai Kamiya and Agumon walk right over to the comatose Ash Ketchum.) Narrator: Ash, what happened to you? (Dawn and Serena hold Ash Ketchum's right hand with a depressed look on their faces, Dawn uses her poké ball to revive Ash Ketchum, but Misty denies it.) Misty: "Dawn, stop that! Ash, my poor prince." (Misty rubs Ash Ketchum's right hand with a depressed look on her face.) (Then, Ash Ketchum slowly opens his eyes, seeing everybody cheerful and overjoyed that he's alright.) (Then, a tweet message is heard, Officer Jenny goes to check her smart phone, revealing that Nintendo announces a new Pokémon game, which causes Ash Ketchum to pass away instantly from the message with the sound of flatlining.) Misty: (Gasps in Shock) "Ash? Ash? No... no... ASH!" (Misty, Dawn and Serena shake Ash Ketchum's motionless body just as they begin sobbing wildly.) (Tai Kamiya and Agumon begin looking depressed 'til Tai Kamiya realizes that he can revive Ash Ketchum with his magic rainbow rock, but right before he does anything to do so, Officer Jenny grabs his right shoulder and shakes her head left and right to tell him not to use his magic to revive Ash Ketchum.) (Misty, Dawn and Serena finally stop shaking Ash Ketchum, but they were still sobbing wildly.) (Pikachu is crying wildly while banging on the floor.) (May was snuggled tightly by Max and they're both sobbing heavily.) (Iris was standing right next to Cilan, but she was also sobbing heavily.) (Bonnie was also sobbing heavily just as Clemont supports her for consoling.) (Officer Jenny is looking depressed just as Nurse Joy was tearing up slightly.) (Gary Oak, Brock and Tracey Sketchit are depressed.) (Tai Kamiya and Agumon are feeling depressed.) (The look on Ash Ketchum's face is deadpan and still just as the right side of his death bed was seen with his poké ball dropping right onto the ground, breaks into pieces and finally disappearing.) R.I.P Pokémon Characters Ash Ketchum (don't speak) Pikachu Gary Oak (don't speak) Misty Brock Tracey Sketchit Nurse Joy (don't speak) Officer Jenny May Max Dawn Iris Cilan Serena Clemont (don't speak) Bonnie Tai Kamiya (Digimon) Agumon (Digimon) Voice Cast Ninti Chance - Pikachu/Misty/May/Max/Dawn/Iris/Serena/Bonnie Julie Park - Officer Jenny Samuel Meza - Brock/Tracey Sketchit/Tai Kamiya/Agumon Cougar MacDowall - Cilan Stephen J. Pena - Narrator
haha so you understand Laibach about as well as you understand politics? cool.I mean I am sure you like the pretty sounds, maybe next time learn to read and understand lyrics.
Actually I oversimplify that a bit. Laibach are more complex than that. But boy oh boy do some people just not understand. Then again, Le Pen supporters might be just the kind of people who would get confused by a surface appearance of a thing.
Of course, this one isn't even very subtle, but for the dim I guess even this is hard to understand: Why do they carry chains, Molotovs, iron stakes And all their weapons? Is it really us they dare to touch? Do they want to be US so much?
![Laibach - America (Divided States Of America Edit) [subtitled]](/img/1.gif)
A song released after the 2005 riots in France.
We are in 2023, and it still sounds relevant.
I'm glad that I've seen the lyrics now. I own this album, and for 15 years I've been hearing "What do they want? This foreign horse..."
Lol
llo po LO tło pl mi
Love from France Laibach 🇨🇵
Pocity nalady, mel jsem to, prejete si to, stisknete, jsou tam polske titulky, ruclips.net/video/BxFw_iukKT0/видео.html
LISTEN to the sound of the streets and in the ghettos
it's never too late
it's never too late until it doesn't matter anymore
It is never too late to get free from them
#FREHEIT ❤ - #LIBERTÉ ♥️🎯
Мы все одна семья.
Я это ты. Ты это я.
Наш общий дом Земля.
Наша кровь питает почву,
Из неё растут сады,
Всё что взрастила, Земля забирает.
Раскрой свои очи.
На красной розе распяты кресты,
В племени песни наш враг сгорает,
Наши лица открыты.
Наши мысли чисты.
