let s go to russia

Δεν πρέπει ποτέ να ξεχνάμε το ηθικό χρέος κάθε ανθρώπου απέναντι στους πολίτες που κατοικουν το σώμα του, αυτόν τον πολυσύνθετο αστερισμό από κόκαλο. 

     Κυβέρνηση αυτών των πολιτών είναι η ανθρώπινη συνείδηση, που δεν πρέπει ποτέ να ξεχνά πως η ανθρώπινη ευτυχία είναι το σύνολο των κόκκων άμμου της ευτυχίας όλων των υπηκόων της. Ας διαφυλάξουμε τον κόσμο τους κι ας θυμόμαστε πάντα πως κάθε τρίχα στο ανθρώπινο κεφάλι είναι ένας ουρανοξύστης, που απ' τα παράθυρά του χιλιάδες Σόνιες και Κόλιες κοιτούν τον ήλιο. 

και

Όμως η εξίσωση της ανθρώπινης ευτυχίας βρέθηκε και λύθηκε μόνο όταν οι άνθρωποι κατάλαβαν πως περιελίσσεται σαν μία αδύναμη κληματαριά γύρω από τον κορμό του κόσμου. Να ακούς το θρόισμα των καλαμιών, να αναγνωρίζεις τα μάτια και την ψυχή ενός φίλου σ' ένα καβούρι που πλαγιοδρομεί στην ακροθαλασσιά με τη δαγκάνα του υψωμένη, δίχως να ξεχνά τους πολεμικούς κανόνες - αυτά δίνουν μεγαλύτερη ευτυχία από όλα εκείνα που φέρνουν δόξα ή τη λαμπρή φήμη ενός, ας πούμε, στρατηλάτη. 

     Η ανθρώπινη ευτυχία είναι ένας δευτερογενής ήχος. Περιελίσσεται και περιστρέφεται γύρω από τον θεμελιώδη ήχο του κόσμου. 

     Η ευτυχία είναι το χλωμό φεγγάρι που γυροφέρνει τις Γαίες που κυκλώνουν τον Ήλιο, τα αγελαδίσια μάτια μίας γατούλας που ξύνει τ' αυτί της, τα χαμομήλια την άνοιξη, τον παφλασμό των θαλάσσιων κυμάτων.

     Αυτοί είναι οι θεμελιώδεις ήχοι της ευτυχίας, οι σοφοί πατέρες της, η παλλόμενη σιδερένια ράβδος που είναι αρχαιότερη από την οικογένεια των φωνών. Μ' ένα λόγο, ο άξονας περιστροφής της. 

   Να γιατί τα παιδιά της πόλης, ξεκομμένα από τη φύση, είναι πάντοτε δυστυχισμένα ενώ για τα παιδιά του χωριού η ευτυχία είναι κάτι αξεχώριστο σαν τη σκιά τους. 

     Ο άνθρωπος άρπαξε την επιφάνεια του Πλανήτη από τη σοφή κοινότητα των ζώων και των φυτών και ζει τώρα μες στη μοναξιά. Δεν έχει κανέναν να παίξει κυνηγητό ή κρυφτό. Στο άδειο δωμάτιο τον περιβάλλει το σκοτάδι της ανυπαρξίας, δίχως συντρόφους, δίχως παιχνίδι. Με ποιόν να διασκεδάσει; Ολόγυρά του ένα κενό "όχι". Οι ψυχές των ζώων, εξόριστες από τα σώματά τους, ρίχτηκαν πάνω του και τώρα οι στέπες του είναι υποταγμένες στο δικό τους νόμο.

     Χτίσανε πόλεις των ζώων μές στην καρδιά του.

     Θα 'λεγες πως άνθρωπος πνιγόταν από τον ίδιο του τον άνθρακα.

     Η ευτυχία του ήταν μια κάσα τυπογράφου απ' όπου έλειπαν πολλά αριθμητικά ψηφία, στοιχεία απαράιτητα για κάθε υπολογισμό, τα δύο, τα τρία. Και χωρίς αυτούς τους αριθμούς το Μέγα Πρόβλημα δεν μπορεί να τεθεί. Τους έπαιρναν μαζί τους στον τάφο τα ζώα αποχωρώντας, τους ατομικούς αριθμούς του κάθε είδους.

