Jedmon best

Every man must have the right to think, to say and do anything honest. You love freedom, use it. JB -artsee-2026

[Jedmon best @Jedmonbest]

"L’umanità può vivere senza la scienza, può vivere senza pane, ma soltanto senza la bellezza non potrebbe più vivere, perché non ci sarebbe più nulla da fare al mondo. Tutto il segreto è qui, tutta la storia è qui."

~ Fëdor Michajlovič Dostoevskij ~

[Sabrina®️🇮🇹 @SabrySocial]

VITTORIO SGARBI
NON MOLLARE‼️
@VittorioSgarbi
Ti vogliamo ancora tra di noi, così… ❤️

[Rita Jeswant @ritajeswnt]

Robert Palmer-
Addicted To Love❤️❤️
In Memoriam 🤍🫶🤍🕊

[questo non è un uovo 🐕 @PMO_W]

Fawzy Alkhawaja, Palestinese, mostra come un tempo gli arabi poveri estraevano l'olio da consumare a casa, senza ricorrere al frantoio (gli arabi migliorarono notevolmente l'intera filiera rispetto ai romani)→

[🎼 @sedrul08]

Unmistakable
Supertramp 🎶 school

[TMART @KingKirmudgeon]

Almost Heaven, West Virginia. I wish John were still around. What an artist.

[SmokeyGirl25 @_SmokeyGirl25]

Crank it up 🎼🎵🎶🎤🎤
Oldies but goodies💨💨

[Spider Tracks @Spider70S]

The incredible Susan Tedeschi delivers a blistering live rendition of Janis Joplin's

‘Kozmic Blues’

[Alessandro Meluzzi☦️🇮🇹 @a_meluzzi]

Oggi una nuova minaccia: quello delle fakenews che non consentono più di distinguere la #Verità dal vero e dal falso. È una grande minaccia anche per un #liberopensiero. Ciò che protegge il Vero non è solo la libertà di pensiero, ma anche l'autorevolezza morale di chi lo esprime.

[Francisco Gómez de Tejada | arquitecto @gomezdetejada]

El arte de convertir la madera en carne de Antonio Reiné.

Instagram 👇
https://t.co/D0I62GqKv0

[Fauna Natural @MiguelM73104161]

The Clash - Should I Stay Or Should I Go 😎🎸🕺

[Virna @Virna25marzo]

ALICE BUONGUERRIERI
"Come fa uno che si è vaccinato a essere un No-Vax? Le due cose non stanno insieme, lo capisce chiunque, anche un comunista.
E dove trovate il coraggio di attaccare ancora persone che si sono fidate di voi, del vostro governo, dello Stato?
Invece di insultarle, perché non le ascoltate? Perché non vi aprite al confronto?
Con Giorgia Meloni è finita l’epoca dei bavagli. Non potete impartire lezioni a nessuno"

SEMPRE PERFETTA AVANTI COSÌ👏🏻👏🏻👏🏻
@BuonguerrieriA @FratellidItalia #CommissioneCovid

[Luca Pecoraro @pecoraroluca883]

🚨⚠️💥👇I Pericoli del Glifosato !💥⚠️🚨👇

[OrNella⭐ @OrNella645587]

Sulla benzina ci stanno prendendo per il culo
Ascoltate francescocapo i costi al mercato all'ingrosso

[Fauna Natural @MiguelM73104161]

YES - Owner of a Lonely
Heart

[Emotion & Music @Emotion78687]

She Never Sounds Like She’s Begging. That’s What Makes It Hurt.

There is something almost strange about watching Sade sing “No Ordinary Love” live.

The song is about wanting someone who has not given you the same kind of love in return. On paper, it could easily become dramatic. A bigger voice, more emotion, more pleading. But Sade goes in the opposite direction.

She barely seems to chase the song at all.

Her voice stays low, calm, and remarkably controlled. Even when the lyrics become more vulnerable, she doesn’t push them toward us. She lets them sit there. It feels less like someone asking to be loved and more like someone finally admitting how much they have already given.

That changes the entire mood.

Listen to the way she delivers the title, “No Ordinary Love.” There is no great vocal explosion behind it. The words almost sound like a private conclusion she has reached for herself.

And that may be the most interesting thing about Sade as a performer.

She understands that sadness does not always sound sad.

Sometimes sadness sounds tired.

Sometimes it sounds like someone who has repeated the same story so many times that there is no energy left to explain it. That restraint gives the performance a strange intimacy. You feel as if you are overhearing something rather than being performed to.

The band helps create that feeling. Everything moves slowly, but nothing feels empty. The groove keeps pulling forward while the voice seems suspended above it. The result is almost hypnotic — beautiful on the surface, quietly painful underneath.

And then there is the title itself.

“No Ordinary Love” sounds romantic at first. But the longer you sit with the song, the phrase starts to feel less like a celebration and more like a defense.

Maybe she is saying: What I gave you was not ordinary.

And perhaps there is another thought hiding underneath:

So why wasn't it enough?

That is where the song becomes much more human than a simple love song.

Most heartbreak songs want you to see the wound. Sade does something more difficult. She keeps the wound covered.

You hear it anyway.

Decades later, that may be why this performance still feels so modern. Nothing is exaggerated. Nothing is forced. She simply stands inside the song and lets the silence between the words do some of the work.

[Emotion & Music @Emotion78687]

They were talking about a 5:30 a.m. load-out. Then somebody counted them in, and the room changed.

That little detail is what makes this clip interesting to me. There is no big story being acted out, no expensive set, no attempt to make the song look like something it isn't. You are watching people in a studio talking about getting the gear out at 5:30 in the morning, and then, almost casually, they start playing. For a few seconds it feels more like work than performance.

Then Timothy B. Schmit starts singing, and suddenly the whole thing makes sense.

“I Can't Tell You Why” has always sounded like a song that is trying not to disturb anybody. Even when the words are about a relationship that is falling apart, the music doesn't push the argument forward. It seems to sit in the room and wait. The bass doesn't hurry. The drums don't demand attention. Schmit's voice is soft enough that you almost have to lean toward it.

Maybe that's why the studio setting suits it better than a traditional music video would.

There is something very believable about hearing a song this restrained from a group that spent years making records with very little room for mistakes. You can see the machinery of the session around it: people talking, instruments waiting, the practical business of making a record. And then the song arrives without announcing itself.

I like that.

A lot of music videos from that period tried to turn a song into a little movie. This clip does something almost opposite. It leaves the song alone. You get the sense that these musicians could have been there at an unreasonable hour, tired, surrounded by cables and equipment, and someone simply said, “Let's do it.”

Then they count.

And Schmit sings about something people often struggle to explain even when they have plenty of time to explain it: why two people who still care about each other can keep hurting each other. There isn't always a clean reason. Sometimes the relationship has simply reached a place where knowing what is wrong doesn't tell you how to fix it.

That is probably the most honest thing about the song. It doesn't solve the problem. It doesn't even pretend to understand it completely.

It just stays with the question.

And maybe the 5:30 a.m. conversation belongs in the song more than we realize. Everyone eventually has to pack up and leave. The equipment gets loaded. The lights go off. Another night's work is finished. But before they go, there is this small piece of music that refuses to behave like a job that can simply be checked off a list.

Someone counts four beats.

They play.

For a few minutes, nobody needs to tell anybody why.

[Monica Наталья Элиевна 🇮🇹🇷🇺 @MonicaMonichka2]

Operazione Blue Moon

[Jedmon best @Jedmonbest]

@Lidia_Undiemi Quando il giornalismo non è fissato sull’informazione ma è accomodato alla propaganda.