Vampire Weekend – Jerusalem, New York, Berlin Lyrics

Play this song
[Verse 1]
I know I loved you then
I think I love you still
But this prophecy of ours
Has come back dressed to kill
Three stones on a mountain
Three small holes in a field
You’ve given me the big dream
But you can’t make it real
[Chorus]
O, wicked world
Just think what could have been
Jerusalem, New York, Berlin
All I do is lose, but baby
All I want’s to win
Jerusalem, New York, Berlin
[Verse 2]
A hundred years or more
It feels like such a dream
An endless conversation since 1917
Now the battery is too hot
It’s burning up in its tray
Young marriages are melting
And dying where they lay
[Chorus]
O, wicked world
Just think what could have been
Jerusalem, New York, Berlin
All I do is lose but baby
All I want’s to win
Jerusalem, New York, Berlin
[Verse 3]
Our tongues will fall so still
Our teeth will all decay
A minute feels much longer
With nothing left to say
So let them win the battle
But don’t let them restart
That genocidal feeling
That beats in every heart
[Chorus]
O, wicked world
Just think what could have been
Jerusalem, New York, Berlin
All I do is lose but baby
All I want’s to win
Jerusalem, New York, Berlin

From Netflix To Blockchain, 12 Storylines That Will Dominate The International Film Biz In 2019