     Ολόκληρες πράξεις της εξίσωσης της ευτυχίας εξαφανίστηκαν, σαν σκισμένες σελίδες κάποιου χειρόγραφου. Το σκοτάδι έπεφτε απειλητικό.

     Αλλά τότε συνέβη ένα θαύμα: θαραλλέα πνεύματα ξύπνησαν τον Ιερό φαιό πηλό που καλύπτει κατά στρώματα τη γη, ξύπνησαν την κοιμωμένη της ψυχή από ψωμί και κρέας. Η Γη και πάλι έγινε τροφή, και κάθε κοιλάδα γιορτινό τραπέζι. Στα ζώα και τα φυτά αποδόθηκε ξανά το δικαίωμα στη ζωή, αυτό το υπέροχο δώρο. 

     Κι εμείς είμαστε πάλι ευτυχισμένοι: ένα λιοντάρι κοιμάται στα γόνατά μου κι εγώ κάθομαι εδώ καπνίζοντας το αέρινο γεύμα μου. 

Βελιμίρ Χλέμπνικωφ, Ζαούμ

     

that nearly- god ...

arbit city group meet mitch bucannon

some guns

sorry I havent written in so long 

Derek Paul Boyle - Good Under Pressure

DEREK PAUL BOYLE

Jakob Ullman interview for 06:00am

06: How would you describe your music to someone that has not experienced it?

The music I´m interested in (and so the music I compose I think) is very quiet and of rather long duration. I think one can hear better if one has to concentrate on hearing. But it is a laborious process. Some people become angry about such an imposition.

06: What was your father like?

It`s not easy to answer this question in short terms. I think the best description of my father is, that he was a “survivor”. He survived the Nazi-terror-regime in Germany (with the help of British bombs, otherwise the GESTAPO would have found and killed him). He survived Neonazi-attacks in the early western Germany; he survived prison in East Germany later. With this background he became member of the civil-rights-movement in East Germany and even politician (member of the European Parliament). At the end of his life he tried to survive his deep frustration seeing the recurrence of war in europe and the treason of the European idea and values. He died in 2004.

06: What’s the most valuable lesson you’ve learned from Cage’s work?

The most valuable lesson I learned from John Cage as person: if you want to make music in freedom, you have to follow the instructions of the composers very, very carefully. If you want to compose freedom music you have to imagine (and to prepare) situations which are clear and adequate to practical circumstances of musical practice and – at the end – don´t try to be the owner of your work!

06: Do you find new surprises in sound every day? Are you constantly discovering new sounds?

I´m really sad that it is nearly impossible to discover new sounds every day. The world is too loud!

06: Do you have any expectations at all of the audience that comes to hear your music?

I should say that I have no expectations, but I would be glad if the audience will hear.

06: When you’re working on a piece of music, do you work on one piece of music alone, or do you work on several pieces at once?

When I work on a piece of music, I can concentrate only on one piece. After finishing the score I abolish the sketches so my mind is free for new things.

06: Are you pleased with the recordings of your music?

I´m very thankful for all the musicians who helped to record some pieces I composed. But I like performances more. Recordings are documents, performance is life.

06: For whom do you write?

If for “anybody” I write for “music”. In art it is not allowed to serve a purpose.

06: What is in your opinion the purpose of music in society, what is the purpose of art in society?

See above. And: if there is something like “purpose of art” then only to make visible and audible that the most important and most necessary thing for human existence have no purpose and no value (nobody can pay for them!).

06: Do you vote? What is your opinion about the current sociopolitical situation in Europe?

To vote one needs a party or an organisation, which try to work for aims, I can support in the sphere of politics. In Germany I do not see any party which is unconditional covenant to pacifism, is working for social justice without the heresy of limitless growth, respects people of all cardinal direction as equal human beings and knows that Germany is until today responsible for the worst crimes the world has ever seen.

So, how shall I vote?

I think it is seen from this my opinion of the current situation in Europe too.

06: You’re also a professor of music, a teacher of composition?How do you divide your time between the teaching and your own composing?

It´s very difficult to find the time to compose in the face of the obligations as professor of music. The result is: I did not compose so much in the recent years.

06: Can you send us a picture of you and a picture of something that best illustrates your current state of mind?

