A Storyville documentary: how the Slovenian cult band Laibach became the first rock group ever invited to perform in the dictatorially repressed state of North Korea.
Browse content similar to When Rock Arrived in North Korea: Liberation Day. Check below for episodes and series from the same categories and more!
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This programme contains some strong language | 0:00:08 | 0:00:10 | |
RADIO STATIC | 0:00:10 | 0:00:14 | |
MUSIC PLAYS OVER LOUDSPEAKER | 0:00:55 | 0:00:58 | |
RADIO STATIC | 0:01:06 | 0:01:09 | |
Finally this week, North Korea - Earth's Florida. | 0:01:10 | 0:01:14 | |
LAUGHTER | 0:01:14 | 0:01:15 | |
Next month is the 70th anniversary of Korea's Liberation Day, | 0:01:15 | 0:01:19 | |
the date marking the end of Japanese colonial rule | 0:01:19 | 0:01:21 | |
and I guess the big question is what do you get the country that is | 0:01:21 | 0:01:25 | |
ordered to think it has everything? | 0:01:25 | 0:01:27 | |
Well, apparently, Kim Jong-un has decided that, for the first | 0:01:27 | 0:01:30 | |
time ever, a foreign rock band will play there, so who's it going to be? | 0:01:30 | 0:01:35 | |
Rolling Stones? U2? | 0:01:35 | 0:01:37 | |
A Michael Jackson impersonator passed off as the real thing | 0:01:37 | 0:01:40 | |
cos North Koreans don't know he's dead yet? | 0:01:40 | 0:01:42 | |
Well, no, it turns out it's going to be, and this is true, | 0:01:42 | 0:01:46 | |
a Slovenian art-rock group called Laibach. | 0:01:46 | 0:01:48 | |
ROCK MUSIC PLAYS | 0:01:48 | 0:01:52 | |
I think it was neo-fascist but I'm not sure if it was a joke or not, | 0:02:09 | 0:02:13 | |
so that's what I'm trying to figure out. | 0:02:13 | 0:02:15 | |
-Do you know? -Why do you think it was neo-fascist? | 0:02:15 | 0:02:17 | |
I just had an incredible subconscious urge to march | 0:02:17 | 0:02:21 | |
and I think my friend did as well. | 0:02:21 | 0:02:24 | |
I felt pride in a country that I did not belong to | 0:02:24 | 0:02:27 | |
and I felt this subconscious need to march. | 0:02:27 | 0:02:29 | |
And you didn't like that? | 0:02:29 | 0:02:31 | |
Oh, no, I liked it, but I just want to know if they're serious or not. | 0:02:31 | 0:02:34 | |
We cannot concern ourselves with | 0:02:34 | 0:02:36 | |
the fulfilment of other people's expectations of us. | 0:02:36 | 0:02:39 | |
Our only responsibility is to remain irresponsible. | 0:02:39 | 0:02:44 | |
LAUGHTER AND APPLAUSE | 0:02:44 | 0:02:47 | |
Happy Liberation Day, North Korea! | 0:02:47 | 0:02:50 | |
Sleep well. | 0:02:50 | 0:02:52 | |
# Ein Fleisch, ein Blut | 0:02:52 | 0:02:54 | |
# Ein Wahrer Glaube | 0:02:54 | 0:02:56 | |
# Ein Ruf, ein Traum | 0:02:56 | 0:02:58 | |
# Ein starker Wille. # | 0:02:58 | 0:03:01 | |
I think the message of Laibach basically was | 0:03:01 | 0:03:04 | |
we want more alienation. | 0:03:04 | 0:03:07 | |
All other dissident movements in those years criticised the regime | 0:03:07 | 0:03:10 | |
but, as it were, accepting its own basic premises. | 0:03:10 | 0:03:14 | |
In the case of Laibach it is as if the regime got back its own message | 0:03:14 | 0:03:20 | |
in its true naked form. | 0:03:20 | 0:03:23 | |
The way really to subvert the system, I think, is not to | 0:03:23 | 0:03:27 | |
criticise its official values, etc, | 0:03:27 | 0:03:30 | |
but to expose this hidden reverse of it. | 0:03:30 | 0:03:34 | |
Well, of course, that was another time, | 0:03:39 | 0:03:41 | |
another historical period and another country | 0:03:41 | 0:03:44 | |
because the country in which Laibach were born has died. | 0:03:44 | 0:03:50 | |
So Laibach has... | 0:03:50 | 0:03:52 | |
MUFFLED SOUND | 0:03:52 | 0:03:54 | |
Was that a goat's fart? | 0:03:54 | 0:03:57 | |
Back home, | 0:04:02 | 0:04:04 | |
I have been a follower or a fan of Laibach group for many years | 0:04:04 | 0:04:10 | |
but then after I became a grown-up man and an artist, | 0:04:10 | 0:04:17 | |
they contacted me asking me to direct the video. | 0:04:17 | 0:04:22 | |
You saw this video with the gymnasts. | 0:04:22 | 0:04:25 | |
And we were both, Laibach and myself, we were happy | 0:04:34 | 0:04:38 | |
with the result and we wanted to work together some more. | 0:04:38 | 0:04:41 | |
The logic of Laibach performing in North Korea is also | 0:04:47 | 0:04:51 | |
based on the fact that Laibach's form, Laibach's music, | 0:04:51 | 0:04:55 | |
has enough familiar elements to a North Korean audience. | 0:04:55 | 0:04:59 | |
I'm setting up maybe the blindest of blind dates | 0:05:01 | 0:05:05 | |
and I am the matchmaker. | 0:05:05 | 0:05:08 | |
By bringing those two elements together, you might have fusion | 0:05:08 | 0:05:14 | |
or you might have fission, like in nuclear fission. | 0:05:14 | 0:05:18 | |
We don't know before we actually try it in our big laboratory. | 0:05:18 | 0:05:24 | |
The other guy, I just about recognise him. | 0:05:49 | 0:05:53 | |
We know it's not him. | 0:05:53 | 0:05:54 | |
Milan is a different person on stage, absolutely different. | 0:06:02 | 0:06:06 | |
HE LAUGHS | 0:06:06 | 0:06:08 | |
We are just getting out the last two artists that we | 0:06:13 | 0:06:16 | |
need for the performance so we are on our way. | 0:06:16 | 0:06:20 | |
We expect to have a very interesting time. | 0:06:20 | 0:06:23 | |
I don't know what else to say. | 0:06:23 | 0:06:25 | |
We expect to make a revolution. | 0:06:25 | 0:06:28 | |
There is a crack in every wall. | 0:06:31 | 0:06:33 | |
That's where the spirit gets in. | 0:06:33 | 0:06:35 | |
They took two of my discs with backup for the show. | 0:06:37 | 0:06:43 | |