Will Netflix be welcomed back to Cannes (will the fest be able to resist The Irishman?) and Venice this year, or will the European biz make a stand? A year after Cannes said it wouldn't take the service's films in competition, the streamer this year declined the festival's out-of-competition invite. To date, Berlin has not been a staging post for Netflix movies, and that doesn't look like it's changing anytime soon. France’s windowing laws are strict and the country is keen to protect the theatrical experience. Venice’s artistic director Alberto Barbera subsequently embraced the streaming giant, taking six high-profile films, but that led to major backlash from the Italian industry. Netflix cast a shadow over the world's leading film festival again in 2018.
Some see Southeast Asia as a particularly fertile growth prospect, and U.S. Can a new international darling emerge for Hollywood? Saudi Arabia might not be the new frontier some in the film world were hoping it could be (not now at least). firms continue to kick the tires on London management and agency businesses.
Hola, Netflix! 2.
Theatrical receipts dropped this year in Spain and Italy and nose-dived in Germany, so Netflix's expansion will be watched with a certain level of anxiety. The company is launching a major production hub in Spain (Netflix's Spanish-language audience is its second-largest; La Casa De Papel (Money Heist) was a huge hit this year), and it is growing its production footprints in France, London (via some splashy senior hires) and India (earlier this year, CEO Reed Hastings said the "next 100 million [subscribers] for us is coming from India"). Local language productions are a major growth line for Netflix, a trend that will provide opportunity and challenges for national industries. Netflix's international penetration continues apace: the streaming giant is adding five new overseas subs for every one in the U.S. Japan, India, Germany and Brazil are among the markets that could see significant growth in 2019.
As theaters add bars, food offerings and comfort tiers, the market for event-style releases is growing, with ballet, stage plays, musicals and sporting events all on the menu. Who will be the next entrants to this lucrative space? The global theatrical successes of docs such as Burn the Stage: The Movie, Coldplay: A Head Full of Dreams and  Peter Jackson's They Shall Not Grow Old continue to prove the value of event cinema.
Kim Yutani is in place for her first Sundance as director of programming following the departure of longtime programmer Trevor Groth last year. Locarno’s Carlo Chatrian and Mariette Rissenbeek will assume the reins in Berlin, with Lili Hinstin taking over in Locarno. Toronto in 2018 added Joana Vicente as co-head following the departure of longtime CEO Piers Handling, and has also added more women programmers to its team. Dieter Kosslick, Berlin’s artistic director since 2001, will oversee his final Berlinale. Meanwhile, Tricia Tuttle has taken over from Clare Stewart at the London Film Festival. The coming year will see major changes afoot at leading festivals the world over. The winds of change are blowing through the festival landscape and many are keen to see what direction these vitally important events go with new blood at the helm.
Cultural shifts are shaking up industry norms and generating welcome opportunities for new voices. Progress has been slow, but there are green shoots of change in some areas. At the same time, the question of who should or shouldn’t be able to tell certain stories is becoming an increasingly complex and important one, creatively, financially and reputationally. The debate has been amplified by Belgian trans drama Girl, a film about a trans experience, told by a cis gender man and star. Thankfully, many in the film industry now acknowledge the need for more gender, racial and social diversity on screen and in the business. There is a new and growing frontier of concern in this necessary battleground: Who should be able to tell which stories? The film has found critical acclaim but also a backlash from trans critics.
10. Fox-Disney merger
What to watch for in the overseas film industry in 2019:
UK & France in flux 8.
China blues 5.
Sadly, the market for foreign-language films in cinemas is not moving in the same direction. and international firms are increasingly on the lookout for remake rights to local successes that can be updated and tweaked to suit different markets. Audiences are increasingly happy to watch good local-language shows on TV or online. Companies such as CJ Entertainment, Ivanhoe and Filmsharks are among those plowing successful furrows in this space. Just look at the global success of series like Gomorrah, Babylon Berlin and Fauda. U.S. However, the market for remakes of local-language film hits is booming.
China has become a key buyer at film markets, and the territory can still be a major box office boon for studios who recoup 25% from turnstiles. Although the Pony Ma-led behemoth was a Tang backer and experienced losses spurred on by a Chinese government crackdown on online gaming, it took a sizable minority stake in David Ellison’s Skydance, teamed with JJ Abrams to launch Bad Robot Games, and made strategic investments in Sony’s smash Venom as well as Paramount’s Bumblebee and the upcoming Top Gun sequel. However, after 2017 saw the precipitous fall of Wanda and a government harness on capital flight, its position as a go-to investor hit the skids and some lofty ambitions fell flat in 2018 (see the implosion of Tang Media Partners’ Global Road, Wanda's exit from Beverly Hills real estate, etc.). Ever since China started its box office boom in 2012, it's been a shape-shifter whose rapid economic growth and political détente presented Hollywood and international markets with significant economic openings, but also has been a confounding bedfellow. Elsewhere, Warner Bros’ U.S.-China co-production The Meg was a surprise summer breakout that served as a lesson in wide-appeal partnerships. A sequel is in early development. Still, we were told to keep an eye on Tencent in 2018 and that was wise advice.
