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Russia’s war propaganda gets a soundtrack – how AI-generated songs reached global streaming platforms Russian war propaganda is no longer confined to television broadcasts, Telegram channels or political videos. A study by the Ukrainian threat-intelligence organisation Terrecon has identified 981 songs combining signs of AI generation with pro-Russian military narratives, distributed through an ecosystem that reaches YouTube, Spotify, Apple Music, Deezer and SoundCloud. The songs range from sentimental ballads to rock and heavy metal. Their recurring themes are familiar from conventional Russian wartime propaganda: the heroisation of Russian soldiers, romanticisation of the war, mobilisation, the “Russian world”, commemoration of fallen troops and attacks on Ukraine and its armed forces. Some contain derogatory or dehumanising references to Ukrainians. What is new is not necessarily the message, but the production and distribution model: generative AI allows propagandistic music to be produced rapidly, cheaply and in quantities that would previously have required musicians, studios and producers. Nearly 1,000 tracks identified Terrecon examined 3,725 tracks collected from YouTube, YouTube Music, SoundCloud and the AI music platform Suno. After manual review, researchers classified 981 as showing both indications of AI generation and pro-Russian war propaganda. In 681 tracks they identified 728 propaganda-related keywords or phrases. The largest category was the glorification of the Russian military, followed by romanticised treatment of Moscow’s so-called “special military operation”, mobilisation appeals, narratives about the “Russian world”, and the cult of fallen soldiers and the state. The reach was not merely theoretical. Listening or viewing statistics were available for 608 of the identified tracks; together they had accumulated 86.8 million plays and views, according to Terrecon. A smaller group of 13 high-performing songs accounted for more than 53 million YouTube views and more than 67 million when YouTube Music was included. Among the better-known examples is “Power of Artillery”, a Russian-language rock song praising artillery weapons that passed two million views on YouTube. Most of the tracks for which publication dates could be established appeared after 2024, broadly coinciding with the rapid expansion of consumer AI music generators such as Suno and Udio. That correlation does not prove that AI alone caused the increase, but it illustrates how drastically the economics of production have changed. A propaganda song for as little as $11 Terrecon also tested how difficult it would be to commission such material. Researchers approached 25 creators producing AI-assisted militaristic music; 15 agreed to take commissions. Prices ranged from approximately $11 to $330, while delivery times ranged from two hours to three days. According to Terrecon, some were prepared to produce highly aggressive anti-Ukrainian material, including content intended for audiences involving children from occupied Ukrainian territories. Some creators used Russian intermediary services that provided access to Western AI tools such as Suno and Udio despite restrictions. The researchers then tested several AI generators themselves. Across 40 prompts submitted to Suno, Udio, Mureka, Google Flow Music and ElevenLabs, 25 resulted in successful generations, while safeguards were circumvented in 15 cases. Terrecon reported that four of the five services tested produced Russian-language material containing wartime narratives, although technical problems prevented comparable testing on some systems. In one Udio experiment, the researchers said the model itself introduced more explicit violent language than had appeared in the original promp These tests do not demonstrate that the commercial platforms knowingly support Russian propaganda. They show something narrower: existing safeguards can be inconsistent when political messaging is packaged as music. From generation to Spotify The distribution experiment may be the most revealing part of Terrecon’s research. The team deliberately uploaded test tracks containing explicit hostile language to YouTube, SoundCloud, Spotify and Deezer. Terrecon says none was blocked during the experiment. On SoundCloud, researchers used an account identifying its location as Moscow, disclosed the use of AI and added markers including references to the Russian military and the war. The platform accepted the upload and subsequently offered paid promotional and distribution tools. This does not prove that streaming recommendation systems systematically