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Fanii Metallica numără minutele până la începerea concertului.
Aglomerație și restricții de trafic în zona Arenei Naționale, jandarmii recomandând intrarea Maior Coravu. -
O mês de Agosto tem direito a duas sessões do ciclo de conversas "Confrontar o Legado Colonial no Museu", no Museu Municipal Santos Rocha, nos dias 2 e 30.
Numa iniciativa do projecto #TRANSMAT, um conjunto diversificado de 11 pessoas vão reflectir criticamente sobre o legado colonial nos museus portugueses.
ℹ️ https://ihc.fcsh.unl.pt/events/confrontar-legado-colonial-03/
#Histodons #Museums #Museus #Colonialism #Colonialismo #ColonialCollections #ColecçõesColoniais #Reparations #Reparações #PósColonialismo #PostColonialism
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Rope Jam
The Knoty (W)Hole | Porto, Wednesday, March 25 at 09:00 PM GMT
É com enorme prazer que anunciamos que iremos ter mais uma Rope Jam presencial no Porto, no dia 25 de março, das 21h até às 24h.
O que são Rope Jams?
São eventos sem cariz formativo e sem nível exigido, para prática livre, onde cada um pode experimentar, treinar ou simplesmente ver e/ou socializar.
As jams têm o objetivo de proporcionar um espaço de interação, socialização e aprendizagem comunitária.
A equipa KNOTY está disponível para ajudar se necessário.Sem obrigação de participar ativamente.
Temos uma zona social com café, chá e snacks, projeção de performances antigas, livros e cordas comunitárias.Não tem par?
Pessoas sem par, podem ter a oportunidade de conhecer alguém com quem atar, numa jam.
Não havendo garantias de alguém estar disponível, é comum as pessoas interagirem, conhecerem alguém e começarem a atar juntos.
Sendo um espaço social, é considerado mais ‘seguro’ atar pela primeira vez numa jam social.
Além disso, podem fazer self-tie no nosso espaço sem pressões ou julgamentos. Todas as formas de atar são válidas no KNOTY.Temos 2 vagas gratuitas para artistas desenharem/pintarem.
By the way, we’re English friendly speakers!Mais informações:
https://knoty.pt/event/rope-jam-25-mar-porto/ -
Rope Jam
The Knoty (W)Hole | Porto, Wednesday, March 25 at 09:00 PM GMT
É com enorme prazer que anunciamos que iremos ter mais uma Rope Jam presencial no Porto, no dia 25 de março, das 21h até às 24h.
O que são Rope Jams?
São eventos sem cariz formativo e sem nível exigido, para prática livre, onde cada um pode experimentar, treinar ou simplesmente ver e/ou socializar.
As jams têm o objetivo de proporcionar um espaço de interação, socialização e aprendizagem comunitária.
A equipa KNOTY está disponível para ajudar se necessário.Sem obrigação de participar ativamente.
Temos uma zona social com café, chá e snacks, projeção de performances antigas, livros e cordas comunitárias.Não tem par?
Pessoas sem par, podem ter a oportunidade de conhecer alguém com quem atar, numa jam.
Não havendo garantias de alguém estar disponível, é comum as pessoas interagirem, conhecerem alguém e começarem a atar juntos.
Sendo um espaço social, é considerado mais ‘seguro’ atar pela primeira vez numa jam social.
Além disso, podem fazer self-tie no nosso espaço sem pressões ou julgamentos. Todas as formas de atar são válidas no KNOTY.Temos 2 vagas gratuitas para artistas desenharem/pintarem.
By the way, we’re English friendly speakers!Mais informações:
https://knoty.pt/event/rope-jam-25-mar-porto/ -
https://www.europesays.com/ro/172627/ Memoria DDR5 HUDIMM ar putea fi numai bună pentru gaming, în ciuda specificațiilor slabe #AMD #ASRock #CrizaDeMemorie #ddr5 #gaming #HUDIMM #Intel #performanta #ram #RO #Română #Romania #Romanian #Technology #tehnologie
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Kyriakos Ksimitiris vive! / Kyriakos Ksimitiris lives!
Disgraça, sábado, 15 de novembro às 18:00 GMT
Kyriakos Ksimitiris vive!
Angariação de fundos para companheiras anarquistas presas pelo estado grego no “caso de Ambelokipi” (Atenas)
Conversa com intervenção de companheira presa + Jantar + Concertos
A 31 de Outubro de 2024 explodia um apartamento em Ambelokipi, Atenas.
No decorrer do manuseamento de material explosivo, Kyriakos Ksymitiris, militante anarquista com uma longa e abrangente história de luta, perdia a sua vida e Marianna Manoura, também anarquista e sua companheira, ficaria gravemente ferida, sendo posteriormente hospitalizada e transportada para a prisão feminina de Korydallos, onde é mantida até hoje.
Este acontecimento despoletou uma “caça às bruxas” por parte do aparelho estatal e judicial grego, intensificando a perseguição já existente ao movimento anarquista e aos que nele participam. Vários outros e outras camaradas acabaram presas ao longo do mês que se seguiu, com base em provas inexistentes ou ténues no melhor dos casos, todos acusados ao abrigo do artigo 187A, que criminaliza ou agrava qualquer ato de luta ou camaradagem sob a grande bandeira da “luta ao terrorismo”. Os seus nomes são Dimitra, Dimitris, Nikos Romanos e A.K., e todos permanecem presos até hoje, aguardando julgamento.
No dia 15 de Novembro, 1 ano e 15 dias depois de Kyriakos cair, deixando todo um legado de luta e solidariedade consigo, iremos reunir no CSA Disgraça (Rua Penha de França 217B, Lx) para falar (com intervenção das companheiras presas Marianna e Dimitra) sobre o legado de Kyriakos, o processo judicial que o movimento enfrenta, entre outras coisas. Esta conversa será seguida de um jantar (vegano) e concertos, numa angariação de fundos para ajudar com os custos legais das companheiras presas pelo estado grego.
Programa:
18 horas – Conversa
20 horas – Jantar (cachorros quentes veganos)
21 horas – Concertos:
XangaiH – punk da Baixa da Banheira +
3416 – d-beat crust punk fontanelense +
AniMalxs - freestyle anarkorap +
skoupidostef – hip hop experimental antinacionalista (em grego)
Para ler mais sobre a questão recomendamos:
- o texto de Marianna M. “O que dá sentido à vida dá sentido à morte”, escrito a partir da prisão e disponível em https://athens.indymedia.org/post/1638297/
- e o texto do Jornal MAPA no contexto do aniversário da morte de Kyriakos https://www.jornalmapa.pt/2025/11/03/em-memoria-do-anarquista-kyriakos-nas-ruas-de-atenas/English
Kyriakos Ksimitiris lives!
Fundraising for anarchist comrades imprisoned by the Greek state in the “Ambelokipi case” (Athens)
Talk with intervention by imprisoned comrade + Dinner + Concerts
On October 31, 2024, an apartment exploded in Ambelokipi, Athens.
While handling explosive material, Kyriakos Ksymitiris, an anarchist militant with a long and extensive history of struggle, lost his life and Marianna Manoura, also an anarchist and his partner, was seriously injured, subsequently hospitalized and transported to the Korydallos women's prison, where she remains to this day.