The year 2018 saw significant independent film companies go out of business (Global Road), falter (EuropaCorp) or reconfigure and reroute (many smaller international firms have had to do this). In this environment, newcomers such as Solstice will be keenly watched, as will whatever labels former The Weinstein Company exec David Glasser and foreign sales supremo Patrick Wachsberger cook up. One of the most common refrains I hear from independent sales and distribution companies is how tough it is just to survive these days. As Netflix soars and studios, theaters and audiences continue to gravitate toward sequels, prequels and spinoffs, independent cinema becomes more treacherous territory.
'Glocal' remains an important destination 6.
Whose story is it, anyway? 9.
(Nancy Tartaglione contributed to China Blues)
12. Blockchain, block party?
UK box office and admissions are surging and the country is readying a handful of new shooting facilities to help drive its inward investment boom. Luc Besson's once vaunted EuropaCorp is on its knees, Wild Bunch has needed to refinance, Pathé found itself the subject of an embarrassing and costly online sting, while Vivendi-owned StudioCanal continues to rejig its executive ranks and focus. France, long considered Europe's biggest theatrical market, is experiencing its own challenges. It's hard for local indies to thrive in such a market and a number have bitten the dust. Two major European powers are in flux. Six U.S. But there are also major challenges looming such as the potential impact of Brexit and increasing polarization in the market. On one level, the picture is promising. studios accounted for more than 85% box office market share in 2018; not one movie from an indie distributor cracked the top 25. With industry totems shaken, civil unrest led to the temporary closure of some of France's cinemas, and the country's strict media chronology laws mean it is one of the few global holdouts against Netflix's day-and-date model, something that could be seen as a positive or a negative.
The shape of things to come remains unclear. These studios boast sizable and successful international teams, and jobs may still be in the balance. Rivals will be looking on in interest at release calendars, potential departures and how the new mega-studio will prioritize.
In recent weeks I’ve spoken to multiple international firms looking to launch blockchain-based services for the industry and a number of blockchain-based content platforms are due to launch in 2019. But will they take off in a meaningful way?” /> Blockchain continues to be a watchword in Hollywood and beyond. The desire for transparency is growing in step with the secrecy of streaming platforms (Netflix in particular), and companies are experimenting with new accountancy models in a bid to shore up their assets and clients. Even films are being sold at markets using blockchain.
Will Euro festivals Netflix and chill? 3.
Staying alive 1.
Instead, we are seeing growing European Union pushback against online titans (see Facebook's recent grilling in the UK) at a political and legislative level due to concerns over perceived tax avoidance, cultural monopolization and illicit data sharing. Disney and AT&T are both due to launch major streaming services in 2019, while Apple will surely launch some of the buzzed-about shows it has been working on. Apple's launch is set to be a global rollout, but the international launch dates for Disney's and AT&T's services remain less clear. Outside of China, few international markets have developed their own major streaming services. That push and pull looks set to ramp up next year.
Streaming wars: rollout and pushback 4.
7. Festivals shake-up
Either way, talks between the USTR and China on a new film agreement, which the studios have long hoped would increase revenue splits, remain at a stalemate following President Donald Trump’s trade tirade with the PROC, and there is no indication these negotiations are gearing up any time soon. In the wake of that scandal, regulators are keeping a close eye on film companies, and there is concern the fear of audits will lead to a production slowdown, meaning local product could dry up significantly as early as 2019. While the current quota of 34 is oft-cited as a limit, China can increase it at will. It has already padded the end of 2018 to ensure overall year-on-year growth, but welcoming too many studio titles could mean the Middle Kingdom market share dips below 50% — and authorities are loath to see that happen. As for what’s ahead, China’s crackdown on tax evasion within the entertainment business saw one of its biggest stars — Fan Bingbing – disappear from public view only to resurface months later with a mea culpa and a hefty fine. If that comes to pass, the question remains: Does China turn to Hollywood and increase the number of quota movies it accepts?
11. Eventize me

