Laibach Jesus Christ Superstars Mp3, Flac, Wma

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Laibach Jesus Christ Superstars mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Jesus Christ Superstars Country: Europe Released: 1996 Style: Industrial MP3 version RAR size: 1600 mb FLAC version RAR size: 1494 mb WMA version RAR size: 1730 mb Rating: 4.2 Votes: 277 Other Formats: DXD RA VOC XM VOX MMF MIDI Tracklist 1 God Is God 3:43 2 Jesus Christ Superstars 5:45 3 Kingdom Of God 5:37 4 Abuse And Confession 6:14 5 Declaration Of Freedom 5:33 6 Message From The Black Star 5:50 7 The Cross 4:54 8 In The New Light 5:00 9 Deus Ex Machina 4:00 Credits Producer – Laibach Notes ℗ & © 1996 Mute Corporation ℗ 2003 Monsters of Rock Records Voltare Plaza, 44A. Made in Europe. Catalog # MOFR 00413 - spines Catalog # MOFR 0413 - cd Barcode and Other Identifiers Matrix / Runout: MOFR 0413 Other versions Category Artist Title (Format) Label Category Country Year Jesus Christ CDStumm136 Laibach Superstars (CD, Mute CDStumm136 UK 1996 Album) Jesus Christ CDStumm136 Laibach Superstars (CD, Mute CDStumm136 Germany 1996 Album) Jesus Christ Superstar Stable none Laibach (Cass, Album, none Russia Unknown Records Unofficial) Jesus Christ Superstar Global none Laibach (Cass, Album, none Russia 1996 Music Unofficial) Jesus Christ Not On Bosnia & CDStumm136 Laibach Superstars (CD, CDStumm136 Unknown Label Herzegovina Album, Unofficial) Related Music albums to Jesus Christ Superstars by Laibach 1. Richard Edwards - Jesus Christ (Big Star) 2. Laibach - Kapital 3. Dr. J. Vernon McGee - Jesus Christ Not Superstar But The Bright And Morning Star 4. George Beverly Shea - The Unveiled Christ / Then Jesus Came 5. JESUS CHRIST SUPERSTAR - A Rock Opera 6. Laibach - Sympathy For The Devil 7. Laibach - Jesus Christ Superstar / God Is God 8. Laibach - 3. Oktober - Geburt Einer Nation 9. Laibach - Sympathy For The Devil II 10. Tim Rice, Original Soundtrack Album, - Jesus Christ Superstar.

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Laibach Is a Slovenian Multi-Media Collective, Founded in 1980 in the Mining Town Trbovlje
LAIBACH Laibach is a cross-media pop-art formation, founded in 1980 in the industrial mining town Trbovlje, in Slovenia (then still Yugoslavia). The name Laibach (German for the capital city Ljubljana) as well as the group’s militant self-stylisation, propagandist manifestos and statements has raised numerous debates on their artistic and political positioning. Many theorists, among them Slavoj Žižek repeatedly, have discussed the Laibach-phenomenon. The main elements of Laibach’s varied practices are: strong references to the history of avant- garde, nazi-kunst and socialist realism, de-individualisation in their public actions as anonymous quartet, conceptual proclamations, and forceful sonic stage performances - mostly labelled as industrial pop music, but their artistic strategy also carries a lot of humour and tactics of persiflage and disinformation. Self-defined ‘engineers of human souls’ are practicing collective work (official member names are Eber, Saliger, Dachauer and Keller), dismantling individual authorship and establishing the principle of hyper-identification. Already within their early Laibach Kunst exhibitions they created and defined the term ‚retro- avant-garde’ (in 1983), creatively questioned artistic ‚quotation’, appropriation, copyright, and promoting copy-left. Starting out as both an art and music group, Laibach became internationally renowned, especially with their violating re-interpretations of hits by Queen, the Stones, the Beatles, but also by their unique and daring concerts during the war in occupied Sarajevo (1995) or their recent one in North Korean capital of Pyongyang (2015). But what many do not know, however, is that Laibach in fact began its career as a visual art group. Images that most people know from the paintings of the NSK Irwin group – the cross, the coffee cup, the deer, the metal worker and the Red Districts – were originally Laibach motifs.