I can pick it up when I go back. | 0:06:43 | 0:06:46 | |
But they said I will need something from here and come here and get it. | 0:06:46 | 0:06:51 | |
But the problem is it's for the show, our show. | 0:06:51 | 0:06:54 | |
It's the movies for the projections and so on. | 0:06:54 | 0:06:58 | |
It's a lot easier to check everything inside | 0:07:03 | 0:07:05 | |
-because there are more than one movie inside. -Hmm. | 0:07:05 | 0:07:08 | |
-What do you expect out of this? -Enlightenment for the people. | 0:07:13 | 0:07:17 | |
Both ways. | 0:07:17 | 0:07:19 | |
We will learn something new about them | 0:07:19 | 0:07:21 | |
and they will learn something new about us. | 0:07:21 | 0:07:24 | |
And a good concert. | 0:07:24 | 0:07:26 | |
POUNDING ELECTRO-MUSIC | 0:07:26 | 0:07:30 | |
Is this your first time to this country? | 0:08:37 | 0:08:39 | |
-No, it's the 15th time. -15th? -Yeah. | 0:08:39 | 0:08:44 | |
I think it is important to underline that this probably wouldn't | 0:08:44 | 0:08:47 | |
have been possible without me already having conducted four major | 0:08:47 | 0:08:52 | |
cultural collaborations between the DPRK and other countries. | 0:08:52 | 0:08:56 | |
ACCORDION PLAYS "TAKE ON ME" BY A-HA | 0:08:56 | 0:09:00 | |
Well, in part, I guess you could say | 0:09:03 | 0:09:05 | |
it's some kind of Norwegian explorer gene. | 0:09:05 | 0:09:07 | |
We did the North Pole and South Pole thing, | 0:09:07 | 0:09:10 | |
so part of it is curiosity, I guess. | 0:09:10 | 0:09:13 | |
Part of it is some quite narcissist need to be first | 0:09:13 | 0:09:17 | |
on the white spots of the map. | 0:09:17 | 0:09:19 | |
It couldn't get more exotic and strange and odd than this. | 0:09:19 | 0:09:24 | |
I'm not really that interested in peace. | 0:09:24 | 0:09:27 | |
I'm interested in truth. | 0:09:27 | 0:09:28 | |
But sometimes truth doesn't lead to peace. | 0:09:28 | 0:09:31 | |
Truth leads to change. | 0:09:31 | 0:09:34 | |
To confusion. | 0:09:34 | 0:09:37 | |
Disturbing things. | 0:09:37 | 0:09:38 | |
So things that disturb our world views, | 0:09:38 | 0:09:41 | |
that disturb our notion of who we are and what the world is. | 0:09:41 | 0:09:45 | |
Well, we went, more or less, | 0:09:52 | 0:09:53 | |
straight from the airport to a big welcome reception and dinner | 0:09:53 | 0:09:58 | |
organised by our hosts in the Committee for Cultural Relations | 0:09:58 | 0:10:02 | |
and their director, Mr Ryu. | 0:10:02 | 0:10:06 | |
He basically opens with a speech, a welcome speech. | 0:10:06 | 0:10:09 | |
I think everybody were experiencing a very peculiar mix of relief... | 0:11:10 | 0:11:16 | |
..because we don't have to pretend any more | 0:11:18 | 0:11:21 | |
and fear, like, what will happen now? | 0:11:21 | 0:11:24 | |
He had taken all these tabloid headlines from the world media | 0:11:26 | 0:11:30 | |
in advance of our arrival about Laibach's concert | 0:11:30 | 0:11:35 | |
and he had mixed it together seamlessly with all | 0:11:35 | 0:11:39 | |
the negative protests in his own organisation | 0:11:39 | 0:11:43 | |
on the North Korean side, and he had made it into one unit, one speech. | 0:11:43 | 0:11:48 | |
I told the committee to tell their superiors that, look, Laibach | 0:11:48 | 0:11:54 | |
has in the past been accused of fascism and of being an evil band. | 0:11:54 | 0:11:59 | |
North Korea is regularly accused of being a fascist | 0:12:01 | 0:12:04 | |
state in the western media, | 0:12:04 | 0:12:06 | |
so you know what the western media is like. | 0:12:06 | 0:12:08 | |
They make up things all the time, | 0:12:08 | 0:12:10 | |
so you and Laibach have this in common. | 0:12:10 | 0:12:13 | |
You are both misunderstood. | 0:12:13 | 0:12:14 | |
Some practical information coming up. | 0:12:18 | 0:12:20 | |
Our hosts have decided to surprise us with a new venue. | 0:12:20 | 0:12:24 | |
So this another venue than the one | 0:12:24 | 0:12:26 | |
we were originally going to be playing. | 0:12:26 | 0:12:28 | |
I think I can say it's significantly upgraded. | 0:12:28 | 0:12:32 | |
Ah! | 0:12:32 | 0:12:34 | |
I'm pretty impressed as well. | 0:12:38 | 0:12:40 | |
I mean, this is kind of venue Laibach should play. | 0:12:40 | 0:12:44 | |
From now on, this will be the minimum. | 0:12:44 | 0:12:47 | |
Hello. Nice to meet you. | 0:13:01 | 0:13:03 | |
Soon-yi! | 0:13:03 | 0:13:05 | |
Happy to see you. | 0:13:08 | 0:13:10 | |
No, you look good. Your hair. | 0:13:10 | 0:13:12 | |
Beautiful. | 0:13:18 | 0:13:21 | |
Everybody. | 0:13:21 | 0:13:23 | |
I am in love with all of you already. | 0:13:25 | 0:13:28 | |
THEY LAUGH | 0:13:31 | 0:13:33 | |
This is Mr Boris. | 0:13:33 | 0:13:35 | |
-Hello. -Boris. | 0:13:35 | 0:13:37 | |
-Mr Primoz. -Primoz. | 0:13:37 | 0:13:40 | |
So Mr Primoz is the arranger, | 0:13:40 | 0:13:42 | |
so he will not be on stage with us. | 0:13:42 | 0:13:45 | |
But Mr Boris is the vocalist that will sing together with you. | 0:13:45 | 0:13:49 | |
THEY SING | 0:13:49 | 0:13:52 | |
-They have beautiful voices. -Mmm. | 0:14:14 | 0:14:16 | |
I really like the timbre of the voice. Really beautiful. | 0:14:16 | 0:14:19 | |
Yeah, it is actually quite special. | 0:14:19 | 0:14:21 | |
There's a purity to it that I really like. It comes from them. | 0:14:21 | 0:14:25 | |
Yes, I think so. | 0:14:25 | 0:14:26 | |
I think Europeans, we can not do this. | 0:14:26 | 0:14:28 | |
-No, we're too... -Too cynical. We're too fucked up. | 0:14:28 | 0:14:31 | |
..too ironic to sing it. | 0:14:31 | 0:14:33 | |
One question. What have they planned for their stage costume? | 0:14:33 | 0:14:39 | |