From Scorsese’s ‘The Irishman’ To Kristen Stewart As Jean Seberg: 28 Movies That Could Light Up Film Festivals In 2019

The big question is why the film has been in post-production for more than two years. August Diehl, Alexander Fehling, Matthias Shoenaerts, Michael Nyqvist, Bruno Ganz and Jurgen Prochnow are among cast. A Terence Malick film will always command festival interest. Radegund, said to be one of the acclaimed but secretive director's most accessible projects in some time, follows Austrian Franz Jägerstätter, a conscientious objector who refuses to fight for the Nazis in World War II.
The King
Radegund
Paramount is lining up a May release, which could well chime with Cannes. Bohemian Rhapsody's (uncredited director) Dexter Fletcher is helming. Kingsman star Taron Egerton has the daunting task of playing the iconic singer. The story of Elton John's life, from his years as a prodigy at the Royal Academy of Music through his influential musical partnership with Bernie Taupin.
Ad Astra
Once Upon A Time In Hollywood
Nighthawk
Beach Bum
About Endlessness
Keri Russell and Jesse Plemons star in the story of a small-town Oregon teacher and her brother, the local sheriff, who become entwined with a young student harboring a dangerous secret. Horror-thrillers aren't traditionally classic festival fare but this Scott Cooper movie has Fox Searchlight behind it and Cooper's last couple of films have debuted at A-list fests.
As days go by, he begins to discover that the locals are not exactly what they appear to be and hide dangerous secrets. Brazilian director Kleber Mendonca Filho reteams with his Aquarius star Sonia Braga and Udo Kier on this Portuguese-language mystery-drama in which a filmmaker travels to a village in the interior of Brazil to make a documentary.
The French Dispatch
What's clear is that it's a heavyweight ensemble, even by Anderson's standards. Reports are that the film is a love letter to journalists. Timothée Chalamet, Benicio Del Toro, Bill Murray, Frances McDormand and Jeffrey Wright are aboard. Set in France after WWI, Wes Anderson's next film remains mysterious. There are rumours Natalie Portman, Brad Pitt and Lea Seydoux may also be along for the ride. Anderson's films tend to debut at major festivals, Berlin getting the last two, but this is filming now so it may be tight to have it finished for a 2019 slot.
Virginie Efira plays the eponymous protagonist in the French-language drama. Paul Verhoeven's previous effort Elle was a festival hit in 2016. The director follows that provocative film with the story of a 17th-century nun in Italy who suffers from disturbing religious and erotic visions and embarks on a lesbian relationship.
Lee's last two films have debuted at the New York Film Festival and this one is set for an October release. Will Smith, Clive Owen, Mary Elizabeth Winstead and Benedict Wong star. Ang Lee's latest is about an over-the-hill hitman who faces off against a younger clone of himself. Festivals will likely be queuing up.
A release date has yet to be set. Perhaps the most-anticipated stand-alone film of the year. Martin Scorsese directs Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel and Anna Paquin in the big-budget crime drama about a mob hitman who recalls his possible involvement in the slaying of Jimmy Hoffa. Cannes would be a dream scenario for film lovers but that currently looks unlikely given the ongoing impasse between the festival and Netflix, which backed and will release the pic. Could the two come to an arrangement?
Pain And Glory (Dolor Y Gloria)
Gemini Man
Against All Enemies
Chinese powerhouse Zhang Yimou, director of Hero and House Of Flying Daggers, is in post-production on this 1970s-set drama about a movie fan in a remote part of China. Zhang Yi stars in the latest film from the prolific director who followed up misstep The Great Wall with Shadow.
Rocketman
Where’d You Go, Bernadette
Sony has taken rights in multiple territories including Spain, where the film is set to debut in March. Penélope Cruz and Antonio Banderas are among the strong Spanish-language cast. Cannes habitué Pedro Almodovar’s latest follows a film director reflecting on the choices he's made in life as past and present come crashing down around him. Would be a surprise if Almodovar wasn't back on the Croisette.
Bergman Island
Led by this voice, we see the dealings of man and life in all its banality and grandeur through a series of apparently trivial moments that reflect life's splendour." Andersson's 2014 Venice Golden Lion winner A Pigeon Sat On a Branch Reflecting On Existence was a joy and his latest is sure to get strong festival play. Maverick Swedish director Roy Andersson's latest sounds typically offbeat and compelling: "We are guided through the world by the soft voice of a woman.
First Cow
Benedetta
Frankie
 Love Is Strange director Ira Sachs charts the story of three generations grappling with a life-changing experience during a vacation in Portugal. Isabelle Huppert, Greg Kinnear, Marisa Tomei and Brendan Gleeson are among cast. French release is slated for late September.
Set to launch worldwide in May, could this be another to blast off in Cannes? Brad Pitt, Tommy Lee Jones, Donald Sutherland and Ruth Negga lead cast in James Gray's adventure sci-fi about an astronaut who travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet. Max Richter scores while cinematograher is Interstellar and Dunkirk's Hoyte Van Hoytema.