JAKOB ULLMAN.COM

λοκαλ athens // ποδήλατα παντού!!!

michael wolf

http://sliiits.tumblr.com/post/50270240383/really-shit-the-real-toy-story-michael-wolf

the real toy story by michael wolf

Felix Kubin interview for 06:00am

Felix Kubin foto by Evelyna  Domnitch

06: A definition of yourself.

I am an early reflection.

06: If we don't act with immediacy, capitalism will become our executioner?

It’s the other way round. Capitalism forces us to act faster than we can think and consume more than we can swallow. It compresses time so much that there is no contemplation in work, no time to let the particles settle that were thrown on the surface of the water. Life needs time. Art needs time. Love needs time. We have to claim back time and public space. Also, capitalism doesn’t judge the inner quality of things, it only judges their immediate sales value. In its most perverted (or maybe purest) form, capitalism means earning money with money. This is incest and it leads nowhere.

06: Free time is something we have to work for?

We have to buy free time, unless we decide to drop out of the (working) society and become hermits. Some people do that, and they are courageous. I am not a hippie, though. I like taxis, modern buildings, vacuum cleaners and elevators. I want to live in a modern world but detached from ist daily rhythm, more like a ghost.

06: Why did Orpheus turn and look at Euridice just before the exit?

In my radio play version „Orphée Mécanique“ he didn’t look back. Actually, he entered the underworld without finding Eura (he only found her projection). And after he left Hades, he forgot where he was, so he entered again. But in the original version he turned around because he heard no sound behind him. We need sound for evidence. When I saw my dead father lying on the floor, his silence was much more horrifying than the way he looked.

06: How do you perceive the rise of extreme right wing parties in Europe, that is accompanied by a corresponding rise of extreme right wing parties in Greece?

When the economy gets bad and people have to struggle with poverty, right wing (or extremist) parties always get strong. That seems to be a phenomenon of history. Of course, the situation in Hungary and Greece worries me. But most of all I am worried about Russia. It seems that they are light years away from Glasnost and Perestroika.

06: Are radio transmissions today as important as they were in the past? In which ways?

Transmissions are always important! Let’s just forget about commercial radio for a second. I think that the ideal of radio has become more important than ever. For me, radio can be a synonym for quality journalism, in-depth features, radio plays, alternative music programmes and experimentation with transmission in general. Of course, hardly anyone listens to radio by antenna nowadays, only people in cars do that. We mostly listen by internet and usually turn on the radio randomly. We don’t care about the programme schedule. There are some decent radio programmes on internet but most of them lack something that public radio has: money. At the end of the day, you need to pay a radio maker, so (s)he can take time to make a good research. You need to pay the staff of a radio play production: the author, the director, the musician, the actors and so forth. And you need to pay the moderator, so he can prepare for the programme. All of these paid people shall not be controlled by a private company that is only interested in sales figures. They shall be paid for work that is serving public interest, education and a free spirit of culture. Having said that, the democratization of internet has produced a lot of blogs and mini radio stations with some brilliant perls amongst them. But on the long run I really believe that it’s necessary to be paid for quality work, at least if you want to keep a sustainability. This counts for artists and musicians, too. Otherwise it stays a hobby.

06: What has been your experience working with Christoph Schlingensief like?

I had met him few times 10 years ago. Back then, I only compiled some classical music for his theatre play „Atta Atta“, so I wasn’t involved too much in the creation of the play. Few years ago, he wanted me to compose music for his play „Eine Kirche der Angst vor dem Fremden in mir“ („a church of fear of the alien in me“ – actually, the title is hard to translate). But his request came too short in advance of the rehearsals, I couldn’t do it. I think, one year later he died. I always liked his ability to bring people together and create a riot or protest. I liked his interfering with public spaces. He wasn’t afraid of any confrontation. However, I didn’t like his aesthetics very much. He was more an instigator than an artist to me.

06: Can you describe what has been in your life your relationship with the dancefloor.

I have no special relation to dancefloors. Dancefloors mostly create reproduction. They are as much overrated as DJs. I like the idea of a club that creates world, surprising, surreal and independent from the outer world. It needs a lot of creative audience to achieve that, no consumers. I don’t like DJs who play only one style of music and only care about how they can please the crowd. They should rather go into politics then. Parliaments should be dancefloors, DJs should be conductors, dancefloors should be auditoriums.

06: What would you like to do in the future?

I want to work with foley artists and create a composition for a cursing choir.