-Is it this? -Very similar to this, but not like this. -OK. | 0:14:39 | 0:14:43 | |
-But in the same style, more or less? -Yeah. | 0:14:43 | 0:14:46 | |
Good. | 0:14:48 | 0:14:49 | |
Great. | 0:14:49 | 0:14:50 | |
So, guys... | 0:14:50 | 0:14:54 | |
..Mr Ri, shall we get ready for the rehearsal? | 0:14:54 | 0:14:56 | |
Because now everybody are here. | 0:14:56 | 0:14:58 | |
-OK, let's start now. -OK. | 0:14:58 | 0:15:00 | |
GENTLE PIANO MUSIC | 0:15:01 | 0:15:04 | |
HE SINGS | 0:15:50 | 0:15:54 | |
THEY HARMONISE | 0:16:11 | 0:16:16 | |
Not bad. Not bad. | 0:16:51 | 0:16:53 | |
We just have to keep their egos down until... | 0:16:55 | 0:16:59 | |
My Geiger counter was going off! | 0:16:59 | 0:17:01 | |
Oh, yeah, he's just asking about your lyrics. What are the lyrics? | 0:17:03 | 0:17:07 | |
I go to the hills when my heart is lonely... | 0:17:07 | 0:17:11 | |
I know I will hear... | 0:17:15 | 0:17:17 | |
-What I heard before? -What I heard before. | 0:17:17 | 0:17:21 | |
My heart is blessed with the sounds of music. | 0:17:21 | 0:17:26 | |
And I will sing once more. | 0:17:26 | 0:17:29 | |
It's very beautiful, actually. | 0:17:29 | 0:17:31 | |
At seven o'clock sharp, we are going to watch the fireworks | 0:17:35 | 0:17:38 | |
and this anniversary show at nine o'clock | 0:17:38 | 0:17:43 | |
so from seven o'clock be ready. | 0:17:43 | 0:17:45 | |
I'm just repeating that please don't go anywhere on your own, right? | 0:17:45 | 0:17:51 | |
So don't leave the hotel, OK? | 0:17:51 | 0:17:55 | |
Stamped, sealed, approved. | 0:17:55 | 0:17:57 | |
Did you try to call his room? | 0:18:14 | 0:18:16 | |
Really? | 0:18:16 | 0:18:18 | |
-He's asleep probably. -He's probably sleeping. | 0:18:18 | 0:18:21 | |
Maybe somebody should go and press his... | 0:18:23 | 0:18:28 | |
..press his doorbell? | 0:18:29 | 0:18:32 | |
Did you try his room? | 0:18:35 | 0:18:38 | |
I was lucky enough to be able to see | 0:18:50 | 0:18:54 | |
also some people on the street out of the group and so on. | 0:18:54 | 0:19:00 | |
I actually had a bit of a walk around the city. | 0:19:00 | 0:19:04 | |
# Life | 0:19:06 | 0:19:08 | |
# Life is life | 0:19:11 | 0:19:13 | |
# Life | 0:19:17 | 0:19:20 | |
# Life is life. # | 0:19:22 | 0:19:25 | |
I've seen some communisms in work and I have to say that... | 0:19:27 | 0:19:32 | |
..this one is pretty much... | 0:19:35 | 0:19:38 | |
I wouldn't say that it's the best, | 0:19:38 | 0:19:40 | |
but it's probably the most successful. | 0:19:40 | 0:19:43 | |
# When we all give the power | 0:19:43 | 0:19:45 | |
# We all give the best | 0:19:45 | 0:19:48 | |
# Every minute in the hour | 0:19:48 | 0:19:51 | |
# We don't say about the rest | 0:19:51 | 0:19:54 | |
# But we all get the power | 0:19:54 | 0:19:57 | |
# We all get the best | 0:19:57 | 0:19:59 | |
# And everyone gives everything | 0:19:59 | 0:20:03 | |
# And everyone everything will get | 0:20:03 | 0:20:06 | |
# Life. # | 0:20:08 | 0:20:11 | |
It's very hard to be, you know... | 0:20:11 | 0:20:14 | |
I mean...critical. | 0:20:14 | 0:20:17 | |
I'm trying to find the dark side. | 0:20:18 | 0:20:22 | |
Of course there are, I'm sure there are, but what | 0:20:22 | 0:20:25 | |
we see is a utopia which it seems that it actually is functioning. | 0:20:25 | 0:20:31 | |
# When we all feel the power | 0:20:32 | 0:20:35 | |
# Life is life | 0:20:35 | 0:20:38 | |
# When we all feel the pain | 0:20:38 | 0:20:41 | |
# Life is life | 0:20:41 | 0:20:43 | |
# It's the feeling of the people | 0:20:43 | 0:20:47 | |
# Life is life | 0:20:47 | 0:20:49 | |
# It's the feeling of the land. # | 0:20:49 | 0:20:52 | |
# And everyone gives everything | 0:21:11 | 0:21:13 | |
# Every soul, every thing will get | 0:21:13 | 0:21:18 | |
# Life. # | 0:21:19 | 0:21:21 | |
This is a very isolated society, | 0:21:21 | 0:21:25 | |
very closed society, | 0:21:25 | 0:21:26 | |
otherwise they wouldn't be able to function as it is | 0:21:26 | 0:21:29 | |
and people are, so to say, brainwashed, basically. | 0:21:29 | 0:21:33 | |
We present a toxic matter to them. | 0:21:37 | 0:21:39 | |
They don't really want to start to practise too much | 0:21:39 | 0:21:42 | |
freedom for visitors to simply go around and intoxicate their people. | 0:21:42 | 0:21:48 | |
It's just too stupid, | 0:22:00 | 0:22:02 | |
and I've got to say I'm pretty surprised that it would be him, | 0:22:02 | 0:22:06 | |
you know, the leader, yeah. | 0:22:06 | 0:22:09 | |
Just fucking childish, you know? | 0:22:17 | 0:22:20 | |
I don't really know who found him | 0:23:01 | 0:23:03 | |
and it doesn't really matter. | 0:23:03 | 0:23:05 | |
He was found and brought to where we were. | 0:23:05 | 0:23:10 | |
Our Korean hosts were really, really pissed off. | 0:23:10 | 0:23:13 | |
Mr Ri told me, you know, in private, | 0:23:13 | 0:23:15 | |
that he wanted to beat him up and so did I. | 0:23:15 | 0:23:20 | |
But what happened was our Korean hosts started | 0:23:20 | 0:23:25 | |
feeling that they had to calm me down because I was so angry, | 0:23:25 | 0:23:28 | |
so they actually went in between us and started saying, you know, | 0:23:28 | 0:23:34 | |
starting to be peacemakers, which kind of served a purpose as well. | 0:23:34 | 0:23:38 | |
They kind of took responsibility for it not being that serious. | 0:23:38 | 0:23:43 | |
After all, there are much more serious things going on now | 0:23:43 | 0:23:46 | |
down at the border. | 0:23:46 | 0:23:48 | |
South Korea claims that on routine patrol, | 0:23:50 | 0:23:53 | |
three land mines detonated near their gate. | 0:23:53 | 0:23:55 | |
Two soldiers were severely maimed. One soldier lost two legs. | 0:23:55 | 0:23:59 | |