The Joan Didion novel adaptation stars Anne Hathaway, Willem Dafoe and Ben Affleck. Yet another Netflix charge. Dee Rees follows Mudbound with this story of a journalist who quits her newspaper job and becomes an arms dealer for a covert government agency.
The Goldfinch
Ford Vs Ferrari
Ema 
Neon will release in March so festival options are narrowing. Harmony Korine's latest was the one Venice head Alberto Barbera was most disappointed not to snag this year. Matthew McConaughey stars as rebellious stoner Moondog who lives life by his own rules. Snoop Dogg, Martin Lawrence, Jonah Hill, Zac Efron and Isla Fisher are also along for the ride.
Festival favourite Mia Hansen-Love returns with the story of an American filmmaking couple who retreat to a Swedish island to each write screenplays. As the summer and their screenplays advance, the lines between reality and fiction start to blur. Mia Wasikowska, Anders Danielsen Lie and Vicky Krieps star.
Antlers
The Irishman
Richard Linklater's latest, adapted from the hit book of the same name, stars newcomer Emma Nelson alongside Cate Blanchett, Judy Greer, Kristen Wiig and Laurence Fishburne. Annapurna is due to release in March, leaving only Sundance or Berlin as potential landing spots. Linklater's charming Boyhood played at both. After her anxiety-ridden mother disappears, 15-year-old Bee does everything she can to track her down, discovering her troubled past in the process.
Gael Garcia Bernal is among cast. Jackie and No director Pablo Larrain's Spanish-language drama follows a couple dealing with the aftermath of an adoption that goes awry as their household falls apart. Larrain is a festival favorite so expect this to get good play on the circuit.
Due for a summer release. The true story of the battle between Ford and Ferrari to win Le Mans in 1966. Christian Bale and Matt Damon star in Fox's charge, directed by Logan and Walk The Line director James Mangold.
Steven Soderbergh's Panama Papers pic follows the journalists who unearthed 11.5 million files, linking the world's most powerful political figures to secret banking accounts to avoid taxes. Meryl Streep and Gary Oldman are among the strong cast for this Netflix film, which could be a fall festival title.
The British-American-Australian film will combine elements of Shakespeare's history plays Henry IV and Henry V with Chalamet set to play the latter. Much in-demand Timothée Chalamet leads cast in this David Michod drama also starring Ben Mendelsohn, Joel Edgerton, Robert Pattinson, Lily-Rose Depp and Thomasin McKenzie. This is another Netflix film, so an autumn festival berth may be more likely if it is to get the red carpet treatment.
Parasite
The Last Thing He Wanted
The Laundromat
The True History Of The Kelly Gang
Given that it's in production now, it's uncertain whether Kelly Reichardt's new film will be ready for next year. The production described The Certain Women and Meek's Cutoff director's latest as follows: “Cookie Figowitz is the hired cook for a group of rough men on a fur trapping expedition in the 1820s Oregon Territory. This is the story of their burgeoning friendship in the ever-changing Northwest landscape–and a get-rich-quick scheme involving the first cow in the territory." One night in the woods he meets King-Lu, a mysterious man fleeing from some vengeful Russians.
Elisabeth Moss and Lupita Nyong'o are among cast in the horror-thriller about a mother and father who take their kids to a beach house but get some unexpected visitors.” /> But what a fun surprise the film would be at Sundance or Berlin. Jordan Peele's Get Out follow-up is getting a March rollout for Universal so the chances of a festival berth seem slim.
Ansel Elgort, Nicole Kidman and Sarah Paulson are among cast. Fall release. Amazon and Warner Bros' adaptation of Donna Tarte's acclaimed book about a boy in New York who is taken in by a wealthy Upper East Side family after his mother is killed in a bombing at the Metropolitan Museum of Art.
One Second
Kristen Stewart, Zazie Beetz, Jack O'Connell, Anthony Mackie and Vince Vaughn star in the story of an ambitious young FBI agent assigned to investigate iconic actress Jean Seberg (Stewart) when she becomes embroiled in the tumultuous civil rights movement in late 1960s Los Angeles. Benedict Andrews' (Blackbird) anticipated drama-thriller screams Cannes.
Korean powerhouse Bong Joon-ho, director of The Host, Snowpiercer and Netflix's Okja, makes his Korean-language comeback. The director's regular collaborator, actor Song Kang-ho is aboard. rights. Plot details are largely under wraps but the family drama is said to be "about four people with unique characteristics". Neon has U.S.
Based on Peter Carey's novel, Macbeth director Justin Kurzel tells the story of Australian outlaw Ned Kelly and his gang as they flee from authorities during the 1870s. George MacKay, Russell Crowe, Nicholas Hoult, Charlie Hunnam are among cast in this anticipated Western thriller.
Quentin Tarantino's anticipated ninth film is as starry as they come. This one is getting a July and August theatrical rollout via Sony, but wouldn't a Cannes slot be special on the 25th anniversary of Pulp Fiction? Leonardo DiCaprio, Brad Pitt, Al Pacino and Margot Robbie are among cast in the story of a faded TV actor and his stunt double trying to make it during the Manson reign of terror in 1969 Los Angeles.
Us
The impassioned debate about Netflix's place at major European festivals looks set to continue in 2019, but here we run down some of the undeclared films we'd love to see grace the festival circuit in 2019.

