The Voyces - Relate To Me

  • Length: 1:35
  • Rating: 5.00 (5 ratings)
  • Views: 1097' favoriteCount='3
  • Author: heiohpei

Tags: me  relate  than  the  thicker  to  voyces  water 

Oh, the night's so youngIt's been so long since I had any funI don't know what's wrongI just wanna play another songWhen the seasons change, leaves will still be blowing through my brainCan you feel your heart ache? Do you relate to me?In an empty home, the man inside it never feels alone'Cause when he holds the light he knows there's nothing that he has to fightCan you feel your heart ache? Do you relate to me?

west to the east

  • Length: 5:41
  • Rating: ( ratings)
  • Views: 38' favoriteCount='1
  • Author: ThomasGaretSeim

Tags: art  cars  distance  driving  east  film  garet  independent  media  seim  thomas  trip  tugboat  west 

this is a film capturing the views of my trip from vancouver back to virginia. the soundscape is a piece i composed during my time in vancouver, blending layers of audio from the vancouver area as well as simple keyboard parts that are reconstructed randomly. the lyrics in the music relate to a troubled marriage and are randomly cut and reform a confused view of the events.the majority of the footage was shot while driving through montana and south dakota, while some was shot as the passenger and the driver being my ex-wife.

The Burning of Columbia

  • Length: 3:38
  • Rating: 3.50 (6 ratings)
  • Views: 4450' favoriteCount='9
  • Author: ErisDiscordiana

Tags: Confederacy  history  painting  psychedelic  Sherman  southern  war 

Psychedelic oil painting and vocal track by nonagenarian activist Jack Kershaw, depicting a scene from Sherman's March to the Sea, in the War of Northern Aggression, as Cecil Taylor jams a wicked piano on "Call Me." Composition by Sondra London.The Burning of ColumbiaThe occasion for this work: a great social event. Every soldier in the Army of the United states, North, was invited to a night-long party with music and dancing and singing by the talented troops in celebration of the conquering of Columbia, an undefended city in South Carolina, which lay like a naked woman to be pleasured and raped, robbed and pillaged before the city's churches and homes were leveled by a bonfire of hate built to illuminate the soldiers' party. The songs and yells carried to the very limits of the horizon where distant plumes of flame devoured the mansion house, the small homes gathered about it, and the crops and the barns that gave life and sustenance to all the people, black as well as white. The flames leapt higher. The soldiers cut the fire hoses into small pieces. "Let there be fire, our fire!" they said, and the officers closed their eyes to what they saw. One knows the painting has a center and will go there, even though the eye may slip in on some private path. At the center is the Conductor: paradoxically a design derived from St. Andrews' Cross and stabilized by the horizontal framing of the piano keyboard with its frenzied player, and the dark horizon of smoke that confirms the verticals of the church and commercial buildings on either side. The Conductor tells us to go southwest to the red thrust of the heavy-jowled dancer whose every lurch takes us by the fiddler, the guitarist and the hysterical officer, to the flames to the northeast, and Mr. Lincoln lurking in the fire-lit sky. Hard by Lincoln is Sherman, who could have been discovered by following the northwest signal of the Conductor, past the church, past the clock tower, and on to the flames surrounding Sherman. The trinity of the hands in the southeast corner direct attention back through the guitarist to the center and beyond, leftward to an arabesque of flames at Sherman's cheek, corresponding to the right arm of the pincers that embrace Lincoln. The Cloisters of the Convent, in spite of promises, is in flames. A child is protected. A figure appears in a threatened doorway; is he coming out in haste, or has he been abruptly pulled back in? There are faces of guilt and innocence; one we see front and center, not knowing he is there, except that he can be nowhere else. A man in a white suit and hat is marveling at the potted flower at his feet. He has lost his sons in the War. Now his wife and daughter have perished in the burning house. The flower saved from the garden is all he possesses, today and tomorrow. In the cave of a shadowy arch lurks a dark figure with a gun. Is it vengeance he seeks, for the gang rape and murder of his wife, left face-down in the mud? The painting must tell the story and play the music, relate the drama enacted in the round, in full color all at once. Art may be for art's sake, but only on the understanding that the art embraces and is embraced by the endless comings and goings at a place for a time. JACK KERSHAW LINKSJack Kershaw Home Page http://jackkershaw.home.comcast.net/Manifesto: Reparations for the Whole Southhttp://sondralondon.com/attract/reparations/index.htmRepresenting James Earl Rayhttp://sondralondon.com/attract/ray/index.htmSt. Joan at the Stakehttp://sondralondon.com/attract/joan/default.htmSelf-Defining Emerging Form http://sondralondon.com/detox/form/index.htm

It's All Over for Ichigo

  • Length: 3:53
  • Rating: 4.00 (4 ratings)
  • Views: 295' favoriteCount='4
  • Author: Zephyr94

Tags: Days  Grace  Three 

This is my..fourth video, and I actually used VIDEO CLIPS *Cheer* anyway..The song isIt's all Over-Three Days GraceIN ANY WAY DOES THE MUSIC RELATE TO THE ANIME/SHOW,FOR ANY REASON.

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