promote pro-war music. There is currently insufficient public evidence to make that claim. It does demonstrate that material can enter the same commercial distribution infrastructure as ordinary music and, once there, potentially benefit from playlists, searches, sharing and recommendation mechanisms available to other releases. That distinction is important. Propaganda no longer has to announce itself as political communication. On a streaming platform it can look like another song. Culture as a delivery mechanism Music has always been used in wartime propaganda. What generative AI changes is scale. Instead of investing heavily in a limited number of patriotic performers or officially commissioned productions, creators can generate variations across styles, audiences and emotional registers at very low cost. Terrecon found material ranging from war rock to sentimental songs and content styled for younger audiences. Some creators also experimented with cloned celebrity voices and stylistic imitation of established musicians. The format also offers a different relationship with the audience. A political video asks a viewer to consume an argument. Music can accompany commuting, exercise or entertainment and may be encountered outside explicitly political spaces. This does not automatically make it more persuasive, and Terrecon’s research does not establish measurable effects on political attitudes. It does, however, place wartime narratives inside a cultural environment where users may not initially perceive themselves as consuming political messaging. An ecosystem, not a proven Kremlin command structure The strongest evidence supports describing this as a growing AI-assisted pro-Russian propaganda-music ecosystem, not a single operation controlled from Moscow. Terrecon did not establish that the Russian government created, financed or coordinated all 981 tracks. Reporting on the study likewise notes that the extent of direct state involvement remains unclear. There is broader evidence that the Russian state finances cultural projects and digital content supporting the war, including through state-backed funding bodies. That context matters, but it does not allow individual songs in Terrecon’s dataset to be attributed to the Kremlin without additional evidence. The significance of the case lies elsewhere. AI has reduced the cost of producing ideological content, intermediaries can help creators access generation tools, and global platforms can provide distribution. The result is a pipeline in which wartime propaganda no longer has to resemble propaganda at all. It can simply appear in a playlist. Sources Terrecon / Ukrainska Pravda — Daria Verbytska on the research https://www.pravda.com.ua/columns/2026/10/05/8056229/ Suspilne Culture — detailed breakdown of Terrecon findings https://suspilne.media/culture/1417933-rosijsku-voennu-propagandu-maskuut-pid-anime-karaoke-ta-rok-doslidzenna-si-pisen-vid-terrecon/ The Insider — AI-generated Russian war propaganda music https://theins.ru/news/297839 Institute of Mass Information — summary of New York Times reporting https://imi.org.ua/en/news/doslidzhennya-rf-masovo-stvoryu%D1%94-propagandistski-pisni-za-dopomogoyu-shi The Bridge Media — AI-generated songs and Russian military propaganda https://thebridgemedia.com.ua/en/ai-generated-songs-russian-military-propaganda/ Center for Strategic Communication — cost and production of AI propaganda music https://spravdi.org/propaganda-za-11-yak-rosiya-shtampuye-shi-pisni-z-miljonamy-prosluhovuvan/ Times of India — AI-generated Russian war songs https://timesofindia.indiatimes.com/world/europe/ai-sings-russias-war-story-inside-the-rise-of-generative-songs-about-ukraine-conflict/articleshow/134650594.cms EU Council / EUR-Lex — Presidential Foundation for Cultural Initiatives https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX:32026D1351 Human Rights Watch — Russian state funding of digital and patriotic content https://www.hrw.org/report/2025/07/30/disrupted-throttled-and-blocked/state-censorship-control-and-increasing-isolation #DISINFORMED #Episode16 #Russia #Ukraine #RussianPropaganda #WarPropaganda #MusicPropaganda #AIMusic #ArtificialIntelligence #AI #GenerativeAI #SyntheticMedia #AIPropaganda #Disinformation #InformationWarfare #InfluenceOperations #CulturalPropaganda #DigitalInfluence #NarrativeManipulation #PropagandaMusic #StreamingPlatforms #Spotify #AppleMusic #YouTube #YouTubeMusic #Deezer #SoundCloud #Suno #Udio #RussianWorld #RusskiyMir #MilitaryPropaganda #WarNarratives #Mobilisation #AlgorithmicDistribution #RecommendationAlgorithms #MusicStreaming #PlatformManipulation #Terrecon #OSINT #MediaManipulation #WRLD