Elizabeth Banks, YouTube Team On Global Program To Support Women In Comedy

Banks and Luigi Picarazzi are co-founders of WhoHaha​ whose goal is to give opportunities to ​up-and-coming​ ​female​ ​creators​ ​by​ ​providing​ ​​resources across​ ​development,​ ​production,​ ​financing,​ ​distribution,​ ​marketing ​and​ ​monetization.​
Says Banks, “At​ ​WhoHaha​ ​we​ ​believe​ ​it’s​ ​not​ ​only​ ​important​ ​but​ ​essential​ ​for​ ​women​ ​to​ ​have​ ​a​ ​platform​ ​to​ ​be​ ​able​ ​to  share​ ​their​ ​voices​ ​and​ ​creativity.​ ​That’s​ ​why​ ​we’re​ ​excited​ ​to​ ​be​ ​teaming​ ​up​ ​with​ ​YouTube​ ​Space​ ​on​ ​this initiative​ ​that’s​ ​providing​ ​such​ ​a​ ​groundbreaking​ ​opportunity​ ​to​ ​creators​ ​all​ ​over​ ​the​ ​world." ” />
​Additional​ ​​resources​ ​will​ ​be​ ​provided​ ​at​ ​select​ ​Spaces​ ​that​ ​require localized​ ​comedic​ ​and​ ​industry​ ​advice.​ ​Further,​ ​in​ ​2018,​ ​WhoHaHa​ ​will​ ​invite select​ ​creators​ ​across​ ​the ​locations​ ​to​ ​produce​ ​a​ ​digital​ ​pilot​ ​for​ ​their ​YouTube series with assistance from​ ​YouTube​ ​Space​ ​and​ ​WhoHaHa. As​ ​part​ ​of​ ​the​ ​partnership,​ ​WhoHaHa​ ​and​ ​Banks​ ​will​ ​provide​ ​creative​ ​consultation​ ​and mentoring.
​With​ ​the​ ​help​ ​of professionally-​designed​ ​sets​ ​and​ ​assistance​ ​from​ ​trained​ ​production​ ​crews​ ​provided​ ​by​ ​the​ ​team​ ​at YouTube​ ​Space,​ ​creators​ ​will​ ​be​ ​invited​ ​to​ make "​epic"​ ​female-driven​ ​comedy​ ​videos​ ​over​ ​a 12-week​ ​period.
In​ ​2015,​ ​YouTube​ ​Space​ ​​launched​​ ​its​ ​first​ ​initiative​ ​to​ ​spotlight​ ​creators​ ​who​ ​catalyze​ ​​more​ ​female-driven content​​ ​on​ ​YouTube​ ​for​ ​global​ ​audiences​.​​​ ​This​ ​year’s​ ​program​ is​ ​a​ ​continuation​ ​of​ ​those efforts.​
YouTube Space, Elizabeth Banks and her ​​WhoHaHa digital​ ​media​ ​company are teaming on an initiative designed ​to​ ​empower​ ​women​ ​around​ ​the​ ​world​ ​through​ ​comedy.​ ​​The global production program will be launched by the partners at YouTube​ ​Space outposts for creators​ ​in​ ​LA,​ ​New​ ​York,​ ​Toronto,​ ​Rio,​ ​Paris,​ ​Berlin, London,​ ​Tokyo,​ ​and​ ​Mumbai​ ​with the aim of supporting​ ​female​ ​storytellers​ ​on​ ​YouTube​ ​who use​ ​comedy​ ​as​ ​a​ ​platform​ ​for​ ​opportunity​ ​and​ ​change. The​ ​program​ ​launches​ ​today​ ​(see Banks introduce it in the video above).

LCD Soundsystem – ​call the police Lyrics

We all, we all, we all, we all know this is nothing
We all, we all, we all, we all know this is nothing
We all, we all, we all, we all know this is nothing
This is nowhere
We all, we all, we all, we all know this is nowhere
There is no one
Here

It moves like a virus and enters our skin
The first sign devises, the second is moving to Berlin
But that’s not the state I’m in
The air is thin but that’s not the state

The old guys are frightened and frightening to behold
Their heads come out fighting and still doing what they’re told
But you’re waking a monster that will drive you from your orioles of gold
And your body will get caught

And we don’t waste time with love
It’s just death from above

Your head is on fire, your hands are getting weak
We all, we all get stupid in the heat
You’ve basted your brains with the shatter and defeat up on the street
And this is nowhere
ADVERTISEMENT

The early years were boring
The quiet, unhappy home
See mother was a cripple and my father was a drunk but gentle man
So we do the best we can

The is the plan
Where you’ll make ’em like a man

‘Cause we don’t waste time with love
Yeah, we don’t waste time with love
It’s just a push and a shove

Well, there’s a full-blown rebellion but you’re easy to confuse
By triggered kids and fakers and some questionable views
Oh, call the cops, call the preachers!
Before they let us and they lose

When oh, we all start arguing the history of the Jews
You got nothing left to lose
Gives me the blues

And we don’t waste time with love
And we don’t waste time with love

So call the police
Yeah, call the police
Yeah, call the police
Yeah, call the police
Yeah, call the police
Yeah, call the police
Just text the cops
Yeah, call the police
You’re crazy, man
Yeah, call ’em up
Just call the police
The first in line
They’re gonna [?]

Musicals – Chess – Embassy Lament lyrics

Embassy Officials:
Oh, my dear how boring,
He’s defecting
Just like all the others,
He’s expecting
Us to be impressed
With what he’s done here,
But he hasn’t stopped
To think about the paperwork
His gesture causes–
We’ve an embassy to run here.

If these people can’t strike
Blows for freedom
With a valid visa,
We don’t need ’em.
If we seem offhand
Then please remember
This is nothing very special
He’s the fourth we’ve had
Since last November.
Who do these foreign
Chappies think they are?