The other soldier lost his right foot, | 0:23:59 | 0:24:01 | |
but North Korea says they weren't behind that. | 0:24:01 | 0:24:04 | |
Pyongyang also said South Korea fabricated the whole thing. | 0:24:04 | 0:24:08 | |
South Korea's Defence Ministry accused North Korea for the attack. | 0:24:08 | 0:24:11 | |
Pyongyang strong denied responsibility for the attack | 0:24:11 | 0:24:15 | |
and asked Seoul for proof. | 0:24:15 | 0:24:16 | |
The set-up of the Laibach concert with all the multimedia technology | 0:24:46 | 0:24:50 | |
they are using and all the western gear that they usually need, | 0:24:50 | 0:24:56 | |
in a 1950s technology country like North Korea, it's | 0:24:56 | 0:25:01 | |
kind of kamikaze mission in a way. | 0:25:01 | 0:25:05 | |
And, whoops, we have two days. | 0:25:06 | 0:25:09 | |
We need a mixing desk and seven monitors. | 0:25:09 | 0:25:13 | |
So you don't need the microphones? | 0:25:14 | 0:25:16 | |
No, just stands and cables. | 0:25:16 | 0:25:18 | |
Stands and cables. | 0:25:18 | 0:25:21 | |
Standard... OK. | 0:25:21 | 0:25:23 | |
And then what else? | 0:25:27 | 0:25:29 | |
It is already complicated, always. | 0:25:32 | 0:25:35 | |
The drum kit is coming. | 0:25:36 | 0:25:39 | |
The first day when we arrived, we checked what is here | 0:25:44 | 0:25:49 | |
and then we asked questions and we told them what we need | 0:25:49 | 0:25:53 | |
and everything what we said they said, "Yes, yes, yes." | 0:25:53 | 0:25:57 | |
And everything sounded fine till we get the next day in the venue. | 0:25:57 | 0:26:03 | |
Ah, Jesus! | 0:26:03 | 0:26:04 | |
But you told us that you brought me the microphones. | 0:26:04 | 0:26:07 | |
Yes, we brought the microphones for our band. | 0:26:07 | 0:26:10 | |
We didn't know that we're going to have a piano. | 0:26:10 | 0:26:12 | |
We told you on the first day when we had the meeting here... | 0:26:12 | 0:26:15 | |
-That we needed microphones. -..we need four microphones for the piano. | 0:26:15 | 0:26:19 | |
-The main problem is the cables, the lack of cables. -OK. | 0:26:19 | 0:26:23 | |
How many lines to go to the front of house? | 0:26:23 | 0:26:26 | |
Such a school for patience right now. | 0:26:43 | 0:26:47 | |
I love how they sent the censor police for your songs. | 0:26:49 | 0:26:52 | |
Did you notice these guys arrived? | 0:26:52 | 0:26:53 | |
They sent censor guys? What do you mean? | 0:26:53 | 0:26:56 | |
Yes, so two guys arrived, talked to Soon, not thinking she was Korean, | 0:26:56 | 0:27:00 | |
and said, "We're here to censor what Korean songs were being sung." | 0:27:00 | 0:27:04 | |
-Oh. -So that's interesting, huh? -Oh, yeah. | 0:27:04 | 0:27:07 | |
Good to have. We're glad to have them with us. | 0:27:07 | 0:27:10 | |
How about just one practice? | 0:27:10 | 0:27:12 | |
-Just to see? -But we are here to practise. | 0:27:13 | 0:27:17 | |
Yeah, but since this... | 0:27:17 | 0:27:19 | |
..just took too long time technically, | 0:27:21 | 0:27:23 | |
so we don't have a chance to practise several times, OK. | 0:27:23 | 0:27:27 | |
Even if it sounds terrible, just practise so you can play fine. | 0:27:27 | 0:27:32 | |
I don't know what he's talking about, I have to say, | 0:27:32 | 0:27:36 | |
with all respect. | 0:27:36 | 0:27:37 | |
I have never seen this man before | 0:27:37 | 0:27:39 | |
and he comes in and he acts like the boss. | 0:27:39 | 0:27:42 | |
What's the deal? | 0:27:42 | 0:27:45 | |
A little bit more humility. | 0:27:49 | 0:27:52 | |
They just want to hear something. | 0:27:53 | 0:27:56 | |
We just need to keep them reassured that we will make it in time. | 0:27:56 | 0:28:00 | |
-WHISPERS: -I think they're doubting that we are musicians at all. | 0:28:00 | 0:28:03 | |
Of course they are. | 0:28:03 | 0:28:06 | |
Can you turn on the PA, the system? | 0:28:08 | 0:28:11 | |
FANFARE THEME PLAYS | 0:28:16 | 0:28:20 | |
-TRANSLATION: -The situation in Korea is now on the brink of war | 0:28:23 | 0:28:27 | |
due to the US imperialists and the South Korean puppets' ceaseless | 0:28:27 | 0:28:30 | |
political and military provocation against the DPRK. | 0:28:30 | 0:28:35 | |
And South Korea has been using an unusual weapon. | 0:28:35 | 0:28:38 | |
South Korean loud speakers blaring criticism of North Korean | 0:28:41 | 0:28:44 | |
leader Kim Jong-un's regime. | 0:28:44 | 0:28:47 | |
The North has told the South to turn it down | 0:28:47 | 0:28:49 | |
or face more military action. | 0:28:49 | 0:28:51 | |
As well as information, | 0:28:53 | 0:28:54 | |
the broadcasts include recent South Korean pop songs | 0:28:54 | 0:28:57 | |
Me Gustas Tu, or I Like You from a girl group called GFRIEND. | 0:28:57 | 0:29:02 | |
The group became famous last year for repeatedly falling over | 0:29:02 | 0:29:06 | |
on a slippery stage during a concert. | 0:29:06 | 0:29:09 | |
The North Korean military's not yet made any unusual moves | 0:29:09 | 0:29:12 | |
aside from switching on its own speakers. | 0:29:12 | 0:29:15 | |
There are many world media sitting | 0:29:21 | 0:29:24 | |
and tapping their feet | 0:29:24 | 0:29:27 | |
waiting to have images from Laibach. | 0:29:27 | 0:29:29 | |
In North Korea we will do a quick photo session | 0:29:29 | 0:29:32 | |
at the Kim Il-sung Square. | 0:29:32 | 0:29:34 | |
I am asking you humbly if I can direct that. | 0:29:34 | 0:29:36 | |
Unless I do something which is like really offensive to your, you know, | 0:29:38 | 0:29:43 | |
cultural, sexuality or whatever, | 0:29:43 | 0:29:46 | |
just do as I say, please. | 0:29:46 | 0:29:50 | |
Milan. | 0:29:50 | 0:29:51 | |