This event triggered a “witch hunt” by the Greek state and judicial apparatus, intensifying the already existing persecution of the anarchist movement and those who participate in it. Several other comrades were arrested over the following month, based on non-existent or weak evidence at best, all charged under Article 187A, which criminalizes or aggravates any act of struggle or comradeship under the broad banner of the “fight against terrorism”. Their names are Dimitra, Dimitris, Nikos Romanos and A.K., and all of them remain in jail to this day, waiting for trial.
On November 15, one year and 15 days after Kyriakos fell, leaving behind a legacy of struggle and solidarity, we will gather at CSA Disgraça (Rua Penha de França 217B, Lx) to talk (with a contribution from the imprisoned comrades Marianna and Dimitra) about Kyriakos' legacy, the legal proceedings facing the movement, among other things. This conversation will be followed by a (vegan) dinner and concerts, in a fundraiser to help with the legal costs of the comrades imprisoned by the Greek state.
Program:
6 p.m. – Conversation
8 p.m. – Dinner (vegan hot dogs)
9 p.m. – Concerts:
XangaiH – punk from Baixa da Banheira +
3416 – d-beat crust punk from Fontanela +
AniMalxs - freestyle anarkorap +
skoupidostef – experimental anti-nationalist hip hop (in Greek)
To read more about the issue, we recommend:
- Marianna M.'s text “What gives meaning to life gives meaning to death,” written from prison and available at https://athens.indymedia.org/post/1634932/
- and the text from Jornal MAPA in the context of the anniversary of Kyriakos' death https://www.jornalmapa.pt/2025/11/03/em-memoria-do-anarquista-kyriakos-nas-ruas-de-atenas/
https://eventos.coletivos.org/event/kyriakos-ksimitiris-vive-kyriakos-ksimitiris-lives-1
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https://www.magmoe.com/1317395/celebrity/2024-02-13/ TiU – HERO JOKER (Teaser) ##ピアノ ##向井康二 #amuse #classic #Gentleman #happy #HAPPYHUMAN #hero #hiphop #jazz #Joker #JQ #jsb #JUSTSOMETHINGBEAUTIFUL #KennyDoes #KOPERU #MOS #NBDK #Nulbarich #peko #POPS #rap #SexyZone #SnowMan #TiTi #tiu #クラシック #ゴスペル #ジョーカー #ショーマン #ピーターパン #ヒーロー #ブラスバンド #ベートーヴェン #ラップ #リビングの松永さん #リビ松 #中島健人 #仲間 #幸せ #梅田サイファー #紳士 #美少年 #藤原大祐
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“Mercado em Conexão”: uma vitrine da burguesia em plena UFMG.
- bsavdd
https://averdade.org.br/2026/04/mercado-em-conexao-uma-vitrine-da-burguesia-em-plena-ufmg/
#Educao #Juventude #Opinio #Burguesia #Capitalismo #EducaoPblica #Ita #LutadeClasses #MercadoemConexo #MinasGerais #MovimentoEstudantil #Nubank #Privatizao #RomeuZema #SalimMattar #Samarco #UFMG #Vale -
Die Selbstauflösung der PKK verstehen: Was bedeutet das für den Nahen Osten?
Am 12. Mai 2025 gab die Kurdische Arbeiterpartei (Partiya Karkerên Kurdistanê, PKK) nach mehr als vier Jahrzehnten bewaffnetem Kampf gegen die türkische Regierung ihre Auflösung bekannt. Dies geschah unmittelbar nach einem Aufruf des inhaftierten #PKK-Führers Abdullah #Öcalan, die Organisation aufzulösen. Am 11. Juli nahmen PKK-Kämpfer an einer Zeremonie teil, die die Entwaffnung symbolisierte. Was bedeutet dies für die kurdischen Befreiungsbewegungen und für den Nahen Osten im Allgemeinen?
In der folgenden #Analyse geht eine kurdische feministische Aktivistin auf der Grundlage ihrer über zehnjährigen politischen und wissenschaftlichen Auseinandersetzung mit der kurdischen Befreiungsbewegung diesen Fragen nach. Die Autorin Soma.r wuchs im Iran auf und lebt in der kurdischen Diaspora. Sie steht in engem Kontakt zu weiblichen Aktivistinnen und ist weiterhin aktiv in der Bewegung engagiert.
Einleitung Eine Gruppe von PKK-Kämpferinnen hat sich am 11. Juli 2025 in der Jasna-Höhle in der autonomen kurdischen Region des Irak symbolisch entwaffnet. Der Ort hat eine tiefe historische und politische Bedeutung: 1923 diente er als Zufluchtsort und Kommandozentrale während der britischen Kolonialangriffe. Im selben Jahr wurde die Jasna-Höhle zu einer geheimen Druckstätte für Bangî Haq („Ruf der Wahrheit“), die erste revolutionäre kurdische Zeitung, die vom Journalisten Ahmad #Khwaja gegründet wurde. Diese Tat verband antikolonialen Widerstand, politischen Kampf und Untergrundjournalismus miteinander.
Ein Jahrhundert später ist die Entwaffnung an diesem Ort keine #Kapitulation, sondern eine politische Aussage, die durch die Jahrhunderte hallt. Sie zieht eine Grenze zwischen Vergangenheit und Gegenwart und nutzt Erinnerung als Strategie. Mit der Wahl von #Jasna erinnern uns die Kämpfer daran: #Revolutionen mögen ihre Form ändern, aber ihre Wurzeln reichen tief. Wo einst das Imperium Schweigen forderte, druckten kurdische Stimmen die Wahrheit. Wo nun die #Waffen niedergelegt werden, könnten neue Kämpfe entstehen – verwurzelt in derselben Erde, aber geprägt von neuen Vorstellungen.
Dieser Akt gewinnt angesichts der jüngsten Ereignisse noch mehr an Bedeutung. Nur zwei Tage zuvor war Abdullah Öcalan, der legendäre PKK-Führer, in einer Videobotschaft wieder aufgetaucht – seiner ersten seit 1999 –, in der er das Ende des bewaffneten Kampfes forderte und einen endgültigen Wandel hin zu einer demokratischen Politik drängte. Dieser Moment lädt nicht nur zum Gedenken ein, sondern auch zur Interpretation: Wie vollzieht eine #Guerillabewegung, die einst gleichbedeutend mit bewaffnetem Widerstand war, durch symbolische Akte einen politischen Wandel?
Um die Selbstauflösung der Kurdischen Arbeiterpartei (PKK) zu verstehen, muss man sich die Breite ihrer sozialen Basis vor Augen führen, die mehrere Millionen Menschen umfasst. Seit Öcalans Inhaftierung im Jahr 1999 hat sich die kurdische Bewegung in der Türkei über ihre Guerilla-Wurzeln hinaus zu einem komplexen politischen Projekt entwickelt, das in verschiedenen städtischen und ländlichen, säkularen und religiösen, kurdischen und nicht-kurdischen Bevölkerungsgruppen verwurzelt ist – wobei das #Proletariat nach wie vor eine zentrale Rolle spielt. Sie agiert heute über eine hybride Struktur, die einen bewaffneten Flügel in #Qandil mit einem breiten zivilen Netzwerk aus Gewerkschaften, Kommunen, legalen Parteien, #Frauenorganisationen, Medien und transnationalen Solidaritätsplattformen verbindet. Ihre politische Praxis ist gleichzeitig territorial und transnational, legal und illegal, militarisiert und zutiefst sozial. Zu den transformativsten Veränderungen zählt der Aufstieg der kurdischen Frauenbefreiungsbewegung (KWLM), die die Emanzipation der Geschlechter als symbolischen und strategischen Kern neu positioniert hat. In Öcalans Briefen werden das #Rojava-Projekt und die wachsende Rolle der #KWLM durchweg als die bedeutendsten Errungenschaften der PKK in der Gegenwart hervorgehoben.