Official #1:
And when he’s safely in the West
He’ll be the hero to discuss.
The media will lionize him,
Fame and fortune plus,

Officials:
No-one will recall it’s
Thanks to us.

Official #1: [Spoken]
You have a wife?

Anatoly: [Spoken]
Yes.

Official #3: [Spoken]
You have two children?

Anatoly: [Spoken]
Yes.

Official #2: [Spoken]
And they’re not coming with you?

Anatoly: [Spoken]
No, not for the moment.

Official #4: [Spoken]
You play chess. You are good at it?
[Official #3 whispers in #4’s ear]
Oh. I hear you’re world champion.

Anatoly: [Spoken]
Since yesterday.

Officials: [Spoken]
That’s still good.
[Sung]
Have you an appointment
With the consul?
If you don’t
We know what his
Response’ll be,
He will not see you–
With respect it buggers up
His very taxing schedule,
Pushing peace and understanding.
Let us hope this won’t affect it.

Far too many joker
Cross the border,
Not a single
Document in order.
Russia must be empty
Though we’re all for
Basic human rights,
It makes you wonder,
What they built the Berlin wall for
Who do these foreign
Chappies think they are?

And when you’ve
Filled in all the forms,
And been passed
Clear of all disease,
Debriefed, debugged,
Dedrugged, disarmed,
And disinfected, please
Don’t forget the guys
Who cut your keys.

Alvarez Kings – Postcards From Berlin (Somewhere Between Album)

Soon enough
We will reach our destination
What a rush

Blurry eyed no time to climatize our minds
Hit highs and lows we’re comin’ down
And holding on
Never ever wanna let go.

Soon enough
We will reach our destination
What a rush
Blurry eyed no time to climatize our minds
Hit highs and lows we’re comin’ down
And holding on
Never ever wanna let go.

But you, you, you didn’t know
I was out in the cold
But you were never patient for my calls
Unlock the door to nobody else
You, you, you didn’t know
I was out of control
But you were never patient for my calls
Unlock the door to nobody else

To think of me and help you sleep
I’ll send a postcard every week
When you’re hurting I hope you get my
Postcard from Berlin
And you are smiling

Soon enough
We will reach our destination What a rush
Never ever wanna let go.

But you, you, you didn’t know
I was out in the cold
But you were never patient for my calls
Unlock the door to nobody else
You, you, you didn’t know
I was out of control
But you were never patient for my calls!

To think of me, and help you sleep
I’ll send a postcard every week
When you’re hurting I hope you get my
Postcard from Berlin
Remember me, don’t forget me…
I, will drink myself to sleep
Don’t forget me and I will see
Your face in every girl I meet

To think of me and help you sleep
I’ll send a postcard every week
When you’re hurting I hope you get my
Postcard from Berlin
Remember me, remember me
I will drink myself to sleep
Don’t forget me and I will see
Your face in every girl I meet

Ya salam – Kurdo songtexte

Songtexte Kurdo – Ya salam

Sonnenbrille so wie Stevie Wonder.
Jeden tag ist jetzt sonntag.
Links, rechts so wie Van Damme.
Rek digi digi bom boom.
Mit dem gang and the minibar.(ya salam)

Amsterdam, ya salam, ya salaaam.
Paris, yaaa salam, ya salaaam.
Berlin, yaa salam, ya salaaam.
Versuri-lyrics.info
Bruxelles, yaaa salam, ya salaaam.
Frankfurtm yaaa salam, ya salaaam.
Hamburg, yaaa salam, ya salaaam.
Kurdo songtexte
Video Salam

Gold – Liohn lyrics

Lyrics Liohn – Gold

You are like the beach with no ocean
Like Jay without Beyonce
You are like a party that’s okay
You’re like fifty shades without grey
You’re like getting drunk up in Amsterdam
Like Obama saying, “No, we can’t”
I don’t really know why I give a damn
But you’re still on my mind and I don’t understand.(gold)

Boy I want you here when you’re no good
I don’t really know-oh-oh
If only you could see what I could
Turn us into go-o-old
Turn us into, turn us into go-o-old
Turn us into, turn us into go-o-old.

You are like Holly, with no wood in
Like Phelps if he couldn’t swim
You are like tonic with no gin
Like a hipster without Berlin
You are like Bieber before the hype began
Like Obama saying, “No we can’t”
I don’t really know why I give a damn
But you’re still on my mind and I don’t understand.