-Milan. -Milan. -Milan. | 0:29:51 | 0:29:53 | |
Let's have a couple of just Milan. | 0:29:53 | 0:29:56 | |
Yes, of course. Yeah, yeah. They know everything about this. | 0:30:04 | 0:30:07 | |
Let's have another one in front of that flag. | 0:30:07 | 0:30:09 | |
OK, guys, let's centre here and everybody look at the pen, please. | 0:30:17 | 0:30:21 | |
At my pen. | 0:30:21 | 0:30:22 | |
Guys, guys. | 0:30:28 | 0:30:29 | |
Good. Look at me... | 0:30:31 | 0:30:33 | |
It's impossible. | 0:30:33 | 0:30:35 | |
No, no, he doesn't. It is not a Nazi sign. | 0:30:46 | 0:30:50 | |
Good. Look at me. | 0:30:50 | 0:30:51 | |
Turn your head a little bit, please, and look at the pencil. | 0:30:55 | 0:30:59 | |
-OK? -Perfect. | 0:30:59 | 0:31:00 | |
And then we take a quick one in front of Juche Tower | 0:31:00 | 0:31:02 | |
-and then we're done. -We'll do it later because... Please. | 0:31:02 | 0:31:06 | |
I beg you. Because many people are waiting. | 0:31:06 | 0:31:09 | |
OK, we'll do it later, then. | 0:31:09 | 0:31:10 | |
OK, thank you. | 0:31:12 | 0:31:13 | |
MUSIC: Final Countdown by Laibach | 0:31:14 | 0:31:16 | |
Cultural exchange happens no matter what. | 0:31:49 | 0:31:53 | |
It's unavoidable that it happens | 0:31:53 | 0:31:56 | |
when people work together. | 0:31:56 | 0:31:58 | |
Of course we've been censored and tweaked with and had to adapt | 0:31:59 | 0:32:05 | |
and treated like we are robots. | 0:32:05 | 0:32:07 | |
The censorship is not a problem at all | 0:32:07 | 0:32:10 | |
because we basically | 0:32:10 | 0:32:14 | |
are censoring ourselves constantly. | 0:32:14 | 0:32:15 | |
-That's what we are doing in daily life. -We are our own North Korea. | 0:32:17 | 0:32:22 | |
Yeah, we are our own North Korea. | 0:32:22 | 0:32:23 | |
Again, welcome to North Korea. | 0:32:26 | 0:32:28 | |
There's been a misunderstanding, so they thought... | 0:32:28 | 0:32:30 | |
We asked for keyboard stands but they brought microphone stands. | 0:32:30 | 0:32:33 | |
OK. | 0:32:33 | 0:32:35 | |
# But still it's farewell | 0:32:46 | 0:32:48 | |
# And maybe we'll come back | 0:32:49 | 0:32:52 | |
# To earth, who can tell? | 0:32:52 | 0:32:54 | |
# I guess there is no-one to blame | 0:32:56 | 0:32:58 | |
# We're leaving ground | 0:32:59 | 0:33:01 | |
# Will things ever be the same again? # | 0:33:02 | 0:33:07 | |
CRASH | 0:33:07 | 0:33:08 | |
# It's the final countdown. # | 0:33:15 | 0:33:17 | |
Hello. | 0:33:18 | 0:33:20 | |
Hello. | 0:33:22 | 0:33:24 | |
We are finished. | 0:33:25 | 0:33:27 | |
Sorry to wake you up. | 0:33:27 | 0:33:28 | |
We need your help. | 0:33:28 | 0:33:30 | |
Look at the cable, all this power... | 0:33:39 | 0:33:41 | |
..is actually connected here. | 0:33:43 | 0:33:44 | |
It all depends on this. | 0:33:49 | 0:33:51 | |
Earlier today the two Koreas | 0:33:55 | 0:33:56 | |
exchanged artillery rounds at the western border. | 0:33:56 | 0:33:59 | |
3.53pm and 4.12pm this afternoon, | 0:33:59 | 0:34:02 | |
when North Korea fired several artillery shells across the border | 0:34:02 | 0:34:05 | |
targeting South Korea's propaganda loudspeakers. | 0:34:05 | 0:34:08 | |
An hour or so after the attack the South Korean military | 0:34:08 | 0:34:11 | |
responded with tens of 155mm artillery rounds | 0:34:11 | 0:34:15 | |
at the origin of attack. | 0:34:15 | 0:34:18 | |
# It's the final countdown. # | 0:34:18 | 0:34:21 | |
We hear North Korea is not backing down at all. | 0:34:21 | 0:34:24 | |
It demanded the South Korean side stop broadcasting propaganda | 0:34:24 | 0:34:28 | |
messages at the border. | 0:34:28 | 0:34:29 | |
North Korea says South Korea has 48 hours to stop broadcasting | 0:34:29 | 0:34:33 | |
the messages, or it will take strong military action. | 0:34:33 | 0:34:35 | |
This change is OK, too. | 0:34:56 | 0:34:59 | |
SHE SINGS | 0:35:02 | 0:35:06 | |
To give you an example of how I think, the whole idea of Mina | 0:35:10 | 0:35:15 | |
changing her lyrics into Korean was my idea, my suggestion. | 0:35:15 | 0:35:19 | |
Because originally she does this in German. | 0:35:19 | 0:35:21 | |
Because, as you know, | 0:35:26 | 0:35:28 | |
the Nazi, all this stuff... | 0:35:28 | 0:35:31 | |
I was thinking that OK, maybe it's better not to have | 0:35:31 | 0:35:34 | |
German language in the song. | 0:35:34 | 0:35:35 | |
That was the reason. | 0:35:36 | 0:35:38 | |
But if you think it's OK that she says those | 0:35:38 | 0:35:40 | |
lines in the original language, in German, fine with us. | 0:35:40 | 0:35:43 | |
She can just go back to saying that. | 0:35:43 | 0:35:45 | |
The main problem is the nuances. | 0:35:48 | 0:35:50 | |
Between the languages of the North and South. | 0:35:52 | 0:35:55 | |
-OK. -It looks like some kind of South Korean dialect. | 0:35:55 | 0:36:01 | |
I spent two weeks repeating this to get it. | 0:36:01 | 0:36:05 | |
-And changing it two days before performance. -Of course not. | 0:36:05 | 0:36:09 | |
-It's like a shot in the head, man. It's not funny. -Mina, I know. | 0:36:09 | 0:36:13 | |
I know this so you don't have to explain it to me. | 0:36:13 | 0:36:16 | |
THEY SING ROUSING SONG | 0:36:18 | 0:36:20 | |
Laibach were doing a cover version of the most famous song in Korea. | 0:36:30 | 0:36:33 | |
And they did their own cover version interpretation like they've | 0:36:33 | 0:36:37 | |
done in the past with many other things. | 0:36:37 | 0:36:40 | |
And I think because that's such an important song in North Korea | 0:36:40 | 0:36:43 | |
they changed it quite a lot. | 0:36:43 | 0:36:45 | |
The Baekdusan song, what it really says is we love our great leader. | 0:36:49 | 0:36:54 | |
