Royal Scots Dragoon Guards Bagpipes, “The Gael”

Royal Scots Dragoon Guards Bagpipes, “The Gael”

The Royal Scots Dragoon Guards (Carabiniers and Greys) is a cavalry regiment of the British Army, and the senior Scottish regiment. The regiment, through the Royal Scots Greys, is the oldest surviving Cavalry Regiment of the Line in the British Army.

The regiment has its own Pipes and Drums, who were first formed in 1946 and tour widely, performing in parades, concerts, and competitions. Their “Amazing Grace” performance piece reached number one in the charts in the United Kingdom, Australia, Canada, New Zealand, Ireland, and South Africa in 1972.

Sergei Polunin Dancing to Luciano Pavarotti’s Singing “Caruso”

Sergei Polunin Dancing to Luciano Pavarotti’s Singing “Caruso”

Sergei Vladimirovich Polunin is a Ukranian-born ballet dancer, actor and model. He started out in gymnastics before switching to ballet at the age of eight and attended the Kiev State Choreographic Institute. He joined the British Royal Ballet School a the age of thirteen in 2003. He was awarded, among other awards, the Prix de Lausanne and the Youth America Grand Prix in 2006. In 2007 Polunin was named the Young British Dancer of the Year. At the age of 20 in 2010, he became the Royal Ballet’s youngest ever principal dancer.

Polunin is now pursuing a freelance career as a principal dancer, performing at various theaters such as the Bolshoi Theater, La Scala Theater, Teatro San Carlo, and the Royal Ballet. He is a permanent guest artist for the Bayerisches Staatsballet in Munich, Germany.

Moderat, “Reminder”

Moderat, “Reminder”, 2016, From the Album “III”

Electronic music merger Moderat released its third LP (appropriately titled III) on April 1, 2016. Comprised of “The Devil’s Walk’s Apparat” and “Modeselektor”, Moderat’s album comes two years after their last EP “Bad Kingdom” Remixes.

Dark is the shadow filled with prejudice, no pride
Worn out and welcome, his truth birthing lies
A whisper now speaks what words use to say
Fallen from grace
Luster this way

Burning bridges is not my way

Doszhan Tabyldy and Ethno-Folk Ensemble, “Turan” 

Doszhan Tabyldy and Ethno-Folk Ensemble, “Turan”

Исполнитель: этно-фольклорный ансамбль “Туран”
Орындаушы: “Тұран” этно-фольклорлық ансамблі

Музыка: этно-фольклорный ансамбль “Туран”
Слова: Исраил Сапарбаев (из поэмы “Өртолғау”)
Музыкасы: “Тұран” этно-фольклорлық ансамблі
Сөзі: Исраил Сапарбаев (“Өртолғау” поэмасынан)

Студия звукозаписи: “Kazakhstan records”
Дыбыс жазу студиясы: “Kazakhstan records”

(Performer: Ethno-folklore ensemble “Turan”

Lyrics: Israel Saparbayev

Recording and Dubbing by Kazakhstan Records)

Forest Swords, “The Weight of Gold”

Forest Swords, “The Weight of Gold” featuring dancer Billy Barry

Acclaimed French choreographer and filmmaker Benjamin Millipied directs American dancer Billy Barry in Forest Sword’s haunting track “The Weight of Gold”.

“I first saw Billy Barry perform at Juilliard four years ago, I thought, ‘Who is this creature?’ Billy’s quality as a dancer is so otherworldly, I immediately knew I wanted to create a portrait of him. The sense of solitude depicted in the film reflects just how different he is as an artist.” – Benjamin Millipied

The chance to direct today’s music video for British artist Forest Swords’ haunting track “The Weight of Gold” presented an intriguing opportunity for Millepied, who was seduced after being inspired by Israel’s Dead Sea area’s landscape, including the Judean desert and Nebi Musa site that is dedicated to Moses.

“We arrived at a beautiful location and I just let the music and the desert move me instead of forcing it, I listened to the music a lot before the shoot and on the day we just went with what happened naturally.” – Billy Barry, a dancer with Tel Aviv’s prestigious Batsheva Ensemble

Klaus Nomi, “The Cold Song”

Klaus Nomi, “The Cold Song”, 1982, Eberhard Schoener’s Classic Rock Night, Munich

Klaus Nomi sings Henry Purcell’s stange aria “The Cold Song” from the English 1691 Baroque opera “King Arthur”, Act Three, Third Scene

The opera’s composer Purcell died in 1695 from incurable tuberculosis at the age of thirty six. Klaus Nomi died in 1983, shortly after performing this final concert under painful, disease-induced conditions, succumbing alone to complications due to AIDS at the age of thirty nine. Both talented men who died so young.