06: Can you send us a picture of you, of a place or of something else that best illustrates your current state of mind?

I attached a foto that Evelyna Domnitch took of me in Amsterdam in her sci-fi lab.

FELIX KUBIN.COM

Dimitris KU Papadatos Interview for 06:00am

06: What is your parents profession? Can you describe the environment in which you grew up?

My mother is a travel agent and my father is a computer programmer who later became a farmer. I grew up with my mother and sister around the southern suburbs of Athens.Very close to the sea, so that I could always get the big picture just by looking at the waves. I went to a public school, and every Sunday we would gather at my classmate’s house and watch all episodes of Nightmare On Elm Str in a row.

I was also a boyscout. I guess I still am since one is always put under the oath.

06: Had you ever wished that you had invented something massive like the blue jeans?

I always wished I had composed Springsteen’s 'Thunder Road' which kind of answers your question.

06: Has your music influenced your parents?

No, I don’t think so .

06: Where do you like to usually walk your dog?

I take Daria almost everywhere I go if it’s in a walking distance. She likes the park close to our house cause all her dogfriends are there.

I like mt Penteli but only on sunny days.

06: What book(s) are you currently reading?

I am re-visiting Brian Michael Bendis’ “POWERS” series, just started Hillel Schwartz’s “THE CULTURE OF THE COPY” and finishing “EVERYBODY LOVES OUR TOWN” by Mark Yarm.

06: Why do you thank Kariofyllia Karambeti in the credits section of your new album Feathers as KU?

Because she taught me that everyone should get paid for their work, and proved it in action and on her own private expense. Plus she gave me some more great piece of advice.

06: Tell us about your new album.

My new album was released on 12’’ + free CD via Inner Ear Records on the 26th of March. The name is Feathers and it consists of 9 songs. The duration is almost 38 minutes. The music and lyrics are mine except where specified on the liner notes. It was recorded on the summer of 2012. It was produced by Prins Obi. My wife is on the cover.

  [RUBICON video directed by Corinna Triantafyllidis]

06: Do you identify with any art movement(s)?

I identify with every art movement there was, is and will be, except action painting.

It makes me sick in the stomach.

06: Reveal a secret of yours.

I have a secret Mimi Parker obsession.

06: What is beauty for you?

A neck ready to be kissed.

06: Do you consider yourself to be talented?

Yes, of course. My greatest talent is memorizing telephone numbers.

06: If you owned a billboard what would you have on it?

It would be a Felix Gonzales Torres.

06: Do you believe that love can overthrow everything?

I do. It should.

06: Would you ever decide to go on an island where all your desires could be fulfilled with the risk that you might never ever be able to return?

Why would I want to leave in the first place if I knew I would want to return? So yes.

My father left for an island and he never returned to the city. I envy him.

06: What features of contemporary Greeks quiet you the most?

If you mean what leaves me speechless, I have to go with the fact that greek society keeps repeating old mistakes and does that in the worst possible ways.

06: If the world is both overpopulated and underfed why are we opposed to cannibalism?

Because the mind is a terrible thing to taste, according to Al Yourgensen at least. Never say never though.

06: What was the most significant encounter in your life?

Meeting my wife definitely. She made me look at the world in its real proportions and this was the most important gift life had to give me.

KU tumblr

INNER EAR - KU

INNER EAR BANDCAMP - ALBUM 'FEATHERS'

  

SAHEL SOUND

πειραιας

china town

Καρναβαλι Μεταξουργειο

Fabio Frizzi interview for 06:00am

06: Do you believe that if someone wants to make out with a lady should take her to see "Dracula"? What do you think is there in horror movies that could be stimulating in that sense?

FF:To conquer a woman there may be many systems. I, for example, prefer to make her laugh, have fun. But surely the charm of mystery and fear can help. And then today the community of lovers of fantasy and horror has expanded enormously. Anyway, as Freud says, adopting Heraclitus, Eros & Thanatos have a deep relationship.

06:What is creativity for you?

FF: Creativity is a magic moment. Actually happens. And that makes you feel like Gods. You have an idea in mind, a simple idea that looks like so many other thoughts. And like many thoughts could disappear at any moment and be forgotten. But you do not let her get away this time. You stand in front of a sheet of paper next to a piano and turn it into something different. You look, you feel, you listen to it. It 's always an idea, but now it is coming out and if you really like it, you can begin to give it a shape. The musician, like all artists is a craftsman who must work for a long time to get a convincing result. Much later, when someone is singing or whistling the theme finished, it will be difficult also for you, who created it, to remember all the composition process. Something magic.