The Moranbong Band is like his signature. | 0:36:54 | 0:36:58 | |
So their first big hit is like We Will Go to Mount Paektu. | 0:37:01 | 0:37:05 | |
Where the grandad and the dad | 0:37:05 | 0:37:08 | |
and the current one | 0:37:08 | 0:37:10 | |
are all... You know, have strong relations. | 0:37:10 | 0:37:13 | |
THEY SING IN KOREAN | 0:37:13 | 0:37:16 | |
The original song is more like a marching song. | 0:37:23 | 0:37:26 | |
And it's a little bit faster, a little bit more happier song. | 0:37:28 | 0:37:32 | |
Our version is... | 0:37:32 | 0:37:34 | |
Has a little bit different groove. | 0:37:36 | 0:37:38 | |
Boris, are you ready? | 0:37:42 | 0:37:45 | |
Always. | 0:37:45 | 0:37:47 | |
Be nice to have at least a little bit of a sound check, but OK. | 0:37:47 | 0:37:51 | |
But it is a sound check, in a way. | 0:37:51 | 0:37:53 | |
I know, I know. | 0:37:55 | 0:37:57 | |
MUSIC: We Will Go to Mount Paektu by Laibach | 0:38:02 | 0:38:05 | |
# We'll go in springtime | 0:38:18 | 0:38:20 | |
# We'll go in winter, too | 0:38:22 | 0:38:24 | |
# We'll go in our dreams | 0:38:26 | 0:38:28 | |
# We'll go at any time | 0:38:30 | 0:38:32 | |
# We'll go for a lifetime | 0:38:34 | 0:38:36 | |
# We'll continue going through generations | 0:38:38 | 0:38:41 | |
# To Mount Paektu the heart of my heart | 0:38:43 | 0:38:48 | |
-# We'll go -We'll go -We'll go | 0:38:49 | 0:38:52 | |
# To Mount Paektu | 0:38:55 | 0:38:57 | |
-# We'll go -We'll go | 0:38:57 | 0:39:00 | |
-# We'll go -We'll go | 0:39:00 | 0:39:02 | |
# To Mount Paektu | 0:39:02 | 0:39:03 | |
# That calls us. # | 0:39:03 | 0:39:06 | |
SHE VOCALISES | 0:39:06 | 0:39:09 | |
Are you happy? If you are happy, I am happy. | 0:39:25 | 0:39:29 | |
-He said it was great. -Did he? -Yeah. | 0:39:29 | 0:39:32 | |
Please. We'll have a discussion. Sorry. | 0:39:47 | 0:39:50 | |
Essentially, | 0:39:51 | 0:39:53 | |
in the audience today were the censors but there were also | 0:39:53 | 0:39:57 | |
musicians and regular audiences. | 0:39:57 | 0:39:59 | |
They really did not like Paektu song. | 0:39:59 | 0:40:02 | |
They didn't recognise the original song. | 0:40:02 | 0:40:05 | |
Especially the part where Milan is doing his parts were very disturbing | 0:40:05 | 0:40:09 | |
because they couldn't really understand what was happening. | 0:40:09 | 0:40:13 | |
-Yep. -They said at the end of the song what's going to happen is | 0:40:13 | 0:40:15 | |
there's going to be complete mayhem. | 0:40:15 | 0:40:18 | |
-People are going to be terrified and angry. -We don't want that. | 0:40:18 | 0:40:22 | |
We don't want that and so either we go with the original Korean | 0:40:22 | 0:40:27 | |
version and sing all of the lyrics | 0:40:27 | 0:40:31 | |
including the refrain or we just take it out. | 0:40:31 | 0:40:34 | |
For them it looks like it's too intense. | 0:40:44 | 0:40:47 | |
He said people cannot concentrate. | 0:40:47 | 0:40:49 | |
They are at the concert listening to the music or watching a movie. | 0:40:49 | 0:40:52 | |
And he didn't like this German sign. | 0:40:54 | 0:40:57 | |
He said this is not going in. | 0:41:00 | 0:41:03 | |
So you checked the background pictures? | 0:41:03 | 0:41:08 | |
-I suppose originally it's ten. -Yeah, something like that. | 0:41:09 | 0:41:13 | |
Something like that, so five will be cut. | 0:41:13 | 0:41:16 | |
What do you mean? Are they cutting the songs also? | 0:41:16 | 0:41:19 | |
Listen carefully, everybody. | 0:41:19 | 0:41:21 | |
When it comes to changes... | 0:41:21 | 0:41:23 | |
..we are willing and able especially | 0:41:25 | 0:41:28 | |
when it comes to the projections, to adjust things. | 0:41:28 | 0:41:32 | |
Please translate this into Korean now. | 0:41:32 | 0:41:36 | |
Because we have every possible equipment to make changes but | 0:41:36 | 0:41:42 | |
I can't accept if they come in and | 0:41:42 | 0:41:44 | |
say, "Cut away those five animations." | 0:41:44 | 0:41:47 | |
Firstly, because it's very rude. | 0:41:47 | 0:41:50 | |
It's disrespectful to me | 0:41:50 | 0:41:51 | |
and to the people who worked for a long time doing that. | 0:41:51 | 0:41:55 | |
It's also because it's not necessary. | 0:41:55 | 0:41:57 | |
We can change, but I need to know specifically what | 0:41:57 | 0:41:59 | |
parts are problematic. | 0:41:59 | 0:42:02 | |
So I am here, I don't understand why they don't come and talk to me, | 0:42:02 | 0:42:05 | |
and we can discuss it and resolve it together. | 0:42:05 | 0:42:08 | |
Can they please show me the good manners of coming | 0:42:08 | 0:42:11 | |
and saying hello to me as the head of the delegation, is this possible? | 0:42:11 | 0:42:14 | |
Because in my culture when you come | 0:42:19 | 0:42:23 | |
and interfere with people's work, at least you have the good | 0:42:23 | 0:42:28 | |
manner to introduce yourself and say hello so I can say hello to them. | 0:42:28 | 0:42:32 | |
And if they cannot do that, I would like you to convey to them I find | 0:42:32 | 0:42:35 | |
that kind of behaviour disrespectful and I'm a bit offended. | 0:42:35 | 0:42:39 | |
HE CLEARS HIS THROAT | 0:42:43 | 0:42:44 | |
-I beg you, we are talking about things so please don't film us. -OK. | 0:42:58 | 0:43:04 | |
-This one is better not to... -Thank you. | 0:43:04 | 0:43:06 | |
Check, check, the system on the left | 0:43:08 | 0:43:13 | |
is a completely different sound than the system on the right. | 0:43:13 | 0:43:16 | |
I think it's just useful that I share with you a little | 0:43:35 | 0:43:39 | |
bit of the... | 0:43:39 | 0:43:40 | |
Of the background for it because it's not | 0:43:40 | 0:43:42 | |