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Rešite Si Življenje in Se Udeležite Brezplačnih Programov Zora, Svit in Dora
Občina Trbovlje Trbovlje, petek, 19. februar 2021 časopis, 35. številka www.srcnotrbovlje.si REŠITE SI ŽIVLJENJE IN SE UDELEŽITE BREZPLAČNIH PROGRAMOV ZORA, SVIT IN DORA. S kulturnimi dosežki je navdušil Antonio Živkovič stran 4 Izzivov polno leto 2021 stran 5 »Trbovlje bodo čez pet let zibelka podjetništva v Sloveniji« stran 8 2 Srečno Trbovlje PRAZNIČNO DOGAJANJE PRAZNIČNE TRBOVLJE PRAZNIČNO VZDUŠJE V TRBOVLJAH TUDI Z OBISKOM DEDKA MRAZA otroško domišljijo. Kot druga vi- Uredništvo Pravljična vasica je tudi letos dnejša novost pa je bila digitaliza- krasila mestni park. cija praznične okrasitve, saj je bilo V pravljični vasici, ki je krasila v Mestnem parku in Parku kulture Mestni park, je bilo letos mogoče pred pošto postavljenih sedem sne- najti številne novosti. Med dru- žink, ki so omogočale ogled digita- gim je poleg vseh pravljičnih bitij liziranih vsebin, kot so na primer in krasnih hišic Mestni park krasila pripoved snežne kraljice, glasbena ogromna čarobna kočija, ki je pri- točka, nagovor Dedka Mraza, gle- vabljala številne poglede in vzbujala dališka predstava in še veliko več. Letos je Dedek Mraz otroke razveselil prek spleta. PODPRIMO LOKALNO KULINARIČNI FESTIVAL NA MALCE DRUGAČEN NAČIN osebni prevzem ali dostavo na dom. Uredništvo Na jedilnem listu festivala so bile zelo različne jedi, od raznovrstnih V letu 2019 je prva izvedba ku- malic, bogatih kosil, hitre hrane linaričnega festivala požela veliko do okusnih sladic. Z naročilom smo pohval gostincev in gostov festiva- tako v Trbovljah podprli trboveljske la, zato smo ga v letu 2020 ponovili gostince, razveselili pa tudi sebe in in bo najbrž postal tradicionalen. V svoje najbližje ter se skozi različne novembru in decembru se je tako okuse sprehodili skozi našo rudar- odvijal že drugi Festival industrij- sko dediščino, ki je imela velik vpliv ske dediščine – kulinarični festival tudi na kulinariko.
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Laibach, Anti-Fashion and Subversion: Over-Identification and Universality of a Uniform
TEXTILE & REVIEW LEATHER Textile & Leather Review 2020 ISSN: 2623-6257 (Print) 2623-6281 (Online) Journal homepage: www.textile-leather.com Journal doi: 10.31881/TLR Laibach, Anti-fashion and Subversion: Over-identification and Universality of a Uniform Tajda Hlacar How to cite: Hlacar T. Laibach, Anti-fashion and Subversion: Over-identification and Universality of a Uniform. Textile & Leather Review. 2020. https://doi.org/10.31881/TLR.2019.32 How to link: https://doi.org/10.31881/TLR.2019.32 Published: 16 June 2020 This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License HLACAR T. Laibach, Anti-fashion and Subversion: Over-identification… TLR 3 (2) 2020 78-91. Laibach, Anti-fashion and Subversion: Over-identification and Universality of a Uniform Tajda HLAČAR University of Zagreb, Faculty of Textile Technology, Department od Fashion Design, Student of Master’s Programe Theory and Culture of Fashion, Croatia [email protected] Original scientific article UDC 391:687.152:159.923.2 DOI: 10.31881/TLR.2019.32 Received 4 May 2020; Accepted 18 May 2020; Published 16 June 2020 ABSTRACT The worldwide renowned Slovenian industrial alternative music group Laibach, which was also a member of the multimedia artists’ collective called NSK, has been a subject of many professional discussions. This article attempts to analyse Laibach’s conception of a uniform according to the theory of anti-fashion. As one of the most recognizable elements expressing a mythical, totalitarian aura, inseparably linked with the performers’ distant and constrained attitude, Laibach’s uniform can be erroneously comprehended as anti-fashion clothing, expressing fixed and rigid social environments.