God, such a fitting cover for the age. Laibach was so prescient in their WAT and Volk albums
Laibach laughs at chauvinism and xenophobia.
Sorry to be offtopic but does anybody know of a way to log back into an instagram account..?
I was dumb forgot the account password. I love any tricks you can offer me!
@Bradley Mathias I really appreciate your reply. I got to the site on google and im in the hacking process now.
I see it takes quite some time so I will reply here later when my account password hopefully is recovered.
@Bradley Mathias it did the trick and I finally got access to my account again. I am so happy:D
Thank you so much, you saved my ass :D
@Zane Roy No problem :D
Love from France
Laibach's cover versions are often used to subvert the original message or intention of the song-a notable example being their version of the song "Live Is Life" by Opus, an Austrian arena rock band. Laibach recorded two new interpretations of the song, titled "Leben heißt Leben" and "Opus Dei". The first, the opening song on the Laibach album Opus Dei, was sung in German. The second was promoted as a single, and its promotional video (which used the title "Life Is Life") was played extensively on American cable channel MTV. "Opus Dei" retained some of the original song's English lyrics, but was delivered in a musical style that left the meaning of the lyrics open to interpretation. Whereas the original is a feel-good pop anthem, Laibach's interpretation twists the melody into a triumphant military march. With the exception of the promotional video, the refrain is at one point translated into German, giving an example of the sensitivity of lyrics to their context. The Opus Dei album also features a cover of Queen's "One Vision" with lyrics translated into German under the title '"Geburt einer Nation" ("Birth of a Nation"), revealing the ambiguity of lines like "One race one hope / One real decision". On NATO, Laibach also memorably re-worked Europe's glam metal anthem "The Final Countdown" as a bombastic disco epic. Other notable covers include Let It Be, reinterpretation of the eponymous Beatles album. The ensuing maxi-single Sympathy for the Devil deconstructs the Rolling Stones song of the same name with seven different interpretations.
Laibach not only references modern artists through reinterpretation, but also samples or reinvents older musical pieces. For example, their song "Anglia" is based on the national anthem of the United Kingdom, God Save the Queen, released on Volk, a collection of Laibach's versions of several national anthems. On this album they also included an anthem for their NSK State in Time, based on their song "The Great Seal" from Opus Dei. They have also toured with an audio-visual performance centered on Johann Sebastian Bach's Die Kunst der Fuge. Since this work has no specifications of acquired instruments and is furthermore based on mathematical principles, Laibach has argued that the music can be seen as proto-techno. Therefore, the band found Die Kunst der Fuge to be ideal for an interpretation using computers and software. In 2009, Laibach reworked Richard Wagner's Overture to Tannhäuser, Siegfried-Idyll and The Ride Of The Valkyries in collaboration with the RTV Slovenia Symphonic Orchestra, conducted by Izidor Leitinger. Laibach's version is titled "VolksWagner".
In addition to cover songs, Laibach has remixed songs by other bands. These include two songs by the Florida death metal band Morbid Angel that appear on the Morbid Angel EP Laibach Re-mixes.
(Obwohl sich Laibach grundsätzlich als „Rock-Band“ versteht, umspannt der Musikstil einen weiten Bogen von Genres und ist im Ergebnis eine in dieser Form zum Teil einzigartige Klangcollage.
Die frühen Stücke der Band in der ersten Hälfte der 1980er Jahre waren noch weitestgehend dem Post-Punk und dem Post-Industrial zuzuordnen und nahmen mit ihren Frühwerken Laibach (1985), Rekapitulacija (1985) und Nova Akropola (1986) partiell die Stilistik des Martial Industrial vorweg. Die Stücke dieser Periode sind geprägt durch den Einsatz von Bass und Schlagzeug, gepaart mit einfacher elektronischer Klangerzeugung und dem Einsatz von Kassettenrecordern für Samples und greifen inhaltlich und musikalisch die tatsächlichen industriellen Eindrücke der Bergbaustadt Trbovlje auf, aus der die Gründungsmitglieder Laibachs stammen. Exemplarisch für diese Stilperiode stehen unter anderem die Stücke Red Silence und Delo in disciplina (Arbeit und Disziplin).
