Radio-Nice Club

Author: Patrick

  • Statutes and bureaucracy in 1851

    The Albrecht-Dürer-Verein would have risen to its zenith “if a narrow-minded adherence to bourgeois statutes, greed and envy had not always worked against free artistic development. It was recognised that these statutes were in part suitable for a local association, but by no means for a projected central art association. However, what was done to remedy the problem did not contribute to the prosperity of the whole, on the contrary, the promising bloom was destroyed; new statutes were created, some of which became even more impractical, even dangerous, and caused much confusion and annoyance. The promises made to the members could not be fulfilled, the lack of money for honorary expenses was claimed to be insufficient for such a large association, etc., without considering that the income is always in proportion to the growing number of members, and that on occasions where the honour and reputation of the association is at stake, buckling and saving can only bring harm.”

    Carl Alexander Heideloff

    Stairs to Radio Nice

  • Media Competence

    We do not want war

    The opposing camp bears the responsibility

    The leader of the enemy is a devil

    We are fighting for a good cause

    The enemy fights with unauthorized weapons

    The enemy commits atrocities on purpose, we only do so accidentally

    Our losses are small, those of the enemy are enormous

    Artists and intellectuals support our cause

    Our mission is sacred

    Anyone who doubts our reporting is a traitor.

    Anne Morelli

    Anne Morelli wrote the book Principes élémentaires de propagande de guerre in the style of Arthur Ponsonby’s classic work on propaganda research.

    It is interesting to observe how some journalists are unable to publish their research and work on any topic without judgment, but rather follow the narratives. It is then frightening to observe how people with diametrically opposed views are often very quickly insulted, downgraded and shunned as a result.

    None of this is actually new. What is new is the vehement claim and the sovereignty of interpretation and positioning of truth and lies (new German fake and hate speech) in the interests of those in power. The opposition and some citizens are quickly vilified. Since the Greeks and their invention of democracy 2500 years ago, it has been the task of the opposition to keep the rulers in check, as experience has shown that they are all too quick to pursue their own interests and bypass the actual sovereign in the clique.

    The words “populus”, ‘people’ and “sovereignty” are closely linked in the context of politics and philosophy. They refer to the source and nature of state power.

    “Populus” (Latin):

    Denotes the people as a totality of people who live in a certain area and are politically organized

    At school, know-it-alls were quickly frowned upon. Nowadays, adult know-it-alls have numerous tools to defame others, be it calling them Nazis or accusing them of hate speech.

  • Radiorock Santana -Caravanserai

    Caravanserai is the fourth studio album, released on October 11, 1972. The album marked a period of transition for Santana as it was the band’s last to feature several key early members, while shifting in a more instrumental, progressive jazz fusion direction. It sold in fewer quantities than the band’s previous chart-topping albums, stalling at No. 8 on the Billboard LPs chart, but has been critically acclaimed.

  • “Humanity” is not always a virtue

    “Humanity” is not always a virtue – it can also be a soft mechanism to produce the most civilized forms of violence.
    When the banner of the human is raised, the real human is often displaced in favor of a metaphysical image that justifies everything.
    Then “humanity” is no longer an ethical promise, but becomes a pretext: sometimes for interventions, sometimes for liquidations and often enough for deliberate overlooking.
    Carl Schmitt, one of the sharpest demystifiers of politics, put it in a nutshell:
    Those who wave the flag of “humanity” are not necessarily looking for justice, but often for legitimization to exclude the enemy from the realm of the human – to place him outside of justice and compassion.
    It is a warning: if the discourse of humanity is used as a moral absolute, it does not bring about peace – it rather sets the stage for limitless violence.
    For those who are excluded from it are redefined – as “non-humans” who are entitled to neither legal protection nor linguistic recognition.
    In this way, “humanity” is transformed from an ethical promise into an instrument of existential annihilation:
    The enemy no longer appears as a being to be understood or confronted, but as a defect that must be eliminated.

    Any “humanity” that denies the enemy his humanity paves the way for his destruction – in the name of “good”.
    Can a truly human person preserve his humanity while waging war in its name?
    Isn’t it time to rethink “humanity” – not as a buzzword, but as a responsibility?
    Perhaps the more crucial question is not who speaks in the name of humanity – but who has the courage to question what is committed in its name.

    Muhammed Sabbah

    War: this is the cruel and ridiculous adventure that men embark on when the oats of madness sting them…

    La guerre : c’est l’aventure cruelle et dérisoire dans laquelle les hommes s’engagent quand l’avoine de la folie les pique…

    Krieg: das ist das grausam-lächerliche Abenteuer, in das sich Männer einlassen, wenn sie der Hafer des Wahnsinns sticht…

    Siegfried Lenz

  • Pink Floyd, La musique dans les années 1960

    Just a Few minutes With Pink Floyd, Lennon, Warhol and a funny Party.

  • „Mach Dich bereit für den Kampf ums Paradies!“

    À partir de classiques de la chanson française et allemande et de chansons portuaires, scorbuteur crée un univers scorbüt un cosmos musical fait de fragments de désirs passés, d’utopies
    et de peurs.

    Deutschlandradio Kultur

    Aus französischen und deutschen Chanson-Klassikern und Hafenliedern entsteht bei scorbüt ein musikalischer Kosmos aus Fragmenten vergangener Wünsche, Utopien und Ängste.

    Deutschlandradio Kultur.

    Rio Reiser auf europäisch?
    „Mach Dich bereit für den Kampf ums Paradies!“, brüllt Rio ins Mikro. Um dann wiede sanft das Publikum zu beschwören: „Ich bin jetzt wach… gib mir Deine Hand… es geht Schritt für Schritt ins Paradies“. Dieses Pathos berührt heute peinlich bis ironisch. Und
    gleichzeitig: die Wortwahl könnte 1:1 aus einem IS-Bekennervideo stammen.

    Die Utopien scheinen vor die Mauern Europas ausgewandert zu sein. Und gleichzeitig schwimmen die „Blinden Passagiere“, die Reiser in seinen früher oft belächelten Meerliedern als Metapher aufruft, heute sehr real im Mittelmeer. Die feinsinnigen Bearbeitungen von scorbüt machen den Blick für diese Interferenzen frei. Und gerade wenn alte Hits und Schlagwörter teils auf französisch auftauchen, erkennt man neu ihre Schönheit und die sehr eigene Kraft, die Rio in sie hineinzulegen verstand. Und dabei fragt man sich plötzlich, wo wir da heute stehen. Wo Reiser noch sehr sicher immer und immer wiederholen konnte „Dieses Land ist es nicht!“, scheint Bedrohung und Angriff auf Freiheit und Menschlichkeit heute von jenseits des Nationalstaats zu greifen. „Gibt es ein Land auf der Erde, wo der Traum Wirklichkeit ist?“. Scorbüt finden keine Inseln. Aber ihr Konzert legt die Brüche zwischen damals und heute frei, die Wunden und Ironien. Und damit das allgemeine Unwohlsein in Europa zwischen Finanzgewalt und Stacheldrahtaußengrenzen: denn eins spüren wir sicher,
    DIESES Europa kann es nicht sein, Ceci nest pas l‘EUROPE.