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Hiša Pisanih Spominov
HIŠA PISANIH SPOMINOV Jubilejni zbornik ob 50. letnici Zgodovinskega arhiva Celje Celje, december 2006 HIŠA PISANIH SPOMINOV Jubilejni zbornik ob 50. letnici Zgodovinskega arhiva Celje Uredniški odbor: Metka Bukošek, Bojan Cvelfar (urednik), Ivanka Zajc-Cizelj, Aleksander Žižek Izdal in založil: Zgodovinski arhiv Celje (zanj Bojan Cvelfar) Fotografije: Vinko Skale, Fototeka Zgodovinskega arhiva Celje in navedeni avtorji Prevodi v angleščino: Simon Zupan Lektoriranje: Anton Šepetavc Oblikovanje in prelom: Triartes Tisk: Prografika Naklada: 400 izvodov Režija DVD-ja: Aleš Šega © Zgodovinski arhiv Celje Za vsebino prispevkov odgovarjajo avtorji. CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 930.253(497.4 Celje)(091)(082) HIŠA pisanih spominov / [avtorji besedila Bojana Aristovnik ... [et al.] ; urednik Bojan Cvelfar ; prevodi v angeščino Simon Zupan ; fotografije Vinko Skale in navedeni avtorji]. - Celje : Zgodovinski arhiv, 2006 ISBN-10 961-6448-15-3 ISBN-13 978-961-6448-15-4 1. Aristovnik, Bojana 2. Cvelfar, Bojan 3. Zgodovinski arhiv (Celje) 230302720 Na dnu spomina je vse zapisano Častitljivi jubilej Zgodovinskega arhiva Celje sovpada z začetkom največjega projekta Celja in regije na področju kulture – kandidature Celja za Evropsko prestolnico kulture 2012. Čeprav se na prvi pogled zdi, da življenje arhiva nima neposredne povezave z rojstvom novega projekta, je dejstvo, da je ravno arhiv tisti temelj, iz katerega izhaja naša bit, na kateri gradimo korake za prihodnost. Biti prvi, najhitreje razvijajoč in propulziven v današnjem globalnem svetu, v katerem se čas ne meri samo z denarjem, pač pa, žal, tudi z življenjem, v teoriji pomeni, da mo- raš poznati preteklost, videti v prihodnost in delati tako, da bo prihodnost tudi ures- ničljiva.
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Proquest Dissertations
Laibach: Provocations of a problematic past Item Type text; Thesis-Reproduction (electronic) Authors Griffin, Winifred Mary, 1969- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 22:00:22 Link to Item http://hdl.handle.net/10150/291966 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly fit>m the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter &ce, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afifect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy.
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ATENE MENDELYTE Thatcher’S Britain (Cf
Krisis Journal for contemporary philosophy ences with their choice of aesthetics and symbolism, which was a com- mon feature of the then emerging industrial scene4 in Margaret ATENE MENDELYTE Thatcher’s Britain (cf. Throbbing Gristle, Test Dept., etc.) and former Yugoslavia (Laibach, Autopsia, etc.). Furthermore, Laibach was a sub- LAIBACH’S POLITICS WITHOUT A CAUSE project of a larger Yugoslav radical art movement, namely the Neue OR THE UNSUBLATED CONTRADICTION Slowenische Kunst (the New Slovenian Art or the NSK), together with other similarly oriented projects such as the artist collective IRWIN and Scipion Našice Sisters Theatre. The band primarily used nationalist and Krisis, 2013, Issue 3 fascist imagery – although Stalinism and anarchism were not uncommon www.krisis.eu – all of which manifested itself in the lyrics, album designs, costumes (uni- forms) as well as the ‘concert spectacle, promotion/propaganda materials, public relations such as the issuing of manifestos and the staging of hap- penings’ (Herscher and Žižek 1997: 66). The very choice of the band’s and the movement’s names – Laibach being the German for Ljubljana and Neue Slowenische Kunst standing for the New Slovenian Art – already ‘What is significant about Laibach? That you cannot pin them down. signals first, on a surface level, a link to German national socialism and Theirs was an abstractly totalitarian symbolization, but one that always second, on a deeper level, an imposition of this (Nazi) ideology on another slipped away if one wanted to thrust in and ask, what actually is it? Is it nationalist (Slovenian) ideology – an explicit over-coding, as it were.