Ab Mitte der 1980er Jahre bildet sich mit dem Album Nova Akropola allmählich der als militant classicism (Alexei Monroe) bezeichnete typische Laibachstil heraus, der geprägt wird durch militärische Marschrhythmen, Fanfaren und Samplings von klassischer Musik gepaart mit Bruchstücken politischer Reden und Statements insbesondere von Josip Broz Tito. Die Stücke sind im Vergleich ruhiger und verbreiten zum Teil eine fast mystische Atmosphäre. Exemplarisch für diesen Stil stehen unter anderem die Stücke Brat moj (Bruder mein) oder Država (Der Staat).
“Militant classicism is a form which unites the mechanics of organic rhythm and the confusion of intuitive sound internventions into the harmony of the beautiful idea. We have monopolised the right to chaos so as to underline order.”
„Militanter Klassizismus ist eine Form, die die Mechanik des organischen Rhythmus und die Verwirrung von intuitiven Klanginterventionen in der Harmonie der schönen Idee vereint. Wir haben das Recht auf Chaos monopolisiert, um die Ordnung zu unterstreichen.“
- Laibach
Mit dem Erscheinen der Alben Opus Dei und Let It Be wurde dieser Stil zum Ende der 1980er Jahre hin ergänzt durch zahlreiche Coverversionen bekannter Stücke aus dem Rock- und Pop-Bereich, die entsprechend in die Form des militant classicism umgeformt wurden.
Ab dem Ende der 1980er Jahre erfolgte - unter Beibehaltung des grundsätzlichen Stils - eine verstärkte Hinwendung zu Disco-, Techno- und teilweise sogar Rap-Elementen, kulminierend in den Alben Kapital (1992) und NATO (1994).
“We are fascinated by disco aesthetics […] which is - as a regular repetition - the purest form of militantly organized rhythmics of technicist production and classicist beauty.”
„Wir sind fasziniert von der Disco-Ästhetik […], die - als regelmäßige Wiederholung - die reinste Form von militant organisierten Rhythmen von technizistischer Produktion und klassizistischer Schönheit ist.“
- Laibach
Das 1997 erschienene Album Jesus Christ Superstars ist demgegenüber stark von Elementen des Heavy Metal geprägt.
„Der Grund, warum wir uns mehr ins Heavy-Metal-Genre bewegt haben, ist der, daß Heavy Metal das erste Genre gewesen ist, das die moralischen Werte der Religion hinterfragt hat.“
- Laibach, 1996
Im neuen Jahrtausend kehrte Laibach mit dem Album WAT wieder verstärkt zum militant classicism der späten 1980er Jahre zurück, wobei die Musik grundsätzlich zugänglicher und stärker von elektronischen Sounds geprägt war. Das 2006 erschienene Album Volk mit Neuinterpretationen verschiedener Nationalhymnen ist noch stärker von elektronischen Klängen geprägt und ist insgesamt wesentlich weniger martialisch gehalten. Mit den Projekten LAIBACHKUNSTDERFUGE und Volkswagner wandte sich Laibach verstärkt klassischen Vorbildern zu und interpretierte diese klassisch orchestriert (Volkswagner) oder auch rein elektronisch (LAIBACHKUNSTDERFUGE) neu.
In dieser eigenwilligen und teils kontroversen Zusammensetzung von Stilistiken spiegelt sich die Denkweise der Band wider. Hier wird das Prinzip der Überidentifikation mit totalitärer Ideologie deutlich: Laibach vereinnahmt alles.
„Wir nehmen von allem ein bißchen und schaffen etwas anderes in einer neuen Kombination. Das ist unser Eklektizismus.“
- Laibach, 1994
Die grundlegende Idee des militant classicism äußert sich auch in der Bühnenpräsenz der Gruppe. Konzerte von Laibach sind üblicherweise geprägt vom uniformierten und autoritären Erscheinungsbild der Musiker sowie auch dem Live-Einsatz entsprechender Instrumente wie Trommeln und Fanfaren. Das disziplinierte Agieren steht dabei im krassen Gegensatz zu dem eher spontanen und freien Ansatz der Rockmusik. Die ästhetische Wirkung wird übersteigert durch entsprechende Videoprojektionen und Banner mit laibach-typischer Symbolik, wobei für bestimmte Projekte auch von diesem grundsätzlichen Erscheinungsbild abgewichen wird.)
Here we go again... it's never too late.
Génial !