Wat een potsierlijk staaltje politiek uiterlijk vertoon. Yesilgöz pontificaal tussen twee zwaarbewapende DSI’ers, armen over elkaar en natuurlijk precies op tijd voor de camera. Alsof ze eigenhandig net een terreurcel heeft opgerold. Dit heeft weinig met inhoudelijk veiligheidsbeleid te maken en alles met beeldvorming: kijk mij eens daadkrachtig en stoer zijn. De DSI als decorstuk voor een Instagrammomentje. Het ontbreekt alleen nog aan rookmachines en de soundtrack van Mission: Impossible. #politiek #beeldvorming #veiligheid

La soundtrack officielle de GTA 6 arrive le 19 novembre 2026 ! - Co-produit par Atlantic Records et Rockstar Games. - 34 titres originaux inspirés de Vice City et Leonida. - Une édition vinyle 2LP aux États-Unis, autour de 50 dollars. - Une édition collector de prévue. https://t.co/PZk4QSHTza #GTA6 #Soundtrack #RockstarGames

Rockstar Games officialise la soundtrack de GTA 6 ! Sortie le 19 novembre. Précommandes dès maintenant : https://t.co/nAYrDLUvXB https://t.co/CUUxK5PWVJ #GTA6 #RockstarGames #Soundtrack

Rockstar Games anuncia el álbum de GTA 6 🔥🔥 El soundtrack contará con 34 pistas originales del juego y será lanzado en formato vinilo este 19 de noviembre. O sea, ¿álbum en vinilo sí, pero edición física en disco no? 🙂 https://t.co/7sZVjMvAFN #GTA6 #RockstarGames #Soundtrack

🚨 SURRÉALISTE ! LE YOUTUBER SQUEEZIE EST PRÉSENT DANS LA SOUNDTRACK OFFICIELLE DU JEU VIDÉO FC 27 😭 Le downfall de ce jeu c’est du jamais vu… https://t.co/BtM1J8OHBz #Squeezie #FC27 #JeuxVidéo

🚨 SURPRISE SDM vient dévoiler un nouveau SINGLE ! Le titre sera disponible dans la soundtrack de FC 27 🎮⚽️ https://t.co/ScueQg8F2W #SINGLE #FC27 #Musique

🚨 SDM vient de SORTIR un NOUVEAU SINGLE !! « NZELA » Présent dans la soundtrack de FC27. https://t.co/Lc9RZEGk1j #SDM #NZELA #FC27

“BROADWAY WORLD” OF NEW YORK WELCOMES THE TEATRO MERCADANTE OF CERIGNOLA IN THE NAME OF THE MASCAGNI FESTIVAL SOURCE: https://www.linkedin.com/pulse/broadway-world-new-york-welcomes-teatro-mercadante-sardella-ph-d--i5mbe/ by Stephi Wild, New York City. SOURCE: https://www.broadwayworld.com/italy/article/Photos-Teatro-Mercadante-and-Teatro-Goldoni-Partner-on-SOUNDTRACK-MASCAGNI-20260827 The most influential theatrical portal in the world, with at least six million global visitors per month, consecrates the cultural twinning between Cerignola and Livorno and the historical restitution of a verismo born in Puglia, southern Italy: there exists a moment when a local history ceases to be peripheral and, by the mere fact of being recounted in the right place, becomes universal history. That moment, for the Teatro Mercadante di Cerignola, has arrived. Broadway World, the bible of international theatre read daily by producers, artistic directors and critics from New York to the West End, has welcomed into its pages the cultural pact between the Mercadante and the Fondazione Teatro Goldoni of Livorno, sealed in spring 2026 by Artistic Director Savino Zaba and the Municipal Administration in the person of the Deputy Mayor and Commissioner for Culture, Maria Dibisceglia. The piece is signed by New York editor Stephi Wild, under the title: “Photos: Teatro Mercadante and Teatro Goldoni Partner on SOUNDTRACK MASCAGNI”. It is no mere detail. Broadway World does not review provincial seasons. When it does, it is signalling to the American and global theatrical system that something, down there, deserves to be seen. The heart of this recognition is Soundtrack Mascagni: the music that inspired cinema, the cinema that celebrated Mascagni, the co-production chosen as the closing event of the VII edition of the Mascagni Festival. A hybrid work, a concert-reading for narrating voice, ensemble, images and sounds, with dramaturgy and text by Vittorio Giacci, performed by the Artists of the Mascagni Academy