Soundtrack For A Revolution Quotes

Every revolution needs a soundtrack.

He remembered when he heard it on the sound system at a German store: “There was a girl there and I said, ‘I’m the composer!’ and she said ‘Sie haben dieses Stück Scheiße geschrieben?’ (‘You wrote this piece of shit?’).” In Hamburg’s Reeperbahn red-light district he witnessed an adult sex show at a strip club with “Popcorn” as the soundtrack.

Give Peace A Chance" Two, one two three four Ev'rybody's talking about Bagism, Shagism, Dragism, Madism, Ragism, Tagism This-ism, that-ism, is-m, is-m, is-m. All we are saying is give peace a chance All we are saying is give peace a chance C'mon Ev'rybody's talking about Ministers, Sinisters, Banisters and canisters Bishops and Fishops and Rabbis and Pop eyes, And bye bye, bye byes. All we are saying is give peace a chance All we are saying is give peace a chance Let me tell you now Ev'rybody's talking about Revolution, evolution, Flagellation, regulation, integrations, Meditations, United Nations, Congratulations. Ev'rybody's talking about John and Yoko, Timmy Leary, Rosemary, Tommy Smothers, Bobby Dylan, Tommy Cooper, Derek Taylor, Norman Mailer, Alan Ginsberg, Hare Krishna, Hare, Hare Krishna

danced on top of the speakers. Heaven followed the prototypical model of New York's Paradise Garage, a gay club, opened in 1977, where Larry Levan, “The Jimi Hendrix of Dance Music,” 48 created the soundtrack for the rise and fall of the disco revolution with his innovative experiments in spinning gospel and R&B records underpinned with drum machines and synthesizers—experiments that formalized Levan's idea of constructing a new, intuitive electronically produced “Garage” music that would never end.49 Levan

Pop music, too, has played a role in reinforcing the manifest relaxation of goals and standards since the Sixties. Aside from the inescapable fact that this relaxation was to various degrees willed by the majority, pop and its shatteringly sensationalistic cousins rock, disco, and ‘rave’ music have been as much colonised by technology as any other area of modern Life. Its once flexible human rhythms replaced by the mass-production regularity of the drum-machine, its structures corporatised by the factory ethic of the sequencer, its vitality digitised to death and buried in multi-layered syntheticism, pop is now little more than a soundtrack for physical jerks.1