I come back to this song after the events of Dec 4 2024. Remember the 4th of December. DDD
The Guillotine still work!!
Ridicule. Au contraire, la justice est très faible. On the contrary, french justice is so weak !
There is a polish internet tradition. When you don't see any comments you have to write: "pierwszy" so PIERWSZY! :V
Correct. Poland means "First" also.
:) :)
fajno kurwa
Gonna start using this as my toast at my favourite Polish bar
Long live the French people!
Mars 2023 en 49.3
Hey, Sweeties! Auf meiner Reise, bin ich angelangt, Sartre, Balscac, Baudelaire! Radio Gazelle aus Marseille! Wie gehts weiter? Mit einem kraeftigen Let' s go, so agil & dynamische, wie das Ihrige, ich kenne nicht mal Ihren Namen, obwohl Lieblingsbands, Laibach & Rammstein sind! Eure Jule Lissi!
3:51 😍
hello where are the films of bordeaux festival CAPC in 1983 ?
ECHT MOOI!!!
So fitting for France right now
Reconquista!
Allons enfants de la Patrie!
L' une de mes chansons préférées du groupe, toujours d'actualité malheureusement ! Vive la Guillotine et bon baiser de France !
This should be the yellow jackets anthem.
Behead Macron!
LOL ! You missed the point a little
@@kosovir how so?
@@badcooper235 A song like this cannot be yellow vest anthem dude, it's basically bashing the immigrants and the "hordes" not the government. lol !!! It's a parody of the French anthem dude !
Have you heard "Aux Armes" by Pest Noire? Now *that* seems like a Yellow Vest song!
@@kosovir No its not bashing Immigrants. Its bashing people who are bashing Immigrants. The riots are not un French but they are an part of the french tradion of Violent protests.
Why no Ireland song?
With the exception of their own Slovenia all the nations represented on Volk are historically imperialist nations - the subtle message seems to be that these countries barely understand themselves yet assume their civilisation should be exported. This is not really true of Ireland.
All these are in English huh?
Best of Volk with Israel and America imo
How many people mistake this for a xenophobic anthem without analysing it ? I mean, even the lyrics shouts you to LISTEN
People wanna hear what they want, even Sieben Tage Lang is a Song often used by Wehraboos even tho it's in itself a communist fight song
Both side are available. You c hear it as one xénophobic anthem or one universalist révolution anthem.
I love how the line between both can be easely cross
Literally nobody?
Lmao..😂
It's 2024, everybody knows what Laibach is about.
Anti-French Revolution
nice 360p quality
@Clément B. 2017 upload. I highly doubt the original video used as a background projection at live gigs was 360p.
классно мне нравится :) :)
Europe is falling apart.
"Штука посильнее «Фауста» Гёте" получилась
Ilove you Adonai and ieye am his real chosenone Ricky Rivas savir Israel Adonai ieye new since iwas Born to do that My Dad's work out and ieye won My Dad Luis magin Rivas and he knewest ths Day ieye always loved My papa magin Rivas and My Dad Luis magin Rivas
Too late.
Emmanuel Macron is back.....
Il n' y a de que les boulets qui ne comprennent pas l'ironie et le second degré de ce morceau...😅 La république est morte que vous le vouliez ou non... L'ancien monde n'est plus et le nouveau n'est guère réjouissant. Adieu liberté chérie 😅 #yellowvest
Poland!
Stronk!
@@brys555 Cannot into Space!
Pan Twardowski lives on Moon since 16th century.
Antoons Stranger Things: Ash Ketchum's Death Bed Theme (Feat. Tai and Agumon)
Transcript
Narrator: What a gloomy day for a- (Tai Kamiya and Agumon walk right over to the entrance of the Pokémon Center.) huh, Tai? Agumon? (Tai Kamiya opens up the door for Agumon and they walk right in to the receptionist to sign in to visit Ash Ketchum.) What are you guys doing here?
(Transitions to a patient room with Tai Kamiya opening the door to see Ash Ketchum, in a hospital bed, surrounded by his teammates.)
Narrator: Oh, Ash, and the whole gang. Just what is going on here?
(Then Tai Kamiya closes the door silently right after Agumon walks in while some Pokémon DVDs, video games and trading cards are on the table side.)
Tai: "Hey,"
Agumon: "what's going on here?"