In einer bedeutenden Entwicklung für die kurdische politische Landschaft kündigte die PKK nach ihrem 12. Kongress ihre Auflösung an. Diese Entscheidung wurde durch eine Reihe von Dialogen geprägt, die im Oktober 2024 unter Beteiligung von Abdullah Öcalan (über seinen Neffen und die Delegation der Partei für Gleichheit und Demokratie der Völker) initiiert wurden und durch Äußerungen des Vorsitzenden der Nationalistischen Aktionspartei (Milliyetçi Hareket Partisi, #MHP), Devlet #Bahçeli, einer rechtsextremen, ultranationalistischen Partei in der #Türkei, ausgelöst wurden. Öcalan betonte die Notwendigkeit, die Kurdenfrage von einem bewaffneten Kampf zu einer demokratischen Politik zu überführen, und erklärte, er sei in der Lage, diesen Wandel zu führen, wenn die Bedingungen dies zuließen.
Als Reaktion darauf begann die PKK interne Konsultationen und erklärte sich bereit, unter der Leitung von Öcalan einen Kongress einzuberufen. Am 27. Februar 2025 veröffentlichte Öcalan einen offiziellen „Aufruf zu Frieden und einer demokratischen Gesellschaft“, in dem er die PKK aufforderte, ihre bewaffneten Aktivitäten einzustellen und Verantwortung für eine friedliche Lösung zu übernehmen. Daraufhin erklärte die PKK am 1. März einen einseitigen Waffenstillstand. Darauf folgte der 12. Kongress der Organisation, auf dem die Entscheidung zur Auflösung der PKK und zur Beendigung ihres bewaffneten Kampfes offiziell verabschiedet wurde. aus der Führung sowohl der PKK als auch der Partei Freier Frauen in Kurdistan (#PAJK).1
Öcalans strategische Vision wurde in der Mai-Ausgabe (Nr. 521) von #Serxwebûn, der offiziellen Monatszeitschrift der PKK, näher ausgeführt. Diese letzte Ausgabe enthielt das vollständige 20-seitige Dokument, das Öcalan dem Kongress vorgelegt hatte, sowie einen vier Punkte umfassenden Brief an die Delegierten, in dem er den politischen Rahmen für den Übergang zu einer friedlichen und demokratischen Phase der kurdischen Bewegung skizzierte. Mit der Ankündigung des Endes ihrer ununterbrochenen 44-jährigen Geschichte erklärte die Zeitschrift: „Alles ist bereit für einen neuen und stärkeren Anfang.“
In seinem Brief vom 27. April skizziert Abdullah Öcalan eine transformative Vision für die Zeit nach der PKK, die sich auf demokratische Nation, ökologische und kommunale Ökonomie und demokratische Modernität als Alternative sowohl zum kapitalistischen #Nationalstaat als auch zum realen #Sozialismus konzentriert. Er schlägt eine demokratische Gesellschaft als politisches Programm für die neue Ära vor – eine Gesellschaft, die nicht darauf abzielt, den Staat zu erobern, sondern autonome, basisdemokratische Strukturen wie Kommunen zu schaffen. In diesem Rahmen werden Konzepte wie demokratischer Sozialismus, #Kommunalismus und regionaler #Konföderalismus sowohl für die kurdische Befreiung als auch für einen umfassenderen regionalen Wandel von zentraler Bedeutung. Öcalan bezeichnet dies als eine neue Form des Internationalismus und fordert alle Akteure auf, Verantwortung für dessen Verwirklichung zu übernehmen, da ein Erfolg in Kurdistan seiner Meinung nach Auswirkungen auf die gesamte Türkei, Syrien, den Irak und den Iran haben könnte.2 Die Texte in dieser Ausgabe – darunter Reden, Resolutionen und Kongressdokumente – spiegeln den Versuch wider, den strategischen Horizont der Bewegung neu zu definieren.
Öcalans jüngster Aufruf zur Auflösung ist nicht ohne Präzedenzfälle, da die PKK seit langem zwischen bewaffnetem Kampf und Verhandlungen schwankt. Dieser Moment signalisiert jedoch einen tieferen ideologischen Wandel: Seit 2004 hat sich die Bewegung über die Kurdistan Democratic Communities Union (#KCK) – ein Dachverband, der die PKK umfasst, aber in dem aktuellen Auflösungsplan auffällig fehlt – um den „demokratischen Konföderalismus“ herum neu strukturiert.
Die Bedeutung des Begriffs „Auflösung“ bleibt höchst unklar. Bedeutet er das Ende der PKK, eine bloße Umbenennung oder einen taktischen Wandel im Rahmen einer längerfristigen politischen Anpassung? Noch entscheidender ist die Frage, was die Auflösung einer Struktur, die historisch gesehen bewaffneten #Widerstand und #Mobilisierung an der Basis miteinander verflochten hat, für die antistaatlichen und antikolonialen Kämpfe in der Region bedeutet.
Selbst innerhalb der PKK gibt es unterschiedliche Interpretationen. Zagros #Hiwa, Sprecher für Außenbeziehungen der KCK, erklärte im Sterk TV, dass die Resolutionen ein Ende des bewaffneten Konflikts – nicht die Entwaffnung – fordern, und stellte die Durchführbarkeit angesichts der 100 Meter Entfernung zwischen türkischen #Soldaten und Guerillakämpfern in Frage. Andere sind anderer Meinung. Amir Karimi vom iranisch-kurdischen Ableger der PKK erklärte: „Diejenigen, die am härtesten gekämpft und am meisten erlitten haben, haben das größte Recht, über #Frieden zu sprechen.“ Der Sprecher des türkischen Parlaments, Numan #Kurtulmuş, stellte den Prozess hingegen als Teil einer nationalen Anstrengung dar, sich gegen imperialistische Zersplitterung zu wehren:
„Der Irak und Syrien sind zersplittert, der Libanon ist unregierbar geworden. Libyen, Sudan und Somalia wurden geteilt. Diese Länder sind zu Schlachtfeldern geworden, die von Stammes-, ethnischen und religiösen Spaltungen angeheizt werden, und einige wurden durch terroristische Organisationen zerschlagen. Wir hätten passiv wie eine „gelbe Kuh“ darauf warten können, dass wir als Nächste auseinandergerissen werden, oder wir Türken, Kurden und alle anderen hätten uns vereinen können, um diese imperialistische Agenda zu besiegen. Wir haben uns für den zweiten Weg entschieden und sind entschlossen, gemeinsam voranzuschreiten.“
Es überrascht nicht, dass dieser Aufruf zu Spaltungen, Unsicherheit und einem breiten Spektrum an Reaktionen unter kurdischen Aktivist*innen geführt hat. Hier werden wir diese Fragen aufgreifen, indem wir die historische Entwicklung der PKK im Zusammenhang mit Friedensprozessen analysieren und die weiterreichenden Auswirkungen ihrer Auflösung für zeitgenössische antistaatliche, antikapitalistische und dekoloniale Bewegungen untersuchen.Wir beginnen mit einem kurzen Überblick darüber, wie revolutionäre Gewalt durch den bewaffneten Kampf in der kurdischen Bewegung entstand und wie dieser Verlauf mit einer Reihe gescheiterter Friedensinitiativen verflochten war, die oft neue Kriegszyklen hervorbrachten. Dann wenden wir uns der Kernfrage zu: Warum hat die PKK eine einseitige Entwaffnung beschlossen? Wir werden diese Entscheidung im Zusammenhang mit den sich wandelnden politischen Dynamiken auf regionaler, nationaler und globaler Ebene untersuchen. Abschließend werden wir über die Risiken, Unsicherheiten und strategischen Kalküle nachdenken, die mit diesem Schritt verbunden sind, und mit einer geschlechterspezifischen Lesart schließen, die die Rolle der kurdischen Frauenbefreiungsbewegung bei der Gestaltung sowohl der Grenzen als auch der Möglichkeiten dieses Prozesses in den Vordergrund stellt.
