Name: Dead Eyez - Hold on to Me by Dead Eyez (Music Producer)
Duration: 3 min 3 s
Description: I know that you are scared but baby hold on to me so I can make you believe.

Recent years have seen a rise in activities and campaigns calling for a fairer and safer society that are led by young people. They want to play a more active role in solving problems that affect them and their society. However, in spite of their great potential and enthusiasm, there are not many adults who actually acknowledge positive energy of the youth. The United Nations has reported that this lack of acknowledgment was due to adults’ beliefs that young people were inexperienced and short on resources and that they tend to challenge established institutions. Assoc. Prof. Dr. Siripan Nogsuan Sawasdee, head of Department of Government, discusses how young people could better utilize their energy, while Artima Sompoh, president of Young Asean Leaders Policy Initiative 2021 and a fourth-year student in international relations, talks about the role and activities of this youth forum. Both are from Faculty of Political Science, Chulalongkorn University.

EP13 Strength of Youth’s Power and How to Better Make Use of It

Operation Big Chungus

DR!LL beat # 2

NOVALIS is the „nom de plume“ of the early romantic poet, Karl Friedrich von Hardenberg (1772-1801), and inspired the Hamburg musicians Heino Schünzel (bass), Jürgen Wenzel (vocals, guitar), Lutz Rahn (keyboards) and Hartwig Biereichel (drums) when they set about looking for a band name in autumn 1971. May 1973 saw the release of their debut “Banished Bridge” which had been recorded in English. Starting with the arrival of their second album, released in April 1975 (Wenzel having been replaced by guitarist Detlef Job), their use of German lyrics ensured the band’s constantly growing up popularity. With their classic “Sommerabend” NOVALIS earned their nationwide breakthrough in 1976, followed by their accomplished offerings “Brandung” (1977), “Vielleicht bist du ein Clown” (1978) and “Flossenengel” (1979), which were all recorded with their new vocalist, Fred Mühlböck.

The “Neue Deutsche Welle” (Germany New Wave) brought a whole new set of parameters to the German music scene in the early Eighties, NOVALIS’ traditional rock on recordings such as “Augenblicke” (1980), “Neumond” (1982) and “Sternentaucher” (1983) no longer sounding contemporary.

Drummer Hartwig Biereichel comments on the recordings featured on “1984 Live”:
“Live cuts are always tricky. I can hear the reviewers who (still) take every new NOVALIS records apart with their extremely critical comments: there are sonic distortions, there are hisses and sizzling noises, the guitar is frequently too loud and so on, they’ve hit the wrong note a number of times – and so on and so forth… Of course, all this is true; after all this it’s a real live recording with all its faults and shortcomings. But it’s authentic and totally unprocessed (apart from Eroc’s wonderful remastering), those tiny technical mistakes are and have always been part of a NOVALIS show. That’s what makes it alive and gives it energy.

NOVALIS were a rock band that always found it difficult to condense the sheer power of their music into the grooves of a record at the studio. On “1984 Live” we whoop it up, as can be heard on “Grenzen” and the “Schmetterlinge/Irgendwo, Irgendwann”-medley.

Following the 70s phase which produced “Sommerabend” and “Wunderschätze”, among others, NOVALIS had only three options at the beginning of the 80s if we wanted to continue to be creative as a band and enjoy our music: 1.) Continue to come up with awesome numbers, which isn’t all that easy; 2.) Copy ourselves and merely mark time; 3.) Risk new, experimental approaches which may not have gone down too well with some of our fans, a number of which were no longer prepared to follow us on this path. As disappointing as our waning success may have been back then, it’s comprehensive from today’s point of view. The titles which were new at the time include “Ich hab noch nicht gelernt zu lieben” (featuring Lutz’ intricate keyboard technique), “Cassandra” (with its wild, unbridled rock drive and Fred’s transverse flute) and “Über Stock und Stein”. This song had previously been a pure studio track – we ourselves were surprised that it worked on stage and went down so well.
“Mit den Zugvögeln” (dreamily romantic and with atmospherically tension) and “Vielleicht bin ich ein Clown“ (pretty prcise despite a number of tempo changes) hail from an earlier phase. Fred’s voice on “Nimm meine Hand” and “Bumerang” betrays that he had personal problems at that time. He quit for good soon after this concert. Still we were always in perfect harmony on stage – which you can hear because a number of titles are performed much more dynamically than their LP versions (for example “Kleinwenig mehr” with Heino’s speedy bass fingers and “Wer Schmetterlinge lachen hört”/”Irgendwo, Irgendwann”, including Detlef’s orgiastic guitar). Listen to this track with your headphones on and you’ll feel right at the centre of the stage!”

Ich Hab' Noch Nicht Gelernt... - live @ „Open Air“, Hamburg, 1984

the re-release of another Triple M classic

I Rock I Roll Prophet Da Boss ft. Calico Cutty

“I truly believe that you need to have your expertise to go deep, but always keep your eyes open what's around you because you never know what next step might come up.”

According to today’s guest mentor Michael Lengenfelder, who also helps us deconstruct on the #sitn podcast:

•	How to move forward in your career path and transition between many different operational & leadership hats and finance.
•	The importance of storytelling in finance and business and having more a journalistic mindset.
•	How finance professionals can more effectively engage in storytelling to help with better decision making.

Check out https://sitnshow.com/ for detailed time stamped show notes, transcripts, links to resources and more guest mentor episodes and Monday Memos.

#financementor
#Storytelling

On Apple Podcasts

#342  Why We Need To Be A Bit More Like Financial Journalists

Jim McFarland Juliet aka Jim McFarland Frankfort is a social worker. He is helping the environment and society every time. He always helps during a disaster happens. He was very active in participating as a volunteer. He was elected to serve more than one million community college students statewide on the Illinois Community College Board. He volunteered as an American Red Cross Disaster Area Responder for the Will County area, providing food, clothing, and shelter to people displaced by tragedies, such as house fires and the flood.

Jim McFarland Joliet Says Let's Do Small Things To Build A Good Society

Masada mıyız?
Bacakları üzgünlükten, sathı hayal kırıklıklarından yapılmış bu masada olmanın bize getirdiği neyse onunla baş etmenin
bir yolunu bulabilir miyiz? Her şeyin naylondan olduğu bu çağda, bir marangozun yıllarca emek vererek hazırladığı bu
masa, yaşamamıza, hayatta kalmamıza, nefes almamıza yetecek bir vahaya dönüşebilir mi?

İSMAİL KILIÇARSLAN - Masada mıyız?

I know that you are scared but baby hold on to me so I can make you believe.

Dead Eyez - Hold on to Me

Deep Elm Blues 06-05-2021.WAV

Life would be easier or worse 
Even him seems to me to hug a hedgehog
Evening prepares a coffee and you're done
Daisy boy, trapped and shout in joy
I knew this game
Even caught up i'm fulfilled again

4 am out, everyday i shout out alone loud
Jaw in tense, DAW all days
i'm so away from my old i
like a man with a broken watch
I give to the hive without snatch

Each other with a beaver, like,
take a ticket to syberia now mate
If you're up, go to climb out

Daisy Boy

I am a music producer named Michael Trama from Michigan in the USA who heard the call of Musica Univeralis, and now I am on a mission.  Mind blowing adrenaline Hybrid EDM is my niche.

Dead Eyez - Hold on to Me

Dead Eyez (Music Producer)

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