(The sound of a heart monitor's heard just as Tai Kamiya and Agumon walk right over to the comatose Ash Ketchum.)
Narrator: Ash, what happened to you?
(Dawn and Serena hold Ash Ketchum's right hand with a depressed look on their faces, Dawn uses her poké ball to revive Ash Ketchum, but Misty denies it.)
Misty: "Dawn, stop that! Ash, my poor prince."
(Misty rubs Ash Ketchum's right hand with a depressed look on her face.)
(Then, Ash Ketchum slowly opens his eyes, seeing everybody cheerful and overjoyed that he's alright.)
(Then, a tweet message is heard, Officer Jenny goes to check her smart phone, revealing that Nintendo announces a new Pokémon game, which causes Ash Ketchum to pass away instantly from the message with the sound of flatlining.)
Misty: (Gasps in Shock) "Ash? Ash? No... no... ASH!"
(Misty, Dawn and Serena shake Ash Ketchum's motionless body just as they begin sobbing wildly.)
(Tai Kamiya and Agumon begin looking depressed 'til Tai Kamiya realizes that he can revive Ash Ketchum with his magic rainbow rock, but right before he does anything to do so, Officer Jenny grabs his right shoulder and shakes her head left and right to tell him not to use his magic to revive Ash Ketchum.)
(Misty, Dawn and Serena finally stop shaking Ash Ketchum, but they were still sobbing wildly.)
(Pikachu is crying wildly while banging on the floor.)
(May was snuggled tightly by Max and they're both sobbing heavily.)
(Iris was standing right next to Cilan, but she was also sobbing heavily.)
(Bonnie was also sobbing heavily just as Clemont supports her for consoling.)
(Officer Jenny is looking depressed just as Nurse Joy was tearing up slightly.)
(Gary Oak, Brock and Tracey Sketchit are depressed.)
(Tai Kamiya and Agumon are feeling depressed.)
(The look on Ash Ketchum's face is deadpan and still just as the right side of his death bed was seen with his poké ball dropping right onto the ground, breaks into pieces and finally disappearing.)
R.I.P Pokémon
Characters
Ash Ketchum (don't speak)
Pikachu
Gary Oak (don't speak)
Misty
Brock
Tracey Sketchit
Nurse Joy (don't speak)
Officer Jenny
May
Max
Dawn
Iris
Cilan
Serena
Clemont (don't speak)
Bonnie
Tai Kamiya (Digimon)
Agumon (Digimon)
Voice Cast
Ninti Chance - Pikachu/Misty/May/Max/Dawn/Iris/Serena/Bonnie
Julie Park - Officer Jenny
Samuel Meza - Brock/Tracey Sketchit/Tai Kamiya/Agumon
Cougar MacDowall - Cilan
Stephen J. Pena - Narrator
Wtf
?
Laibach u so messed up lol it's never too late
Chcete slyset hit? Nemohl jsem vam poradit, existuji polske titulky, ruclips.net/video/BxFw_iukKT0/видео.html
Travail, famille, patrie
Yeah, let's just recycle Louis Bonaparte's old slogans. Hey, it worked for him, didn't it?
haha so you understand Laibach about as well as you understand politics? cool.I mean I am sure you like the pretty sounds, maybe next time learn to read and understand lyrics.
lmao it wasnt Bonaparte, it was the slogans used by the part of France being controlled by nazis..
Trahison, collaboration, manipulation .
Another neonazi using Nazi slogans and pretending to care abou France.
Francistan
muhhh the problem is the outsiders muuuhh
Espérons que cela n'arrive pas...
@@jeancarvalho3930 It's a "chance for la France"!
LE PEN
Travail, famille, patrie
Yeah, let's just recycle Louis Bonaparte's old slogans. Hey, it worked for him, didn't it?
Actually I oversimplify that a bit. Laibach are more complex than that. But boy oh boy do some people just not understand. Then again, Le Pen supporters might be just the kind of people who would get confused by a surface appearance of a thing.
Of course, this one isn't even very subtle, but for the dim I guess even this is hard to understand: Why do they carry chains,
Molotovs, iron stakes
And all their weapons?
Is it really us they dare to touch?
Do they want to be US so much?
I meant the chains and slaves allusions really, but yeah Laibach has layers :)
premonitory song, France will collapse soon ... RIP!
Long live the Republic! Down With Le pen