Die kurdische Tortur von staatlicher Gewalt und Staatenlosigkeit
Wie die PKK am 12. Mai 2025 erklärte:
"Die PKK entstand als Befreiungsbewegung gegen die Politik der Leugnung des kurdischen Volkes, die im Vertrag von Lausanne und in der türkischen Verfassung von 1924 verankert war."
Von einer anerkannten imperialen „Nation“ wurden die Kurden zu „ethnischen Minderheiten“ in Staaten, die sie unterdrückten, assimilierten und auslöschten. Obwohl sie fast 40 Millionen Menschen stark sind – 20 % der Bevölkerung der Türkei – sind die #Kurden nach wie vor das größte staatenlose Volk der Welt, das von politischer und kultureller Anerkennung ausgeschlossen ist. Die staatliche Unterdrückung hat oft genozidale Formen angenommen: Bei der #Anfal-Kampagne im Irak (1987–1988) wurden 180.000 Kurden getötet; die Entnationalisierungspolitik #Syriens in den 1960er Jahren machte Zehntausende staatenlos; Der #Iran stellt militärische Angriffe auf kurdische Regionen als „#Dschihad“ dar, und die Türkei verbot lange Zeit die Begriffe „Kurde“ und „#Kurdistan“ und bezeichnete Kurden als „Bergtürken“. Allein der Krieg zwischen der PKK und dem türkischen Militär hat über 40.000 Menschenleben gefordert, in einem größeren Kontext kurdischer Konflikte, in denen seit den 1960er Jahren mehr als 250.000 Menschen getötet wurden.Die türkische Republik wurde auf dem Völkermord an den #Armeniern und der Leugnung der kurdischen Identität aufgebaut, die beide dazu dienten, ein homogenisierendes nationalistisches Projekt durchzusetzen. Die PKK entstand in den 1970er Jahren als direkte Reaktion auf dieses ausgrenzende Regime. Ihre Opposition war nicht nur militärischer, sondern auch kultureller und politischer Natur, wie Leyla #Zanas parlamentarischer Eid von 1991 symbolisiert („Ich leiste diesen Eid für die Brüderlichkeit des türkischen und kurdischen Volkes“) – auf Kurdisch –, für den sie zehn Jahre im Gefängnis verbrachte.
Heute verbindet der türkische #Imperialismus internen #Kolonialismus mit regionaler neoimperialer Expansion. Seit 2016 setzt #Ankara islamistische Milizen wie die „Syrische Nationalarmee“ (#SNA) in #Nordsyrien (#Afrin, al-Bab, #Azaz, #Jarablus, #Idlib) ein. Diese Milizen ermöglichen es der Türkei, Krieg zu führen und gleichzeitig eine neo-osmanistische Agenda der Zwangsarabisierung, #Islamisierung und demografischen Manipulation voranzutreiben. Mit Versprechungen von Gehältern bis zu 2500 Dollar werden junge Menschen angelockt, die von nur wenigen Dutzend Dollar leben, wodurch Krieg zu einer prekären Beschäftigung wird.
Seit 2015 hat die Türkei mehrere Operationen gestartet – #Euphrat-Schild, #Olivenzweig, Friedensquelle –, um kurdische Gebiete zu besetzen, die Bevölkerung zu vertreiben und #Plünderungen, #Massengewalt und ethnopolitische Umgestaltungen zu ermöglichen. Die Luftangriffe im #Irak auf #Qandil und #Sinjar haben sich intensiviert, ohne dass die internationale Gemeinschaft nennenswert reagiert hätte. Dieses Kriegsmodell – privatisiert, prekär und transnational – hat sich auf #Libyen (2019–2020), #Aserbaidschan (2020), #Jemen, #Niger und #Pakistan ausgeweitet. Mit dem türkischen Geheimdienst verbundene paramilitärische Netzwerke wie die Sultan-Murad-Brigade operieren aus kurdischen Dörfern wie #Sinara in der Nähe von #Afrin.
(...)
Weiterlesen in meiner Übersetzung des Beitrages Making Sense of the PKK’s Self-Dissolution von Soma.r, 13. Juli 2025 bei @CrimethInc @crimethinc_de
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Portanto perdemos um PM e governo por causa de um suposto envolvimento numa suposta suspeita, envolvimento afinal desmentido "troca de nomes".
Mas mantemos um PR envolvido até à ponta dos cabelos no caso de corrupção chapada das gémeas. Corrupção a vários níveis, da cunha à interferência em tratamentos médicos sem competência para tal.
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CW: Bowie's Blackstar at 10 - A Fedi-sourced celebration of a masterpiece [CW'd for length]
Bowie’s ★ at 10
Our next spotlight is on number 299 on The List, submitted by HillardHouseDan. And because this is a big anniversary for an even bigger album, some Fedi friends[1] will be joining me today to collectively share our thoughts on its impact, and our memories of its release. For, on January 8, 2016 – David Bowie’s 69th birthday – Bowie released his 26th studio album, making today the 10th anniversary of the experimental jazz/rock masterpiece ★ aka Blackstar.
rothko: “TENTH?!”
daria: “…10 years???? HOW 😭“
blogdiva: “Shit. It’s already been 10 years?!?!?”
austinross: “Hard to believe it’s already been 10 years.”
peach: “As the general quality of modern music has decayed, one of the last great albums has reached a decade.”
And, as we all know, 2 days later, January 10, 2016, Bowie left us, succumbing to a cancer we didn’t know he had been fighting, making Blackstar – whether intentionally crafted to be or not – his swan song.
harriolkn: “I remember reading the news when I was at work and barely kept it together for the rest of the day. When I finally got home, and saw my partner at the time, we both just burst into tears and embraced each other without saying a word.”
buffyleigh: “When KEXP celebrated the release of ★ with ‘Intergalactic Bowie Day’ [on Friday, January 8, 2016], I instantly fell in love with the album, the first entire Bowie album I had listened to from beginning to end…I listened to the entire 12-hour tribute and planned on working my way through his discography, starting with picking up ★ on vinyl as soon as I could get down to my local record store, seeing as it felt wrong listening to the full album on YouTube, which someone had already posted. When I saw the news on Monday morning, I was stunned and disoriented…called in sick and went to my local record store to stand there and be sad with everyone else.”
The summer of 2014 was both when Bowie first received his diagnosis and when he began demoing songs that would appear on Blackstar and in his musical Lazarus. During the 2015 recording sessions, the cancer was treated, went into remission, and – in November, around the making of the music video for “Lazarus” – returned with a status of terminal. And so, though Bowie had continued writing and recording, planning both a follow-up to Blackstar and another musical, he was facing his mortality head-on the entire time he was creating this album, living with the knowledge that this could very well be the last album he made, that it could be the last statement from an artist known for making a statement with everything he did.