06: How did Death Waltz Recordings came in contact with you for the reissue of Zombi 2?

FF: Spencer Hickman is a young record producer distributor in London, young but with a great experience and with very clear ideas. He knows that the modern discography has a target other than the one of 30 years ago, and realized that back bravely to vinyl (as many do some time now in London, New York and many other places in the world) could be a good choice. He is a good fan of my soundtracks, particularly those '70s and '80s. He contacted my agent and publisher here in Roma, Daniele De Gemini of Beat Records, who told me about the project. I found it brilliant and I immediately supported. Spencer probably will be the promoter of a concert that we're going to do in London next Halloween. Strictly on the music of Fulci films. Frizzi 2 Fulci the title.

06: Do you vote? What is your opinion about the current sociopolitical situation of Europe?

FF: For many years I did not vote, disgusted by the political reality, especially the Italian one. Recently I returned to vote, as a act of responsibility for the terrible situation we are facing. I think that since some years there has been a paradoxical situation, a kind of third world war, an economic war that has sanctioned the crisis of the so-called West economy. I believe a lot in Europe, social and cultural development of all our people, who certainly many common roots. But it is a long and treacherous period that will still need a lot of time. I am a big fan of Greece, have been there many times in my life and I have great respect and admiration for its ancient civilization from which we all come. And I really hope that the mechanisms of the European Union allow Greece to regain soon the serenity and perspective it deserves.

06: What is your favorite synthesizer and which is your favorite sound effect? 

FF : When I started working in the early 70's, first synthesizers began to come out. I think I've used them all, each of them had a special charm and characteristics. After so many years, there are two elements that still fascinate me like the first time (apart from my TR808 and Jupiter 8 that are still in my studio since then): I speak of the Moog and Mellotron. Mellotron took me in the story of the mysterious paranormal appearances in the films of Fulci. The Moog is a masterpiece that still has a ductility and, I would say, a soul waiting to be discovered. Their sofware versions are extraordinary, but the originals do not fight.

the space between people and things

you'll be safe forever

ablation

now while it’s still warm let us pour in all the mystery

dissonArt ensemble

Live in Köln

ΔΙΑΔΡΟΜΗ ΔΟΥΛΕΙΑ ΣΠΙΤΙ

Deux Filles

Hacker Farm interview for 06:00am

Photo by Peter Anderson

06: I'd like to start with some introductory information. Who are you, where are you living?

Farmer Glitch: “Farmer Glitch. In the depths of rural Somerset in the UK.”

Kek-w: “Kek. Yeah, ditto. I’m based in Yeovil, a small, slightly generic market-town surrounded by fields and hills…”

06: Who decided the name and what is the story behind ?

FG: “From my memory, it was the idea of starting an Hacker Space type thing in Yeovil for like-minded builders and we joked about hosting it somewhere appropriate like a farm... although I seem to recall we tried to originally label the band “Junk Crunch” as in the group Hacker Farm present the noise-unit Junk Crunch…”

K: “Yeah, the band was supposed to be Junkcrunch or Junk Crunch or something similar, and Hacker Farm was supposed to be the local Makr type organization behind it, a bit like the difference between Heaven 17 and the British Electric Foundation, I guess. But it got confusing trying to explain the difference to people (laughs), so we quickly drifted into just being Hacker Farm…”

06: How do you compose? In your music it seems to me there are different kinds of influences, from minimalism to improvised, passing through the industrial scene... is there any group or musician that influenced you in a special way?

FG: “Two distinct ways, I seem to think: one is the idea of jamming and then cutting up chunks of that work and using them… the other is where one of us will improvise a drone/noise-piece and then we bounce it back and forwards between ourselves until it reaches a finished (?) track...

“The closest group/person (although sounding absolutely nothing like us!) who worked in very similar ways would be Miles Davis during the On The Corner / Bitches Brew period where they basically jammed for hundreds of hours before getting an edit down to more concise hour or so.”

K: “Yeah, definitely that Miles thing ! Also, Can had a similar set-up: a studio-space where they played, recorded endlessly and then distilled it down.”