and the Orchestra of the Teatro Goldoni di Livorno “Massimo de Bernart” conducted by Maurizio Colasanti. On stage, in the guise of an imaginary Mascagni, as narrator and guide through his own musical universe, the actor-director Maurizio Nichetti. A production, as the Italian notes record, “born from the synergy between the Teatro Mercadante di Cerignola and the Teatro Goldoni di Livorno”, which will see on stage the great actor and director Maurizio Nichetti and the Orchestra of the Goldoni, conducted by Maestro Maurizio Colasanti, with direction entrusted to Marco Voleri and Savino Zaba. What Broadway World has intercepted, moreover, is not merely a production but also a historiographical thesis that at last forces the international literature to catch up. For decades, Anglophone biographies have dismissed Pietro Mascagni’s Apulian decade as “years of poverty and obscurity”: the documentary truth, preserved in the Polo Museale of Piano San Rocco, is of a different temper entirely. In December 1886, on tour with the Maresca company, Mascagni stopped in Cerignola, where the mayor then in office, Commendatore Cannone, invited him to remain to conduct the newly founded philharmonic. The composer would stay, save for brief absences, in the house in Via Assunta until 1895, composing no fewer than five operas: Cavalleria rusticana; L’amico Fritz; I Rantzau; Guglielmo Ratcliff; Silvano. A third of his entire operatic output, written in feverish poverty, in an agricultural town of the Ofantine plain. It was there, in July 1888, that the verses of Cavalleria reached him by postcard from Livorno, sent by his poet friends Giovanni Targioni-Tozzetti and Guido Menasci. There, on 27 May 1889, he completed the autograph. The envelope, that morning, bore the postmark of Cerignola. The world premiere at the Costanzi in Rome, on 17 May 1890 before Queen Margherita, was an earthquake. As Zaba has synthesised it, in a formula destined to endure: “Livorno gave Mascagni to the world. Cerignola inspired him and kept the deepest part of his soul.” In fact, the productive parabola sanctioned by BroadwayWorld is exemplary in the way it overturns the traditional North-South axis of cultural projects. It begins on 23 August at the Mascagni Festival in Livorno with Soundtrack Mascagni. Then its debut in Cerignola, in the course of the Mercadante’s forthcoming season. Indeed, with a date already fixed: “Soundtrack Mascagni” will be presented in Cerignola on 24 October as the opening production of the 2026/2027 theatrical season of the Teatro Mercadante. An idea as simple as it is revolutionary: cinema as a lens through which to re-read Mascagni. The composer plundered by Scorsese and Coppola, cited by Visconti as a tutelary deity, already possessed in his own writing — dense, symphonic, almost edited by cuts — a cinematic vocation. Soundtrack Mascagni does not merely celebrate that filiation; it interrogates it. That BroadwayWorld should have chosen to capture precisely this — a provincial theatre that does not seek hospitality but co-produces as an equal with a historic theatre such as the Goldoni — says much about the shifting of Italy’s cultural axis. No longer a South that imports, but a South that generates archives, that preserves autographs, caricatures, unpublished letters, and restores them to the international circuit. For Cerignola, accustomed to being narrated as a land of wheat and not of music, this arrival on Broadway World is more than a press clipping. It is the certification that its Mascagni story is no longer a local footnote, but a necessary chapter in the history of verismo. And that the Mercadante, from a provincial municipal theatre, has entered in full right the ranks of those Mascagni theatres upon which the whole world now looks, and with admiration.