Given this context and the fact that many heard the album for the first time literally just before or just after hearing the news, it’s essentially impossible for the listener to separate their experience and interpretation of Blackstar from Bowie’s death. Even without over-analyzing it all, it’s easy to notice that the album’s lyrics are full of references to death and dying, and that its atmosphere is melancholic and existential at the very least, if not downright foreboding. And the brilliant music videos for the singles “Blackstar” (single and video released November 19, 2015) and “Lazarus” (single released December 17, 2015; video released January 7, 2016)? Well, they’re both chock-full of more symbolism and self-referential imagery a Bowie fanatic could shake a stick at, simply encouraging – nay, inviting – the viewer to read absolutely anything and everything into them.
billyjoebowers: “When the ‘Blackstar’ video came out I remember talking with a friend about how interesting but weird it was, and being kind of amused and confused by it. Then he died, and the ‘Lazarus’ video, and it was like ‘Oh shit!’. Like a punch in the gut. An amazing work, I listened to it non-stop for months, but not for several months after, it was too raw.”
Anomnomnomaly: “To me, the album felt like he was writing his obituary in a lot of the lyrics. So when he passed away shortly after, the whole album started to make a lot more sense for me.”
BackFromTheDud: “@Anomnomnomaly Agree. He knew the end was near, and it shows.”
But, even if our experience of the album is coloured by this context, that by no means takes away from the brilliance of this album.
If we had been fortunate enough to get another Bowie album or two or six after it, Blackstar would remain an absolute standout in his eclectic discography. It was unlike anything Bowie had ever done. Even just Bowie’s decision to not have any familiar faces in the backing band but rather to hire a pre-existing group (i.e., Donny McCaslin’s quartet with Jason Lindner, Tim Lefebvre, and Mark Guiliana) – and a jazz quartet at that! – was a stunning move. That move alone, particularly given what must have been a strong sense of urgency to realize the music Bowie still wanted to get out before it was too late, could’ve made them all rush, cut corners, make compromises. But, instead, the gamble of working with musicians who were new to Bowie’s processes and methods – musicians from a corner of the music world that Bowie had not yet visited – paid off in spades. The result was that the album showcased once again Bowie’s awe-inducing drive to always push himself further and further, even when just shy of 70 years old – never afraid to try something new, never calling it in, and never wanting to rest on his long-before well-earned laurels, all for the love of music, art, and artistry.
Its context simply drew deserved attention to Blackstar much sooner than it might’ve in other circumstances, immediately cementing its status as a masterpiece rather than it taking people a beat or two to grasp what this genius had just dropped into our laps. Indeed, its context ultimately made David Bowie-the-performer the most human he had ever been, in some ways making this album – an otherwise rather experimental if not challenging musical work – perhaps the easiest in his entire oeuvre for people to instantly connect with, in one way or another.
AnxietyDescending: “Released at the same time of Bowie’s passing, Blackstar was a bittersweet release. At first listen it was obviously a masterpiece but that joy was tempered by the fact that it would be Bowie’s last.”
mathzy: “It was going to be one of his masterpieces anyway. And then it was released virtually on the date of his death. My reaction was this was a legend and he put all his legendary artistic endeavour into it. Gorgeous, dark, brooding, triumphant.”
soulforgotten: “Blackstar was a really hard one for me to listen to. Bowie passed away before I got the chance to listen to the album and his death was especially crushing for me and my wife. As much as I wanted to take the album for a spin, I just couldn’t at the time. It was years later that I finally took the opportunity to listen to it, and it was an almost 50/50 split of regret (leaving so long to hear it) and admiration for his final album. It is a solid bookend to an amazing legacy.”
okohll: “Bowie at his best, I’m really glad he managed to pull off a master-work to bow out with. Evokes something strange, extra-worldly, profound yet at the same time can’t escape the Bowie-like elements of fun. He had the gift of being able to make something both unique and banging. Mention must be made of the collection of musicians he pulled together – the drumming is absolutely amazing for example. The success is that the whole is even greater than the sum of the parts.”
serpicojam: “I had been a fan of Mark Giuliana’s (and the rest of the folks on the LP who’d worked with Donny McCaslin) long before Blackstar was released, and I really appreciated his influence on the songs. ‘Sue (Or In A Season Of Crime)’ is so dark, but it’s such a masterpiece. I should probably revisit the whole album again.”
evilchili: “Blackstar is astonishing in its ambition: here is a record that is both polemic and meditation, defiantly rejecting endings while saying goodbye, a grand finale and also the start of a new creative direction we will never get to follow. Throughout his career Bowie never told us everything, but he would give us glimpses, and Blackstar is no different: deeply personal, but only to a point. It’s true, but it’s an ambiguous truth. It’s wry and winking and earnest all at once. And full of swagger! It’s a considered, intentional final work by a dying man who is not afraid to remind us precisely how good he is.
‘You’re a flash in the pan
I am the great I AM'”No matter the whys and wherefores, upon its release 10 years ago, Blackstar became an important album for many of us, whether it changed how we approached the rest of Bowie’s discography, how we approached or viewed modern music in general, even how we played our own music.
NoRestfortheWicked: “Personally, it opened for me more of the David Bowie albums like Low. Also I like the aesthetic of this album and videos. ‘Blackstar’ like a sci-fi film, ‘Lazarus’ has an almost prophetic feeling of a dying man on his bed. For me, it was something new to find, and it expanded my musical taste a lot.”
RobeeShepherd: “I know some huge Bowie fans, so I’ve been exposed to his work, but for me whilst I love his earlier stuff he felt irrelevant to me as a music fan after ‘Absolute Beginners’. I’ve dipped in a little since then and nothing grabbed me, until Blackstar. That didn’t pull me in, it sucked me in and I played it on repeat for months.”
buffyleigh: “I became a fan THE DAY Blackstar came out, listened to Bowie all that Friday and weekend. And then Monday happened. So I was a fan of all of 3 entire days and yet it totally knocked the wind out of me. And I don’t think it’s an exaggeration to say that changed how I approach music. I listened to ONLY Bowie for months after that, only broken by Prince dying and then I only listened to Bowie and Prince for another few months. I never did deep dives before that, or re-evaluated my feeling on artists I had written off long before. And now that’s what takes up most of my listening time.”
billyjoebowers: “I worked with a band and thought I heard something with the drummer. ‘Have you listened to Blackstar?’ He laughed and said ‘Yeah, non stop’. I could hear it in the change in his playing.”
And, for some, it remains an album that still profoundly affects us in one way or another, even when it’s not playing. It’s approached reverentially, not just as a memorial for its artist but perhaps of something larger that we’ve all lost.
daria: “I can’t remember when I heard it last time, it’s an emotionally difficult album for me.”
avi_miller: “Blackstar is an album like no other. It will forever be tinged with emotions for me from Bowie’s passing, and I don’t think that is a bad thing. Sometimes I put it on and cry a little.”
harriolkn: “Blackstar is probably my favourite Bowie album but I can’t listen to it very often because it makes me feel more sad than any other music.”
buffyleigh: “I will never get over this album, and feel like every single note of it is totally ingrained in my brain. I literally have never listened to this without crying…is perhaps the first/only record in my collection I would consider sacred (in a non-religious sense). It’s also my least listened to favourite album because I never want it to become background music, and each listen is almost a rite. I essentially only put it on for Bowiemas/Bowienalia.”
austinross: “It is a life-changing album.”
theotherbrook: “I wish I could come up with something meaningful to say, but when I think about that album the nerves are still too raw for me to touch. I know I’m not alone in having an irrational sense that our collective orbit entered a state of rapid decay with Bowie’s death. It is — it must be — coincidental. But still. Leaving us Blackstar wasn’t just writing his own epitaph, but also leaving us a marker for that moment when we could no longer ignore how unstable the trajectory we were on had become. I don’t know… I meant to say I have nothing to say but then I said that.”