06: Can you introduce us to your "UHF" release?

K: “Most of the material on UHF dates back 20, 21 months or more now. It was recorded during what I would call our ‘Shortwave Period’. We got into playing around with and investigating Shortwave Radio – a medium that we hadn’t listened to since our childhoods. It was something that we were curious about and ended up getting very enthusiastic about for a couple of months. We even announced the release of our first album Poundland on Shortwave, even though no one was listening! (laughs). We ended up eavesdropping on and recording radio conversations between people from all round the world – and also in our own backyard.

“Not all the tracks on UHF use shortwave sounds, but they mostly date back to that period and are infused with that darkish, slightly claustrophobic radio vibe: hiss and modulated sounds, carrier-waves, voices talking to one another in the dark…radio has a wonderful atmosphere; it’s mysterious and intimate; unstable, analogue, alive… the complete opposite of the internet.

“There are elements of Eighties Industrial, Noise, Improv, Kosmische and Old School Rave on the album… but I think that maybe the track “One, Six Nein” sits at its moral and emotional heart: it takes an oppositional stance to a lot of the stuff that’s going on right now, economically and culturally. It lists a few things that any decent, sensible human-being would naturally stand against; it says what’s-what and quietly draws a line in the sand. It felt right to have a woman’s voice intoning it, and for it to be a bit bland and matter-of-fact and not aggressively confrontational. Just someone quietly saying, “enough’s enough’’, while the music seethes beneath it.

“Sometimes you can get your point across better musically by reining-in the anger and frustration, and letting it lurk beneath the surface. I think chunks of UHF are pretty good at hinting at that hidden anger without constantly snarling and chest beating; instead, it’s presented as a set of tensions – a series of dark surfaces that are stretched thin, constantly threatening to rip open and reveal the truths within.”

06: Do you play gigs? What are your plans for the future?

FG: “Yep, we play gigs and are lining up art-galleries / pubs / theatre / festivals for this year...”

06: What is your idea of happiness?

FG: “A hot soldering-iron and a flask of scrumpy…”

K: “Writing, making art and music. Stuff that other people might think of as working.”

06: Had you ever wished that you had invented something massive like the blue jeans?

FG: “We don’t need massive blue jeans due to being rather trim!! (laughs)”

K: “I’d like to invent More Free Time. An open-source, hackable day with its own API…(laughs)”

06: When was the first time you remember really enjoying music?

FG: “20thCentury Boy on 7 inch by T-Rex.”

K: “Yeah, definitely. The Electric Warrior LP by T-Rex, on cassette.”

06: Who do you still love listening to now who you enjoyed hearing as a child?

FG: “T-Rex / Tangerine Dream…”

K: “Yep, me too. T-Rex, Bowie, The Sweet, The Monkees…”

06: Free time is something we have to work for ?

FG: “Yep.”

K: “Yeah. But I also quite like the idea of turning work into a game or a fun-thing-to-do. Some of the things that I find relaxing, other people might think of as hard work… so I quite like the idea of blurring the boundaries between them, finding ways of making work and mundane chores or activities ‘interesting’. I think mobile devices are starting to break down the differences between Work and Play anyway. I’m sure my kids will probably be doing things that my own parents wouldn’t even recognize as work…”

06: We're all damaged by noise pollution?

FG: “Nope...”

K: “Not all noise is pollution, is it? I find certain frequencies of road-drills, forexample, to be oddly relaxing when they’re a reasonable distance away. I remember sitting in a library once, years ago, and hearing a distant road-drill somewhere outside and instead of being annoying, it made me want to go to sleep.”

06: Can you send us a picture of you and a picture of something or some place that best illustrates your current state of mind to post along with your answers ?

Yes!

Hacker Farm

Hacker Farm

Hacker Farm

Hacker Farm

Hacker Farm

Hacker Farm

Hacker Farm

Hacker Farm

Hacker Farm

Hacker Farm

2η Εβδομάδα Αφρικανικού Κινηματογράφου 21-27 Φεβρουαρίου 2013 Ταινιοθήκη της Ελλάδος

δελτιο τυπου

savvas metaxas

http://www.orila.net/savvas-metaxas-savvas-metaxas-orl-13/

καλα ειναι για δευτερα

Little Red Corvette refrain in a 12 hour loop