“BROADWAY WORLD” di NEW YORK OMAGGIA IL “TEATRO MERCADANTE” di CERIGNOLA NEL NOME DEL “MASCAGNI FESTIVAL” SOURCE: https://www.linkedin.com/pulse/broadway-world-di-new-york-omaggia-il-teatro-nel-nome-sardella-ph-d--yqqae/ by Stephi Wild, New York City. SOURCE: https://www.broadwayworld.com/italy/article/Photos-Teatro-Mercadante-and-Teatro-Goldoni-Partner-on-SOUNDTRACK-MASCAGNI-20260827 Il più influente portale teatrale del mondo consacra il gemellaggio culturale tra Cerignola e Livorno e il risarcimento storico di un verismo nato in Puglia: esiste un momento in cui una storia locale cessa di essere periferica e, per il semplice fatto di essere raccontata nel luogo giusto, diventa storia universale. Quel momento, per il Teatro Mercadante di Cerignola, è accaduto… . Broadway World, la bibbia del teatro internazionale con almeno 6 milioni di utenti globali mensili e letta quotidianamente da produttori, direttori artistici e critici da New York al West End, ha accolto nelle sue pagine il patto culturale tra il Mercadante e la Fondazione Teatro Goldoni di Livorno, siglato nella primavera del 2026 dal direttore artistico Savino Zaba e dall’Amministrazione comunale nella persona del Vice Sindaco e Assessore alla Cultura Maria Dibisceglia. A firmare il servizio, uscito nell’edizione del 27 agosto, è Stephi Wild, con il titolo: “Photos: Teatro Mercadante and Teatro Goldoni Partner on SOUNDTRACK MASCAGNI.” Non è un dettaglio. Broadway World non recensisce stagioni provinciali. Quando lo fa, sta dicendo al sistema teatrale anglofono che qualcosa, laggiù, merita di essere visto. Il cuore del riconoscimento è Soundtrack Mascagni: la musica che ha ispirato il cinema, il cinema che ha celebrato Mascagni, la coproduzione che la VII edizione del Mascagni Festival ha scelto come evento di chiusura. Uno spettacolo ibrido, un concerto-reading per voce narrante, ensemble, immagini e suoni, dove drammaturgia e testo sono di Vittorio Giacci, gli interpreti sono gli Artisti della Mascagni Academy e l’Orchestra del Teatro Goldoni di Livorno “Massimo de Bernart” diretta da Maurizio Colasanti. Sul palco, nei panni di un Mascagni immaginario, narratore e guida attraverso il proprio universo musicale, l’attore-regista Maurizio Nichetti. Uno spettacolo, si legge nelle note italiane, “nato dalla sinergia tra il Teatro Mercadante di Cerignola e il Teatro Goldoni di Livorno” che vedrà sul palco il grande attore e regista Maurizio Nichetti e l’Orchestra del Goldoni, diretta dal maestro Maurizio Colasanti, con regia affidata a Marco Voleri e Savino Zaba. Ciò che Broadway World ha intercettato non è solo uno spettacolo. È una tesi storiografica che finalmente forza la letteratura internazionale: per decenni, le biografie anglofone hanno liquidato il decennio pugliese di Pietro Mascagni come “anni di povertà e oscurità”. La verità documentale, custodita nel Polo Museale di Piano San Rocco, è di un’altra tempra. Nel dicembre 1886, in tournée con la compagnia Maresca, Mascagni fece tappa a Cerignola, dove il sindaco allora in carica, il commendatore Cannone, lo invitò a fermarsi per dirigere la neonata filarmonica. Il compositore resterà, salvo momentanee assenze, nella casa di via Assunta sino al 1895, componendo ben cinque opere: Cavalleria rusticana; L’amico Fritz; I Rantzau; Guglielmo Ratcliff; Silvano. Un terzo dell’intera produzione operistica, scritta in una povertà febbrile, in una cittadina agricola della piana ofantina. Fu lì, nel luglio del 1888, che gli arrivarono per cartolina da Livorno, dagli amici poeti Giovanni Targioni-Tozzetti e Guido Menasci, i versi della Cavalleria. Lì, il 27 maggio 1889, chiuse l’autografo. La busta, quel mattino, recava timbro postale di Cerignola. Il debutto mondiale al Costanzi di Roma, il 17 maggio 1890 davanti alla Regina Margherita, fu un terremoto. La parabola produttiva sancita da Broadway World è esemplare per come ribalta la tradizionale direttrice Nord-Sud dei progetti culturali. Si parte ial Mascagni Festival di Livorno con “Soundtrack Mascagni,” poi il debutto anche a Cerignola, nel corso della prossima stagione del Mercadante. Anzi, con data già fissata: “Soundtrack Mascagni” sarà presentato a Cerignola il prossimo 24 ottobre come spettacolo di apertura della stagione teatrale 2026/2027 del Teatro Mercadante. Un’idea tanto semplice quanto rivoluzionaria: il cinema come lente per rileggere Mascagni. Il compositore che Scorsese e Coppola hanno saccheggiato, che Visconti ha citato come un nume, aveva già nella sua scrittura, densa, sinfonica, quasi montata per tagli, una vocazione cinematografica, e “Soundtrack Mascagni” non celebra solo questa filiazione, ma la interroga. Che Broadway World abbia scelto di fotografare proprio questo: un teatro di provincia che non chiede ospitalità ma co-produce alla pari con un teatro di tradizione come il Goldoni, dice molto sullo spostamento dell’asse culturale italiano. Non più il Sud che importa, ma il Sud che genera archivio, che custodisce autografi, caricature, lettere inedite, e le restituisce al circuito internazionale. Per Cerignola, abituata a vedersi raccontare come terra di grano e non di musica, l’approdo su Broadway World è più di una rassegna stampa. È la certificazione che la sua storia mascagnana non è più una nota a piè di pagina locale, ma un capitolo necessario della storia del verismo. E che il Mercadante, da teatro comunale di provincia, è entrato a pieno titolo nel novero dei teatri che il mondo guarda.