At the very least, whether Blackstar is among your favourite Bowie albums (or favourite albums, period) or not, for 40+ years the release of a new Bowie album was a cultural event, and this album was certainly among the biggest of them all if not THE biggest. In the age of the Internet (and so, Bowie’s last five albums, starting with the 1999 release ‘hours…’), such events have brought together people from literally all over the world, from all walks of life, to share in a piece of sonic art that brought beauty, comfort, wonder, and escape. Given the times we live in, where connection is perhaps more important than ever, that this was the last Bowie event we could ever share in, could bond over, could disappear into, is in itself something to be remembered and mourned.
satsuma: “Back in the day, Twitter used to be a friendly place where you could connect with a group of friends to chat about anything that took your fancy. You would accumulate loose networks of common interests with people across the internet, and occasionally closer bonds would form. One such group consisted of people who had realised that if we picked an album and all hit play at the agreed time, then that meant we could share our experiences of listening to music together, even though we might be worlds apart. We started with the odd album at lunchtime, then came up with some rules to add to our choices – the idea was to pick 5 albums by the same artist (their first, their last, the fans choice, the controversial choice and the wild card) and I coined the hashtag ‘5×1’ (for five by one) as a way of tying everything together. The comedian Michael Legge then suggested listening to every album by a particular group or artist at the rate of one a day, so we went through the discographies of Sparks, Gary Numan, Queen and eventually David Bowie, with the tag ‘BowieADay’ starting with ‘David Bowie’ and ending with ‘The Next Day’, the final album at the time.
We all loved Bowie, and so when we heard rumours that a new album was coming out we made plans to stay up after midnight to listen to it as soon as it was released. We laughed, we made jokes, we appreciated the joy of hearing something new and important from our Hero for the first time – it felt like a message from him straight to us and we all knew that we would be puzzling over the lyrics for a long time to come. What was with all of the references to him dying? What was a Blackstar anyway?
We went to bed happy that night, and then woke up two days later to the awful news that David Bowie was gone. We were numb with grief and clung together virtually to process how we felt.
I couldn’t face listening to Blackstar again for a long time – it was simply too painful to think that he knew he was dying as he wrote it. It took almost a year before we undertook another ‘BowieADay’ journey, knowing that this one had a final ending point.
The second time around was more poignant than the first, and I saw more of the connections that had always been there right from the very beginning to the bitter end. Of course there were Low points on the way and the second hearing of Blackstar was both agonising and cathartic, and the beginning of appreciating how much we lost on the day he died.
Of course, I’ve listened to Blackstar again in the ten years since then, but every time has felt like an occasion. It’s not an album to be streamed at random or added to playlists. It demands attention and ritual. To be listened to on the best speakers, with the lights dimmed and with full attention.
Our original ‘5×1’ group is now dispersed across different platforms, only sometimes reconnecting, but it’s not quite the same now. I have new friends in different places, but we still have common bonds in a love of music, and especially with this album that still holds a special place in my heart.
Rest in peace, Starman.”
If you haven’t yet heard this album, it’s waiting for you, whenever you’re ready. And, if you haven’t yet listened to Bowie’s full discography and aren’t sure where to start, perhaps check out our continuation of satsuma’s BowieADay that a few of us did last year, complete with a suggested schedule for what to listen to from January 8 through to the end of the month, including all the studio albums and some extras. I, for one, will be hiding in my Bowie playlist for the remainder of the month.
Thank you, Bowie.
- Mastodon/Fediverse usernames shown alongside their quotes. Nearly each participant submitted a single blurb, so some quotes have been split up to fit sections, and some have been very lightly edited for spelling/punctuation/capitalization. Many thanks again to the 20 Fedizens who took part (in alphabetical order): Anomnomnomaly, AnxietyDescending, austinross, avi_miller, BackFromTheDud, billyjoebowers, blogdiva, daria, evilchili, harriolkn, mathzy, NoRestfortheWicked, okohll, peach, RobeeShepherd, rothko, satsuma, serpicojam, soulforgotten, and theotherbrook. (For those with keen eyes but who may not know who is behind the keyboard, I don’t thank buffyleigh simply because that is me. And I know quoting myself is a bit hokey, but I am quoting what I’ve written elsewhere.) ↩︎
#Bowie #DavidBowie #DonnyMcCaslin #experimental #JasonLindner #jazz #ListenToThis #MarkGuiliana #music #musicDiscovery #rock #TimLefebvre
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CW: Bowie's Blackstar at 10 - A Fedi-sourced celebration of a masterpiece [CW'd for length]
Bowie’s ★ at 10
Our next spotlight is on number 299 on The List, submitted by HillardHouseDan. And because this is a big anniversary for an even bigger album, some Fedi friends[1] will be joining me today to collectively share our thoughts on its impact, and our memories of its release. For, on January 8, 2016 – David Bowie’s 69th birthday – Bowie released his 26th studio album, making today the 10th anniversary of the experimental jazz/rock masterpiece ★ aka Blackstar.
rothko: “TENTH?!”
daria: “…10 years???? HOW 😭“
blogdiva: “Shit. It’s already been 10 years?!?!?”
austinross: “Hard to believe it’s already been 10 years.”
peach: “As the general quality of modern music has decayed, one of the last great albums has reached a decade.”
And, as we all know, 2 days later, January 10, 2016, Bowie left us, succumbing to a cancer we didn’t know he had been fighting, making Blackstar – whether intentionally crafted to be or not – his swan song.
harriolkn: “I remember reading the news when I was at work and barely kept it together for the rest of the day. When I finally got home, and saw my partner at the time, we both just burst into tears and embraced each other without saying a word.”
buffyleigh: “When KEXP celebrated the release of ★ with ‘Intergalactic Bowie Day’ [on Friday, January 8, 2016], I instantly fell in love with the album, the first entire Bowie album I had listened to from beginning to end…I listened to the entire 12-hour tribute and planned on working my way through his discography, starting with picking up ★ on vinyl as soon as I could get down to my local record store, seeing as it felt wrong listening to the full album on YouTube, which someone had already posted. When I saw the news on Monday morning, I was stunned and disoriented…called in sick and went to my local record store to stand there and be sad with everyone else.”
The summer of 2014 was both when Bowie first received his diagnosis and when he began demoing songs that would appear on Blackstar and in his musical Lazarus. During the 2015 recording sessions, the cancer was treated, went into remission, and – in November, around the making of the music video for “Lazarus” – returned with a status of terminal. And so, though Bowie had continued writing and recording, planning both a follow-up to Blackstar and another musical, he was facing his mortality head-on the entire time he was creating this album, living with the knowledge that this could very well be the last album he made, that it could be the last statement from an artist known for making a statement with everything he did.
