Damus

Recent Notes

bembureda profile picture
#Netflix just dropped the entire 007 catalog, and the second I saw Roger Moore in "Live and Let Die", my brain went straight to Guns N’ Roses and to one of the greatest covers ever pulled off.
😎 🚀
The Guns’ version of “Live and Let Die” was born out of pure friction.
🔥 Axl Rose was the driving force, obsessed with McCartney’s original and determined to blow it up into something bigger, darker, more theatrical, borderline apocalyptic.
🎸 Slash? Not having it. He hated keyboards and orchestral arrangements too polished, too far from the band’s raw, street-level rock core.

During the "Use Your Illusion I" sessions, the band was at the absolute peak of their fame and simultaneously on the verge of collapse.
Drugs, alcohol, excess, total rock’n’roll mayhem.
The song absorbed all that chaos and spit it back out.
What was supposed to be “just a cover” turned into an absolute weapon, especially live, where it became legendary.

Even Paul McCartney gave it his blessing, because let’s be honest: this is max-level cover culture done right.
Like it so often went with the Guns, conflict didn’t kill the magic, it created something immortal.

All this overthinking just because Netflix put Bond back on the menu. Zero regrets. 🗽🔥

https://www.youtube.com/watch?v=6D9vAItORgE

#nostr #musicstr #gunsandroses #gnr #axl #slash #radiopetardo #sanpetardo #jamesbond #rogermoore
bembureda profile picture
Room 29 was born from a stay #JarvisCocker spent at the #ChâteauMarmont in #LosAngeles.
In his hotel room stood an old piano, silent but heavy with history.
Cocker began to imagine all the hands that had touched it before him, all the stories absorbed by the walls of that space. He shared the idea with #ChillyGonzales, whose piano playing could give voice to those ghosts.

Together they shaped Room 29 as a song cycle: not a pop album, but a series of intimate scenes. Hollywood myths, forgotten figures and fleeting moments drift in and out, as if the room itself were speaking.

The result is a meditation on fame, solitude and memory, told through piano, spoken word and fragile melodies.

This is a short overview of some of the characters and stories that appear in the Room 29 concept album.
The piano in Room 29 is presented as a silent observer, witnessing decades of private moments and passing lives.
Figures such as Jean Harlow embody the fragile side of Hollywood fame and its tragic consequences.
Howard Hughes appears as a symbol of extreme wealth turning into isolation and obsession.
Clara Clemens, daughter of Mark Twain, represents the burden of legacy and personal struggle.
Around them, the Château Marmont itself emerges as a central presence, a place where myth, memory and celebrity continuously overlap.

https://www.youtube.com/watch?v=Po1_gDcjaIw
#musicstr #sanpetardo #radiopetardo #room29
bembureda profile picture
I’m watching The Farewell, Lulu Wang’s film starring Awkwafina.
A comedy that opens with a CT scan and a terminal diagnosis.
My kind of comedy, the kind that makes you laugh, then quietly breaks your heart and then makes yo laugh again.
Just like life, apparently.
https://www.youtube.com/watch?v=Gu2Ht6XyC6c

#TheFarewell #musicstr #nostr #Awkwafina #fredoviola
bembureda profile picture
“Loser” by Beck feels like a crooked manifesto for a generation laughing at its own disorientation.
Released in 1993 as a single and included in the album "Mellow Gold" (1994), it’s a loose collision of folk, hip hop, and absurdity that sounds carefree but cuts with sharp awareness.
The chorus isn’t surrender, it’s irony turned into a shield: calling yourself a loser to dodge every label. The song drifts dirty and unpredictable, a musical stream of consciousness that ignores the rules.
It doesn’t look for redemption, it turns chaos into attitude and alienation into a way of being.

https://www.youtube.com/watch?v=YgSPaXgAdzE
#nostr #sanpetardo #radiopetardo #musicstr #asongaday #loser #beck
bembureda profile picture
“54-46 (That’s My Number)” by Toots & The Maytals is born from a wound, but it sings like a victory. 🔥💪

💪 Written by Fred “Toots” Hibbert and released in 1968, the song emerges from a forced silence — the time Toots spent in prison after his arrest in Jamaica in 1966. He always claimed his innocence, describing the episode as an injustice that caught him while he was trying to help a friend. Out of that confinement came not bitterness, but fire.🔥

Inside prison, Toots was stripped of his name and given a number: 54-46. In the song, that number becomes more than identification — it turns into a banner of resistance. It speaks of a system that tries to erase faces and stories, and of a man who refuses to disappear. Each line pushes back against authority with rhythm, soul, and pride.💪

🎸Musically, the song stands at a turning point, blending rocksteady and early reggae, helping shape a sound that would soon travel the world. Lyrically, it transforms punishment into poetry, injustice into movement. “54-46” is not just a memory of captivity — it is a declaration of love for dignity, a dance of defiance, and a timeless cry against power that seeks control without compassion.🎤✊

https://www.youtube.com/watch?v=1AGngQJf7Rw
#nostr #sanpetardo #radiopetardo #ska #musicstr #asongaday #rocksteady #reggae #resistance #defiance #resilience #rebellion
bembureda profile picture
Berlin, 1987.
The city was still split in two, the Wall standing like a concrete curse.

In front of the stage, in West Berlin, there were 85,000 people — a massive, free, electrified crowd. David Bowie could see them, feel them. But he knew they weren’t the only ones listening.

On the other side of the Wall, in East Berlin, Heroes was already more than a song.
It had become a smuggled anthem. Passed around on worn-out cassette tapes, copied endlessly, listened to in secret at the lowest possible volume. For thousands of young people in the East, it was a quiet promise: you can still be someone, even here — even just for one day.

That night, 15,000 people gathered near the Wall in East Berlin. They had defied repression, police lines, and batons just to be there. They couldn’t see the stage, but they knew every word by heart.

When it was time to play Heroes, Bowie looked toward the Wall. He understood that this song — so loved, so forbidden — could not belong to only one side.

He signaled the sound engineers.
The speakers were turned toward East Berlin.

And suddenly the Wall failed at the one thing it was built for.
The music crossed it.

We can be heroes, just for one day floated over concrete, barbed wire, and guard towers. In the East, people cried, sang, held each other. In the West, it became clear: this was no longer just a concert. It was a gesture.

When Heroes ended, as the last note faded, something unthinkable happened.
One voice first.
Then another.
Then thousands.

From the West.
From the East.
Together.

“Tear down the wall.
Tear down the wall.”

The Wall was still standing.
But that night, it had already begun to fall.

Two years later it would collapse for real.

And when David Bowie died, the German government issued an official statement of condolence. It did not speak only of music. It thanked the Thin White Duke for his cultural contribution to the fall of the Wall and the dictatorship, acknowledging how a song, a voice, and a single act helped a people imagine freedom before they were finally able to live it.

Because sometimes history doesn’t begin with a revolution.
Sometimes it begins with a song that manages to cross a wall.

https://www.youtube.com/watch?v=lXgkuM2NhYI

#nostr #sanpetardo #radiopetardo hroes #davidbowie #musicstr #asongaday
33❤️4❤️1🔥1
Marco Barulli · 3w
Auf Deutsch auch. https://youtu.be/8oOwd-xFNkM?si=79Aq-GXhpxJ1Za_7