In 1944 Klaus Sperber was born in the town of Immenstadt, Bavaria, Germany. As a teenager, he discovered his love for opera and also pop music. In the early 1970s, he moved to New York and soon found many friends among the East Village artists there. Around this time, he started using the pseudonym Klaus Nomi, an allusion to the American SciFi magazine “Omni” and an anagram of the Latin word omni(s) meaning “all” or “many”.

Klaus Nomi and his friend, theater actor Joey Arias, climbed the New York art scene; their big break came in 1979 when David Bowie saw their performance at the Mudd Club in New York City’s TriBeCa area. The impressed Bowie hired them as his back-up singers for his December 15, 1979 appearance on the “Saturday Night Live” show. Nomi himself drew influence from Bowie’s plastic fashion that night, commissioning for himself the stiff, plastic tuxedo that would become his hallmark in future performances.

Soon after that appearance, Klaus Nomi shot towards pop stardom. While he was celebrated in art circles in New York, Nomi obtained gold-record status in France and started to appear on pop charts throughout Europe in the early 1980s. His music was a mix of operatic arias and pop tracks. Some of Nomi’s well known songs were works by eclectic musician Kristian Hoffman, while others were bizarre covers of songs such as Chubby Checker’s “Twist,” Lesley Gore’s “You Don’t Own Me” and  “Ding Dong the Witch is Dead” from the movie “The Wizard of Oz”.

At the height of his musical success, Klaus Nomi’s career was cut short when he was diagnosed with AIDS, an illness virtually unheard of in those days. He died, alone at Manhattan’s Sloan-Kettering Cancer Center in New York on August 6th of 1983, two years before public awareness of the spreading of AIDS. One of the first celebrities to die from the then-unknown disease AIDS, Klaus Nomi’s ashes were scattered over New York City.

“What power art thou, who from below / Hast made me rise unwillingly and slow / From beds of everlasting snow? / See’est thou not how stiff and wondrous old, / Far unfit to bear the bitter cold, / I can scarecly move or draw my breath? / Let me, let me freeze again to death.” –

Many thanks to Brightest Young Things.com for all their great articles: https://brightestyoungthings.com/articles/author/gaybrightestyoungthings-com

Armand Amar, Jean-Paul Minali Bella, “Poem of the Atoms”

Armand Amar, Jean-Paul Minali Bella, “Poem of the Atoms” Featuring Heroun Teboul, 2005, From the Album “Bab’ Aziz”

Rumi, whose poem is being sung, is a thirteenth century Persian poet and is considered a Sufi Saint by many. While Rumi was an Islamic poet, his poetry has a transcendent appeal among various cultures world wide. His poems contain a deep theme of creative love and the urge to rejoin the spirit to the divine. He believed that this was the goal of every living thing that moved, human, animal or mineral.

O’ day, arise!

Shine your light, the atoms are dancing.

Thanks to Him the universe is dancing.

overcome with ecstasy,

Free from body and mind

I’ll whisper in your ear where their dance is leading them.

All the atoms in the air and in the desert are dancing,

puzzled and drunken to the ray of light,

they seem insane.

All these atoms are not so different than we are,

happy or miserable,

perplexed and bewildered,

we are all beings in the ray of light from the beloved,

nothing can be said.

Marlene Dietrich, “Sag Mir, Wo die Blumen Sind”

Marlene Dietrich, “Sag Mir Wo die Blumen Sind”, 1963

Marlene Dietrich performed the song in English, French, and German. The song was first performed in French as “Qui Peut Dire où Vont les Fleurs?” by Marlene in 1962 at a UNICEF concert. She also recorded the song in English and in German, the latter titled “Sag’ Mir Wo die Blumen Sind”, with lyrics translated by Max Colpet.  She performed the German version on a tour of Israel, where she was warmly received; she was the first person to break the taboo of using German publicly in Israel since WWII. Her version peaked #32 in German charts.