Given this context and the fact that many heard the album for the first time literally just before or just after hearing the news, it’s essentially impossible for the listener to separate their experience and interpretation of Blackstar from Bowie’s death. Even without over-analyzing it all, it’s easy to notice that the album’s lyrics are full of references to death and dying, and that its atmosphere is melancholic and existential at the very least, if not downright foreboding. And the brilliant music videos for the singles “Blackstar” (single and video released November 19, 2015) and “Lazarus” (single released December 17, 2015; video released January 7, 2016)? Well, they’re both chock-full of more symbolism and self-referential imagery a Bowie fanatic could shake a stick at, simply encouraging – nay, inviting – the viewer to read absolutely anything and everything into them.
billyjoebowers: “When the ‘Blackstar’ video came out I remember talking with a friend about how interesting but weird it was, and being kind of amused and confused by it. Then he died, and the ‘Lazarus’ video, and it was like ‘Oh shit!’. Like a punch in the gut. An amazing work, I listened to it non-stop for months, but not for several months after, it was too raw.”
Anomnomnomaly: “To me, the album felt like he was writing his obituary in a lot of the lyrics. So when he passed away shortly after, the whole album started to make a lot more sense for me.”
BackFromTheDud: “@Anomnomnomaly Agree. He knew the end was near, and it shows.”
But, even if our experience of the album is coloured by this context, that by no means takes away from the brilliance of this album.
If we had been fortunate enough to get another Bowie album or two or six after it, Blackstar would remain an absolute standout in his eclectic discography. It was unlike anything Bowie had ever done. Even just Bowie’s decision to not have any familiar faces in the backing band but rather to hire a pre-existing group (i.e., Donny McCaslin’s quartet with Jason Lindner, Tim Lefebvre, and Mark Guiliana) – and a jazz quartet at that! – was a stunning move. That move alone, particularly given what must have been a strong sense of urgency to realize the music Bowie still wanted to get out before it was too late, could’ve made them all rush, cut corners, make compromises. But, instead, the gamble of working with musicians who were new to Bowie’s processes and methods – musicians from a corner of the music world that Bowie had not yet visited – paid off in spades. The result was that the album showcased once again Bowie’s awe-inducing drive to always push himself further and further, even when just shy of 70 years old – never afraid to try something new, never calling it in, and never wanting to rest on his long-before well-earned laurels, all for the love of music, art, and artistry.
Its context simply drew deserved attention to Blackstar much sooner than it might’ve in other circumstances, immediately cementing its status as a masterpiece rather than it taking people a beat or two to grasp what this genius had just dropped into our laps. Indeed, its context ultimately made David Bowie-the-performer the most human he had ever been, in some ways making this album – an otherwise rather experimental if not challenging musical work – perhaps the easiest in his entire oeuvre for people to instantly connect with, in one way or another.
AnxietyDescending: “Released at the same time of Bowie’s passing, Blackstar was a bittersweet release. At first listen it was obviously a masterpiece but that joy was tempered by the fact that it would be Bowie’s last.”
mathzy: “It was going to be one of his masterpieces anyway. And then it was released virtually on the date of his death. My reaction was this was a legend and he put all his legendary artistic endeavour into it. Gorgeous, dark, brooding, triumphant.”
soulforgotten: “Blackstar was a really hard one for me to listen to. Bowie passed away before I got the chance to listen to the album and his death was especially crushing for me and my wife. As much as I wanted to take the album for a spin, I just couldn’t at the time. It was years later that I finally took the opportunity to listen to it, and it was an almost 50/50 split of regret (leaving so long to hear it) and admiration for his final album. It is a solid bookend to an amazing legacy.”
okohll: “Bowie at his best, I’m really glad he managed to pull off a master-work to bow out with. Evokes something strange, extra-worldly, profound yet at the same time can’t escape the Bowie-like elements of fun. He had the gift of being able to make something both unique and banging. Mention must be made of the collection of musicians he pulled together – the drumming is absolutely amazing for example. The success is that the whole is even greater than the sum of the parts.”
serpicojam: “I had been a fan of Mark Giuliana’s (and the rest of the folks on the LP who’d worked with Donny McCaslin) long before Blackstar was released, and I really appreciated his influence on the songs. ‘Sue (Or In A Season Of Crime)’ is so dark, but it’s such a masterpiece. I should probably revisit the whole album again.”
evilchili: “Blackstar is astonishing in its ambition: here is a record that is both polemic and meditation, defiantly rejecting endings while saying goodbye, a grand finale and also the start of a new creative direction we will never get to follow. Throughout his career Bowie never told us everything, but he would give us glimpses, and Blackstar is no different: deeply personal, but only to a point. It’s true, but it’s an ambiguous truth. It’s wry and winking and earnest all at once. And full of swagger! It’s a considered, intentional final work by a dying man who is not afraid to remind us precisely how good he is.
‘You’re a flash in the pan
I am the great I AM'”No matter the whys and wherefores, upon its release 10 years ago, Blackstar became an important album for many of us, whether it changed how we approached the rest of Bowie’s discography, how we approached or viewed modern music in general, even how we played our own music.
NoRestfortheWicked: “Personally, it opened for me more of the David Bowie albums like Low. Also I like the aesthetic of this album and videos. ‘Blackstar’ like a sci-fi film, ‘Lazarus’ has an almost prophetic feeling of a dying man on his bed. For me, it was something new to find, and it expanded my musical taste a lot.”
RobeeShepherd: “I know some huge Bowie fans, so I’ve been exposed to his work, but for me whilst I love his earlier stuff he felt irrelevant to me as a music fan after ‘Absolute Beginners’. I’ve dipped in a little since then and nothing grabbed me, until Blackstar. That didn’t pull me in, it sucked me in and I played it on repeat for months.”
buffyleigh: “I became a fan THE DAY Blackstar came out, listened to Bowie all that Friday and weekend. And then Monday happened. So I was a fan of all of 3 entire days and yet it totally knocked the wind out of me. And I don’t think it’s an exaggeration to say that changed how I approach music. I listened to ONLY Bowie for months after that, only broken by Prince dying and then I only listened to Bowie and Prince for another few months. I never did deep dives before that, or re-evaluated my feeling on artists I had written off long before. And now that’s what takes up most of my listening time.”
billyjoebowers: “I worked with a band and thought I heard something with the drummer. ‘Have you listened to Blackstar?’ He laughed and said ‘Yeah, non stop’. I could hear it in the change in his playing.”
And, for some, it remains an album that still profoundly affects us in one way or another, even when it’s not playing. It’s approached reverentially, not just as a memorial for its artist but perhaps of something larger that we’ve all lost.
daria: “I can’t remember when I heard it last time, it’s an emotionally difficult album for me.”
avi_miller: “Blackstar is an album like no other. It will forever be tinged with emotions for me from Bowie’s passing, and I don’t think that is a bad thing. Sometimes I put it on and cry a little.”
harriolkn: “Blackstar is probably my favourite Bowie album but I can’t listen to it very often because it makes me feel more sad than any other music.”
buffyleigh: “I will never get over this album, and feel like every single note of it is totally ingrained in my brain. I literally have never listened to this without crying…is perhaps the first/only record in my collection I would consider sacred (in a non-religious sense). It’s also my least listened to favourite album because I never want it to become background music, and each listen is almost a rite. I essentially only put it on for Bowiemas/Bowienalia.”
austinross: “It is a life-changing album.”
theotherbrook: “I wish I could come up with something meaningful to say, but when I think about that album the nerves are still too raw for me to touch. I know I’m not alone in having an irrational sense that our collective orbit entered a state of rapid decay with Bowie’s death. It is — it must be — coincidental. But still. Leaving us Blackstar wasn’t just writing his own epitaph, but also leaving us a marker for that moment when we could no longer ignore how unstable the trajectory we were on had become. I don’t know… I meant to say I have nothing to say but then I said that.”