because they are stupid, it's not | 0:43:42 | 0:43:44 | |
because they want to fuck with us or that they disrespect us or anything. | 0:43:44 | 0:43:48 | |
Setting up a concert like this in two days, | 0:43:48 | 0:43:51 | |
it's like record speed in this country and you understand why. | 0:43:51 | 0:43:56 | |
And the reason why everything is so totally confused | 0:43:57 | 0:44:02 | |
and messed up is in this system, in this culture, | 0:44:02 | 0:44:10 | |
people learn from | 0:44:10 | 0:44:12 | |
when they are born that individual decisions are risky to take. | 0:44:12 | 0:44:15 | |
So every time a decision is going to be made it doesn't matter, | 0:44:17 | 0:44:21 | |
it can be the colour of the toilet paper in the office, it can be | 0:44:21 | 0:44:24 | |
whether or not, luckily, whether or not to press the atomic button. | 0:44:24 | 0:44:28 | |
But no decision is made without making absolutely sure, | 0:44:29 | 0:44:35 | |
absolutely sure that everybody are in consensus, you know? | 0:44:35 | 0:44:39 | |
So that we also share the responsibility but we | 0:44:40 | 0:44:42 | |
also share the blame. | 0:44:42 | 0:44:43 | |
Go ahead. | 0:44:46 | 0:44:47 | |
Der Spiegel, right? | 0:44:47 | 0:44:50 | |
-I will give you Ivan Novak now. -Hello. | 0:44:50 | 0:44:53 | |
Hello. Yes. So we've seen quite a lot, I must say. We've seen a lot. | 0:44:55 | 0:45:00 | |
And I believe that we have seen the real life. | 0:45:00 | 0:45:03 | |
I don't think this is a staged show especially for us. | 0:45:03 | 0:45:07 | |
There's simply too much and too good to be staged. | 0:45:07 | 0:45:10 | |
We do not try to make any difference between different countries. | 0:45:13 | 0:45:17 | |
If we would have to put that in accounts, like this is too | 0:45:17 | 0:45:22 | |
totalitarian state to perform, then where is the line? | 0:45:22 | 0:45:28 | |
Where is it ethical to perform? What kind of state? | 0:45:28 | 0:45:31 | |
This is obviously a totalitarian system | 0:45:31 | 0:45:34 | |
but we don't want to judge it. | 0:45:34 | 0:45:35 | |
I was pretty much sure I knew where we were going before when we came | 0:45:37 | 0:45:44 | |
here, and I'm not sure any more that we came to | 0:45:44 | 0:45:47 | |
the same place as it was... | 0:45:47 | 0:45:50 | |
..in our heads. | 0:45:52 | 0:45:53 | |
SHE PLAYS | 0:45:55 | 0:45:57 | |
BAND PLAYS | 0:46:15 | 0:46:17 | |
There is a crack in every wall. | 0:46:37 | 0:46:39 | |
And that's where the spirit gets in. | 0:46:40 | 0:46:43 | |
The question is, if we need to make it by there. | 0:46:45 | 0:46:51 | |
Because these people, at least appear, to be happy. | 0:46:51 | 0:46:55 | |
Comparing to most of the rest of the world. | 0:46:57 | 0:47:00 | |
INAUDIBLE | 0:47:48 | 0:47:50 | |
Can everybody come out onto the stage? | 0:47:55 | 0:47:58 | |
We have important news. | 0:47:58 | 0:47:59 | |
I just had a meeting with the censorship bureau. | 0:48:06 | 0:48:09 | |
Which is the state organisation that censors all content that is | 0:48:10 | 0:48:15 | |
shown publicly. | 0:48:15 | 0:48:16 | |
Basically, they have asked us to change and this we will do. | 0:48:16 | 0:48:20 | |
I apologise for that but that is just the way it is. | 0:48:22 | 0:48:25 | |
The projections we will need to change are Life Is Life... | 0:48:27 | 0:48:33 | |
Too many nude people. | 0:48:33 | 0:48:34 | |
Or too many nude statues basically. ..Do Re Mi... | 0:48:35 | 0:48:40 | |
..and Edelweiss. | 0:48:41 | 0:48:43 | |
With the song Do Re Mi, can you make it again with just... | 0:48:43 | 0:48:47 | |
Music notes on it. Do Re Mi is music notes. | 0:48:49 | 0:48:52 | |
We will make another version and we will show it to you. Yeah? | 0:48:52 | 0:48:55 | |
Let us do what we can do. | 0:48:57 | 0:48:59 | |
Let us make it successful. | 0:49:01 | 0:49:03 | |
The songs that I mentioned are the songs that we will play. | 0:49:05 | 0:49:09 | |
So, Across the Universe, Arirang, Whistleblowers, | 0:49:10 | 0:49:16 | |
Sound of Music, Climb Ev'ry Mountain, | 0:49:16 | 0:49:19 | |
Edelweiss, Do Re Mi, Live Is Life. | 0:49:19 | 0:49:24 | |
And Final Countdown, yeah. | 0:49:24 | 0:49:25 | |
That's it. | 0:49:29 | 0:49:31 | |
-It's going to be a short concert. -Yeah. | 0:49:31 | 0:49:34 | |
# Nothing's gonna change my world | 0:49:34 | 0:49:38 | |
# Nothing's gonna change my world | 0:49:41 | 0:49:46 | |
# Nothing's gonna change my world | 0:49:49 | 0:49:54 | |
# Nothing's gonna change my world... # | 0:49:56 | 0:49:59 | |
I'm sorry about the Live Is Life thing. | 0:49:59 | 0:50:02 | |
It's brilliant and you know I think it's brilliant | 0:50:02 | 0:50:04 | |
but I knew that was going to be pushing it a little bit | 0:50:04 | 0:50:07 | |
with those naked statues and all the kids. | 0:50:07 | 0:50:10 | |
# Across the universe | 0:50:15 | 0:50:19 | |
# Thoughts meander like a restless wind | 0:50:19 | 0:50:24 | |
# Inside a letterbox | 0:50:24 | 0:50:27 | |
# They tumble blindly as they... # | 0:50:27 | 0:50:29 | |
The Edelweiss projection, there is this very famous | 0:50:29 | 0:50:33 | |
movie from North Korea which is called The Flower Girl. | 0:50:33 | 0:50:36 | |
And that film is very significant so they don't want to mess with that. | 0:50:36 | 0:50:40 | |
So now I'm thinking to put only effect with flowers | 0:50:42 | 0:50:47 | |
and just make a nice scene. | 0:50:47 | 0:50:50 | |
I will use the plastic flowers from the hotel. | 0:50:50 | 0:50:53 | |
Because we cannot go nowhere, so the flowers from the hotel are perfect. | 0:50:53 | 0:50:59 | |
-OK, please. -Copy. Copy. | 0:50:59 | 0:51:02 | |