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The Hills Are Alive with the Sound of Laibach – Moo
The hills are alive with the sound of Laibach All posts September 7, 20189:14 am Laibach have been triggering sensibilities way before warnings became a thing, and their new video is another masterstroke of performance art trolling. In 2015, the Slovenian industrial act became the first Western band to be invited to perform in North Korea and gladly accepted all conditions – that they could only play songs from The Sound of Music, and the traditional Korean song Arirang. The Sound of Music is used in schools as a tool to teach English, and now kids in the regime have had the bizarre experience of being taught by one of the most subversive acts in modern music. Laibach’s experience was caught on camera for the documentary Liberation Day and the accompanying soundtrack album is out this winter, with Laibached versions of Do-Re-Mi, Edelweiss, My Favourite Things and so on. Laibach have previous when it comes to flirting with totalitarian symbolism. When they emerged in the early 1980s in Yugoslav-controlled Slovenia, they were banned by the state and accused of treason when they’d go on stage wearing defaced military uniforms and firing smoke bombs. Since then they’ve consistently been accused of being either fascists or communists, released an album of desecrated national anthems, declared their own state with passports and went on an ‘Occupied NATO’ tour in 1995. But their cover versions of iconic songs have always been just as subversive, adding a martial, industrial edge to classic rock songs, cheesy pop, Broadway musical tunes, operas and symphonies.
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Zine Page 2: Why Listen to Noise? the Band Laibach Was Formed In
Punk and the Making of Self Assignment — Zine Page 2: Why Listen to Noise? The band Laibach was formed in 1980 in Slovenia (then part of Communist-controlled Yugoslavia); they were Ljubljana's first and most famous punk-influenced act. The name “Laibach” was what occupying German military forces historically called Ljubljana, and in Slovenia it is considered an expressly unwelcome and unpatriotic title. Known for performing in military uniforms, although the band was not widely popular in Yugoslavia during the 1980s, they became the most popular Eastern-Bloc rock band in America and Western Europe. On August 19-20, 2015, Laibach became the first western rock band ever to perform in North Korea by invitation of its government. CNN's brief about Laibach's North Korean concert declares, "Laibach has long been criticized for fascist imagery and a totalitarian style." 1.) Watch the Laibach videos linked below, and do not read any further about the band; do not consult the videos' comments, Wikipedia, or any resources not provided here. "Geburt Einer Nation" (a cover of "One Vision," originally by Queen) http://www.youtube.com/watch?v=wwdOX19_ETI "Tanz Mit Laibach" http://www.youtube.com/watch?v=Glu9wA4HjE0 "Get Back" (a cover of "Get Back," originally by the Beatles) http://www.youtube.com/watch?v=D9w6SEtkeug 2.) Answer the following questions thoughtfully in typed and printed prose, using complete sentences and paragraphs. (.5 pts. apiece) A.) We sometimes speak of interpreting a statement or image "at face value." In the case of Laibach, what is the "face value" of their sound and image? B.) What specifically does their sound and image make ambiguous or confusing? C.) What interpretations might an audience have of Laibach's sound and image beyond their "face value"? D.) Give three possible explanations for what the band is doing by covering western pop songs.
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Aljosa GADZIJEV: Laibach
Laibach: Aljosÿa the Group of GADZÿIJEV Power and Secrets (Scream of Totalitarianism from Central Europe) The cultural identity of Central Europe carries a certain char- acteristic feature of the region, which is manifested – in the history of its countries – as some sort of “being-in-between” or “middle-ness” between the so-called Eastern and Western part of the European civilisation. Various Central European artists can serve as a good illustrative example of this feature. One of them is surely Laibach, a world famous Slovenian musical-artistic group. Its phenomenon as well as its musical expression is very special. Both reflect post-modern artistic eclecticism of cultural influences from all sides and periods, as well as a very unique way of creative critique of political and organisational forms of social life, primarily on the local level, i.e. in Slovenia, on the regional level (mostly ex-Yugoslav), and later even the European and the globally-Europeanized level of the contemporary world. Both formal and conceptual levels of the group’s activity are aimed at showing the totalitarian background of each govern- mental authority – Laibach acting as its “simulation” – and “its” power. The group was, however, never really transparent in its press releases (manifests and interviews) about the very essence of totalitarianism, which might have given the impression as if it in fact sympathised with it. Thus the group tries to trigger deeper reflection (or even polemic) which is aimed primarily at the recipient him/herself. In this way also the author of this article tries to follow the riddle presented by Laibach through its provocative creativity, and herewith intends to offer some hints for uncovering the mystery.