At the very least, whether Blackstar is among your favourite Bowie albums (or favourite albums, period) or not, for 40+ years the release of a new Bowie album was a cultural event, and this album was certainly among the biggest of them all if not THE biggest. In the age of the Internet (and so, Bowie’s last five albums, starting with the 1999 release ‘hours…’), such events have brought together people from literally all over the world, from all walks of life, to share in a piece of sonic art that brought beauty, comfort, wonder, and escape. Given the times we live in, where connection is perhaps more important than ever, that this was the last Bowie event we could ever share in, could bond over, could disappear into, is in itself something to be remembered and mourned.
satsuma: “Back in the day, Twitter used to be a friendly place where you could connect with a group of friends to chat about anything that took your fancy. You would accumulate loose networks of common interests with people across the internet, and occasionally closer bonds would form. One such group consisted of people who had realised that if we picked an album and all hit play at the agreed time, then that meant we could share our experiences of listening to music together, even though we might be worlds apart. We started with the odd album at lunchtime, then came up with some rules to add to our choices – the idea was to pick 5 albums by the same artist (their first, their last, the fans choice, the controversial choice and the wild card) and I coined the hashtag ‘5×1’ (for five by one) as a way of tying everything together. The comedian Michael Legge then suggested listening to every album by a particular group or artist at the rate of one a day, so we went through the discographies of Sparks, Gary Numan, Queen and eventually David Bowie, with the tag ‘BowieADay’ starting with ‘David Bowie’ and ending with ‘The Next Day’, the final album at the time.
We all loved Bowie, and so when we heard rumours that a new album was coming out we made plans to stay up after midnight to listen to it as soon as it was released. We laughed, we made jokes, we appreciated the joy of hearing something new and important from our Hero for the first time – it felt like a message from him straight to us and we all knew that we would be puzzling over the lyrics for a long time to come. What was with all of the references to him dying? What was a Blackstar anyway?
We went to bed happy that night, and then woke up two days later to the awful news that David Bowie was gone. We were numb with grief and clung together virtually to process how we felt.
I couldn’t face listening to Blackstar again for a long time – it was simply too painful to think that he knew he was dying as he wrote it. It took almost a year before we undertook another ‘BowieADay’ journey, knowing that this one had a final ending point.
The second time around was more poignant than the first, and I saw more of the connections that had always been there right from the very beginning to the bitter end. Of course there were Low points on the way and the second hearing of Blackstar was both agonising and cathartic, and the beginning of appreciating how much we lost on the day he died.
Of course, I’ve listened to Blackstar again in the ten years since then, but every time has felt like an occasion. It’s not an album to be streamed at random or added to playlists. It demands attention and ritual. To be listened to on the best speakers, with the lights dimmed and with full attention.
Our original ‘5×1’ group is now dispersed across different platforms, only sometimes reconnecting, but it’s not quite the same now. I have new friends in different places, but we still have common bonds in a love of music, and especially with this album that still holds a special place in my heart.
Rest in peace, Starman.”
If you haven’t yet heard this album, it’s waiting for you, whenever you’re ready. And, if you haven’t yet listened to Bowie’s full discography and aren’t sure where to start, perhaps check out our continuation of satsuma’s BowieADay that a few of us did last year, complete with a suggested schedule for what to listen to from January 8 through to the end of the month, including all the studio albums and some extras. I, for one, will be hiding in my Bowie playlist for the remainder of the month.
Thank you, Bowie.
- Mastodon/Fediverse usernames shown alongside their quotes. Nearly each participant submitted a single blurb, so some quotes have been split up to fit sections, and some have been very lightly edited for spelling/punctuation/capitalization. Many thanks again to the 20 Fedizens who took part (in alphabetical order): Anomnomnomaly, AnxietyDescending, austinross, avi_miller, BackFromTheDud, billyjoebowers, blogdiva, daria, evilchili, harriolkn, mathzy, NoRestfortheWicked, okohll, peach, RobeeShepherd, rothko, satsuma, serpicojam, soulforgotten, and theotherbrook. (For those with keen eyes but who may not know who is behind the keyboard, I don’t thank buffyleigh simply because that is me. And I know quoting myself is a bit hokey, but I am quoting what I’ve written elsewhere.) ↩︎
#Bowie #DavidBowie #DonnyMcCaslin #experimental #JasonLindner #jazz #ListenToThis #MarkGuiliana #music #musicDiscovery #rock #TimLefebvre
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Radio Heart ft Gary Numan - All Across the Nation #sotd #NewWave 5y-NkacvsVs
All Across the Nation (Extende... -
https://www.europesays.com/ro/57307/ (VIDEO) Un mecanic din SUA a dezasamblat cel mai problematic motor modern de Toyota, un V6 care eşuează în număr mare, pentru a găsi cauza | PiataAuto.md #Afaceri #arbore #Business #cotit #cuzineti #dezasamblat #mecanic #problematic #recall #RO #Română #Romania #Romanian #toyota #turbo #twin #v35a #v6
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The main reason for the Ikara-Flinders visit was to revisit the #YellowFootedRockWallaby colony in Brachina Gorge. Aside from Numbat (which I've only glimpsed for a second or two), this is definitely my favourite Australian #mammal.
And there were three other #macropod species we don't see here in Canberra - #CommonWallaroo, #RedKangaroo and #WesternGreyKangaroo.
The male red kangaroo was in Brookfield Conservation Park where sadly the Southern Hairy-nosed Wombats didn't show themselves.
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The main reason for the Ikara-Flinders visit was to revisit the #YellowFootedRockWallaby colony in Brachina Gorge. Aside from Numbat (which I've only glimpsed for a second or two), this is definitely my favourite Australian #mammal.
And there were three other #macropod species we don't see here in Canberra - #CommonWallaroo, #RedKangaroo and #WesternGreyKangaroo.
The male red kangaroo was in Brookfield Conservation Park where sadly the Southern Hairy-nosed Wombats didn't show themselves.
-
The main reason for the Ikara-Flinders visit was to revisit the #YellowFootedRockWallaby colony in Brachina Gorge. Aside from Numbat (which I've only glimpsed for a second or two), this is definitely my favourite Australian #mammal.
And there were three other #macropod species we don't see here in Canberra - #CommonWallaroo, #RedKangaroo and #WesternGreyKangaroo.
The male red kangaroo was in Brookfield Conservation Park where sadly the Southern Hairy-nosed Wombats didn't show themselves.
-
The main reason for the Ikara-Flinders visit was to revisit the #YellowFootedRockWallaby colony in Brachina Gorge. Aside from Numbat (which I've only glimpsed for a second or two), this is definitely my favourite Australian #mammal.
And there were three other #macropod species we don't see here in Canberra - #CommonWallaroo, #RedKangaroo and #WesternGreyKangaroo.
The male red kangaroo was in Brookfield Conservation Park where sadly the Southern Hairy-nosed Wombats didn't show themselves.
-
The main reason for the Ikara-Flinders visit was to revisit the #YellowFootedRockWallaby colony in Brachina Gorge. Aside from Numbat (which I've only glimpsed for a second or two), this is definitely my favourite Australian #mammal.
And there were three other #macropod species we don't see here in Canberra - #CommonWallaroo, #RedKangaroo and #WesternGreyKangaroo.
The male red kangaroo was in Brookfield Conservation Park where sadly the Southern Hairy-nosed Wombats didn't show themselves.