You can edit it. | 0:51:03 | 0:51:05 | |
# Jai guru deva. # | 0:51:08 | 0:51:15 | |
APPLAUSE | 0:51:20 | 0:51:21 | |
Dear, respected audience, your excellencies, | 0:51:29 | 0:51:35 | |
ladies and gentlemen, and first and foremost... | 0:51:35 | 0:51:38 | |
..the people of Korea. | 0:51:40 | 0:51:41 | |
Let the show begin. | 0:51:42 | 0:51:43 | |
Let us be together in the sounds of music. | 0:51:45 | 0:51:51 | |
APPLAUSE | 0:51:51 | 0:51:52 | |
MUSIC: The Whistleblowers by Laibach | 0:52:00 | 0:52:02 | |
THEY WHISTLE | 0:52:02 | 0:52:03 | |
# We rise, we grow | 0:52:42 | 0:52:45 | |
# We walk and we stand tall | 0:52:47 | 0:52:49 | |
# We never fall | 0:52:51 | 0:52:54 | |
# As big as the sky | 0:52:54 | 0:52:55 | |
# As far as the dawn | 0:52:55 | 0:52:57 | |
# We walk | 0:52:59 | 0:53:00 | |
# And we do not fall | 0:53:00 | 0:53:03 | |
# We sleep, we dream | 0:53:03 | 0:53:06 | |
# With no time in between | 0:53:08 | 0:53:11 | |
# We never stop | 0:53:12 | 0:53:15 | |
# Whistling our chant in the heat of the night | 0:53:15 | 0:53:18 | |
# We sing | 0:53:20 | 0:53:21 | |
# Our spirit is clean | 0:53:21 | 0:53:23 | |
# From north and south | 0:53:24 | 0:53:27 | |
# We come from east and west | 0:53:29 | 0:53:32 | |
# Breathing as one | 0:53:34 | 0:53:36 | |
# Living in fame or dying in flame | 0:53:37 | 0:53:40 | |
# We laugh | 0:53:41 | 0:53:43 | |
# Our mission is blessed | 0:53:43 | 0:53:45 | |
# We fight for you | 0:53:46 | 0:53:49 | |
# For freedom unforeseen | 0:53:51 | 0:53:54 | |
# Thinking as one | 0:53:55 | 0:53:58 | |
# Rolling along to the beat of the drum | 0:53:58 | 0:54:01 | |
# We march | 0:54:02 | 0:54:04 | |
# The black cross machine | 0:54:04 | 0:54:06 | |
# We rise, we grow | 0:54:07 | 0:54:10 | |
# We walk and we stand tall | 0:54:12 | 0:54:15 | |
# We never fall | 0:54:16 | 0:54:19 | |
# As big as the sky, as high as the dawn | 0:54:19 | 0:54:22 | |
# We walk and we never fall | 0:54:24 | 0:54:28 | |
THEY WHISTLE | 0:54:28 | 0:54:29 | |
SHE VOCALISES | 0:54:40 | 0:54:43 | |
# We stand alone | 0:54:49 | 0:54:52 | |
# But soon your day will come | 0:54:54 | 0:54:57 | |
# When freedom reach | 0:54:59 | 0:55:01 | |
# We meet again and we take the lead | 0:55:01 | 0:55:04 | |
# And walk, once more as one. # | 0:55:06 | 0:55:09 | |
When I was listening I was sitting there thinking... | 0:56:05 | 0:56:08 | |
I kept pinching myself. "Is this happening? | 0:56:08 | 0:56:10 | |
"Is this really happening?" | 0:56:10 | 0:56:12 | |
See you next time in Tehran. | 0:56:12 | 0:56:14 | |
-Islamic State. -That will wait a little bit. | 0:56:15 | 0:56:19 | |
-1,000 people in here. -1,500. -1,500, sorry. | 0:56:20 | 0:56:25 | |
This is not the stage, North Korea is the stage for the world. | 0:56:25 | 0:56:31 | |
This is the story. | 0:56:31 | 0:56:32 | |
It's probably one of the most, | 0:56:40 | 0:56:43 | |
if not the most, significant concert I've seen since I started. | 0:56:43 | 0:56:46 | |
-TRANSLATION: -Of course, this is very different to our tastes. | 0:56:49 | 0:56:52 | |
But it was quite nice to hear a traditional song. | 0:56:52 | 0:56:55 | |
I think we did more than we expected in the end. | 0:56:57 | 0:56:59 | |
I don't know what kind of trace it will leave here but it's a big | 0:56:59 | 0:57:05 | |
step for... | 0:57:05 | 0:57:06 | |
No, a small step for Laibach and a big step for humanity. | 0:57:06 | 0:57:10 | |
South Korea has halted its loudspeaker | 0:57:10 | 0:57:13 | |
broadcasts against the North | 0:57:13 | 0:57:15 | |
along the inter-Korean border. | 0:57:15 | 0:57:18 | |
In response North Korea has reportedly | 0:57:18 | 0:57:20 | |
lifted its semi state of war | 0:57:20 | 0:57:22 | |
for front line areas, which it declared last week after the | 0:57:22 | 0:57:26 | |
exchange of artillery shells over the heavily armed Korean border. | 0:57:26 | 0:57:30 | |
If you don't like our music, | 0:57:30 | 0:57:32 | |
turn around 360 degrees and go. | 0:57:32 | 0:57:36 | |
THEY LAUGH | 0:57:36 | 0:57:37 | |
There are all kinds of music. Now we know there's this kind of music too. | 0:57:42 | 0:57:46 | |
Those of you in the southern regions, | 0:57:52 | 0:57:54 | |
please be aware of heavy rainfall tomorrow. | 0:57:54 | 0:57:57 | |
That's all for Korea, | 0:57:57 | 0:57:59 | |
and here's the international weather for around the world. | 0:57:59 | 0:58:02 | |
RADIO CHATTER | 0:58:04 | 0:58:09 | |
HE VOCALISES | 0:58:09 | 0:58:11 | |
MUSIC: Resistance Is Futile by Laibach | 0:58:15 | 0:58:17 | |
# What we are, you will become | 0:58:24 | 0:58:26 | |
# A parasite, absorbing souls | 0:58:28 | 0:58:31 | |
# We'll suck your culture | 0:58:32 | 0:58:34 | |
# Brains, energy | 0:58:34 | 0:58:37 | |
# Implant your genes to our collective being | 0:58:37 | 0:58:40 | |
# We'll raise the quality of life | 0:58:42 | 0:58:44 | |
# For all of you | 0:58:45 | 0:58:47 | |
# Existence as you know it | 0:58:49 | 0:58:51 | |
# Is over. # | 0:58:52 | 0:58:54 |
To the surprise of a whole world, the ex-Yugoslavian now Slovenian cult band Laibach became the first rock group ever invited to perform in the dictatorially repressed state of North Korea. Under the firm guidance of an old fan turned director and cultural diplomat, Laibach must deal with strict ideology, cultural differences and many technological difficulties in order just to perform. Struggling to get their songs through rigorous censorship, they race against the clock so they can be unleashed on an audience never before exposed to alternative rock'n'roll.
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