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The New Soul of an Old Machine | 80S Essentials, Industrial Revolution
80s Essentials, Industrial Revolution [Because the decade was a formative time for so much more than just our beloved heavy metal, today we're pleased to present you with a look at fifteen essential industrial albums from the 1980s.] I’m neither historian nor sociologist enough to speak to the politico- economic milieu that shaped industrial music’s formative clatterings, but a few general observations may suffice. The advanced industrial world was hardly being ground in the same way as by the ravenous gears of the late- eighteenth/early-nineteenth century Industrial Revolution (cf. Friedrich Engels on The Condition of the Working Class in England), but the 1970s and ‘80s saw an increasingly aggressive attack on the social welfare state that had so flourished in the three or four decades since the end of World War II. The elections of Margaret Thatcher, Ronald Reagan, and Helmut Kohl (in Britain, the U.S., and West Germany, respectively) ushered in an era of neoliberal government retrenchment that would largely define the domestic political debate in the years to follow, while throwing the (often uneasy) balance between capital and labor into disrepair throughout the rich world. Reagan’s tough-talking rhetoric meant that many of the signs of rapprochement and detente that had offered brief glimmers of, if not hope, then perhaps bleakly muted optimism in the 1970s gave way to a renewed era of Cold War stridency and military hand-wringing. In many ways, then, the same social, political, economic, and cultural context that led to the development of punk’s disaffected worldview and heavy metal’s increasingly doom-saying weightiness would also provide grist for the eternally wending mill of nascent musical experimentalism that gradually coalesced into industrial music.
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LAIBACH and the PERFORMANCE of HISTORICAL EUROPEAN TRAUMA Summary
Art History & Criticism / Meno istorija ir kritika 16 ISSN 1822-4555 (Print), ISSN 1822-4547 (Online) https://doi.org/10.2478/mik-2020-0007 Simon BELL Anglia Ruskin University, Cambridge, United Kingdom LAIBACH AND THE PERFORMANCE OF HISTORICAL EUROPEAN 105 TRAUMA LAIBACH AND THE PERFORMANCE OF HISTORICAL EUROPEAN TRAUMA EUROPEAN HISTORICAL OF PERFORMANCE THE AND LAIBACH Summary. This paper reflects a study in how the Slovenian Performance Art collective the NSK (Neue Slowenische Kunst), and more specifically its sub-group Laibach, functioned as a ‘Memory machine’ in re-enacting historical European trauma in an apparent re-staging of the totalitarian ritual. In this way, Laibach demonstrate history as a contemporary active political agency of Eastern and Central Europe. Shaped by the break-up of Yugoslavia, the NSK was a multi-disciplinary Gesamtkunstwerk primarily comprising three groups: IRWIN (visual arts), Noordung (theatre), and its most influential delivery system, Laibach (music). Championed by Slavoj Žižek, Laibach are Slovenia’s most famous cultural export, and are widely considered Europe’s most controversial music group. In 2017, Laibach caused further controversy for being the first ‘Western’ group to play North Korea. With the strategy of Retrogardism, an aesthetic system unique to Eastern European aesthetic praxis, Laibach and the NSK re-mythologised totalitarian iconography associated with Nazi Kunst and Socialist Realism, which contemporary capitalism can only relate to as offensive kitsch. Keywords: Laibach, Eastern Europe, Performance, NSK, totalitarian, Retrogardism. ‘There’s an ungodly chill in the air. Fists Slovenia, in 1980. In 1984, they collaborated with punch the air. Eyes come over glazed, extinct. other Yugoslav artists to found the NSK (Neue It’s bloody enormous.
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The Instrumentality of the State Machine 08/24/1999
Laibach: The Instrumentality of the State Machine 08/24/1999 Laibach, 'The Instrumentality of the State Machine, MB7' (1983). Laibach and NSK analyze nationalism through the aesthetic dimension. By placing “national and subnational” symbols alongside each other, we demonstrate their “universality”. That is, in the very process of one nation defining its difference against the other, it frequently uses the same, or almost the same, kind of symbols and rhetoric as the other. (–Laibach, from on-line interviews) Laibach is a musical group that first began performing in the mining town of Trbovlje in central Slovenia in 1980. With Tito’s death that year, the future of Yugoslavia became uncertain, and throughout the 1980s youth subcultures engaged in agitation in the sphere of civil society producing challenges to the existing Socialist government. In using the term civil society, I refer to social interaction on all levels: institutional, private, public, etc., which involve aspects of self-involvement and social relations more regulated by laws and institutions. By subject I refer to the subject of psychoanalysis who is always split from his/her object of desire and whose actions represent this eternal longing for wholeness which can never be fulfilled. In 1984 Laibach merged with similar artistic groups working in the Slovene capital city of Ljubljana to form the art collective Neue Slowenische Kunst, NSK, (New Slovene Art). The art collective NSK comprises the groups Laibach (music and ideology), Irwin (fine arts),Noordung (theater), and New Collectivism (graphic arts). The art collective shifted its strategy in 1992 by becoming a “state”, the “virtual state” of NSK.
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