teaser video 3 radiophonic ether hacker. #liquidsky d-vices. soon as #vst3 / au / standalone and for #ipad #darkambient & #scifi #soundtrack generator. easy to perform with - massive in sound https://www.youtube.com/watch?v=KJsQHtGRik0

🚨 INCROYABLE LA FRANCE est bien représentée sur la SOUNDTRACK de 2K27 🏀🎮 ▫️GIMS x LA MANO - PARISIENNE ▫️TIAKOLA - PSYCHOLOGIQUE ▫️DISIZ x THEODORA - MELODRAMA ▫️NONO LA GRINTA - PARIS https://t.co/jPhuM8IR3o #France #Soundtrack #Basketball

🚨🎮 La SOUNDTRACK de 2K27 vient d’être DÉVOILÉE !! On pourra y retrouver de nombreux français : ▫️GIMS x LA MANO - PARISIENNE ▫️TIAKOLA - PSYCHOLOGIQUE ▫️NONO LA GRINTA - PARIS ▫️DISIZ x THEODORA - MELODRAMA https://t.co/WwagS1XF3Q #Soundtrack #2K27 #Music

Beste Sophie Straat, Je bent 31, hebt een handjevol smartlappen en wat activistisch bijgeluid uitgebracht, en nu presenteer je jezelf als een soort moreel geweten, een morele heldin? ‘Niet alle mannen zijn kut, maar ze nemen wel verdomd veel plek in.’ Wat een dappere analyse, verdomd origineel ook, waar hebben we die meer gehoord? Waren je nummers maar zo grijs gedraaid als deze ‘analyse’. Je eist dat witte mannen ‘naar achteren’ gaan zodat de girls, queers en people of colour eindelijk ruimte krijgen. Je noemt het ‘geen tijd voor nuance’. Natuurlijk heb je daar geen tijd voor. Nuance is namelijk verdomd lastig als je hele artistieke identiteit bestaat uit het herhalen van dezelfde twee zinnen over mannen die te veel ruimte innemen. Zonder dat simplistische vijandbeeld heb je geen act meer. Je klaagt over haat en bedreigingen. Terecht: doodsbedreigingen zijn walgelijk en onacceptabel, geen discussie. Maar het is wel stuitend naïef om te pretenderen dat jouw eigen uitspraken, openlijk discrimineren op huidskleur en geslacht in een publieke setting, niets te maken hebben met de reactie die volgt. Jij mag collectief een hele demografische groep naar achteren verbannen en noemt dat artistieke vrijheid, kunst en ‘punktraditie’. Iemand die hetzelfde doet met ‘alle vrouwen’ of ‘alle mensen van kleur’ zou terecht als racist of seksist worden weggezet. Die hypocrisie is zo mogelijk nog stuitender dan je naïviteit over wat dit losmaakt. Weet je wat het daadwerkelijk is Sophie? Het is intellectuele luiheid verpakt als morele superioriteit. Je strijdt niet tegen onrecht. Je strijdt tegen de realiteit dat individuen verschillen, dat macht niet exclusief in één huidskleur of geslacht zit, en dat de meeste mensen, man of vrouw, gewoon hun ding willen doen zonder dat een zangeres ze op basis van hun biologie en afkomst de les leest. Daar heb je kennelijk nooit een seconde over nagedacht? Maar ik realiseer mij dan ook weer terdege dat je de soundtrack bent van een hele generatie die denkt dat identiteitspolitiek hetzelfde is als politiek, en dat een microfoon + correcte meningen automatisch moreel gezag geeft. Maar de realiteit is dat je zelf verdomd veel plek inneemt met je slogans, je verontwaardiging en je weigering om ook maar één centimeter complexiteit toe te laten. Maak eens tijd voor nuance! Misschien zou jij daarom eens een stapje naar achteren moeten doen? Niet omdat je vrouw, van kleur, queer of wat dan ook bent. Maar omdat de show die je opvoert al lang niet meer over rechtvaardigheid gaat. Die gaat over jouw behoefte om de morele heldin te spelen in een verhaal waarin de helft van de mensheid standaard de boeman is, een soort identiteitspolitiek 2.0. Dat is geen protest Sophie. Dat is geen kunst. Dat is kitsch. Bron: https://t.co/VjyGXXO9wB #Identiteitspolitiek #Kunst #MoreleSuperioriteit

De Franse dj Kavinsky, wiens echte naam Vincent Belorgey was, is op 50-jarige leeftijd overleden in zijn woning in Parijs, met een onderzoek naar de doodsoorzaak aan de gang; hij was bekend om zijn synthwave muziek en de hit Nightcall, dat onderdeel was van de soundtrack van de film Drive. #Kavinsky #elektronischemuziek #Parijs