Boy I want you here when you’re no good
I don’t really know-oh-oh
If only you could see what I could
Turn us into go-o-old versuri-lyrics.info
Turn us into, turn us into go-ooo-old
Turn us into, turn us into go-ooo-old
Turn us into, turn us into go-ooo-old
Turn us into, turn us into go-ooo-old.

Even though I really should
I knew that I never would
I can’t seem to let you go
Turn us into, turn us into go-o-old
Even though I really should
I knew that I never would
I can’t seem to let you go
Turn us into, turn us into go-o-old.

Boy I want you here when you’re no good
I don’t really know-oh-oh
If only you could see what I could
Turn us into go-o-old
Turn us into, turn us into go-o-old
Turn us into, turn us into go-o-olddd.
Liohn lyrics
Video Liohn

Drake & Giggs – Whippin’ Excursion (At The O2 Arena London) (Live)

[Intro]
(Beam me up Scotty)

[Verse]
Whippin’ excursion
Oh shit, I’ve gotta pick up that person
In the trap house, whipping that work and
You’re not a gangster, you’re just an internet version
Whippin’ that wurzel
You know me, I’ve got the littlest circle
Mrs in the crib, you know I’m keeping that fertile
We don’t take pictures, you know I’m keeping that personal
White so clean, you know I’m flipping that Persil
Soon be the million dollar man, like I’m living with Virgil
Real shit, seen a little rehearsal
Big gun like Rick, it’s like I’m living with Hershel
Gangster, gangster
I’m with Lisa and Jackie, grab Samantha
Little bit of Drake and brang that Sampha
I’m the darkest, rap Black Panther
Man don’t powder, and I doubt man pamper
Man are real badman, unnu dat man stand for
I’m in an HSB, I went and bucked one banker
A lot of man play Ken, but man ah badman Blanka
Grab it and swerve it, turn it, grab it and burn it
Banging that Kermit, you gotta grab it and firm it
Banging that German whip, slanging that Sherman
If man has to burn then fuck it, I’m grabbing that burner
I just linked up with Buck and I’m with Alex in Berlin
Gravity surfing, cavities hurting
Man of no mercy, man have been murking
Man are just actors, man are rehearsing
And man was all talking
Now man are reverting
And now man are converting

The Weeknd – When I (Pullin’ Up Demo) (The Xo Tapes B-Sides Album)

[Verse 1]
I don’t really know, when I know you’re saying
I’ve been living down, every note you’re saying
I don’t mean enough, but I know you’re saying
I’ve been taking all you know, but I know you’re saying
Ooh when I know you said
Ooh when I know you say

[Hook]
Tell them all to wait inside, when I’m pullin’ up
Tell them all to wait inside, when I’m pullin’ up
When I’m pullin’ up, when I’m pullin’ up
When I’m pullin’ up
When I’m pullin’ up, when I’m pullin’ up
When I’m pullin’ up

[Verse 2]
I don’t really know, when I know you’re saying
I’ve been living down, every note you’re saying
I don’t mean enough, but I know you’re saying
I’ve been taking all you know, but I know you’re saying
Ooh when I know your said (say)
Ooh when I know you say (Ohh, baby)

[Hook]
Tell them all to wait inside, when I’m pullin’ up
Tell them all to wait inside, when I’m pullin’ up
When I’m pullin’ up, when I’m pullin’ up
When I’m pullin’ up
When I’m pullin’ up, when I’m pullin’ up
When I’m pullin’ up

[Verse 3]
I was posted up in Berlin when you called me
It was early, yeah
I just got that picture that you texted
You look ready, girl don’t tempt me
I’m flying down, to shut it down
You tryna buy your ticket to me, [?]
Seems like my name, but I hide that shit around
Whatever makes you feel like you the baddest bitch around
I know that your other man, got feelings for you
Well now that I’m calling back, what you got is through
And I want to know you bae, are naughty
And don’t say nothing babe, to nobody
I make it to [?], she gave her selfie
I make it to [?], I know you gon’ be
I made it to tomorrow bitch
I make it to pussy
I made this song
I don’t be on, shut the fuck up

[Hook]
Tell them all to wait inside, when I’m pullin’ up
Tell them all to wait inside, when I’m pullin’ up
When I’m pullin’ up, when I’m pullin’ up
When I’m pullin’ up
When I’m pullin’ up, when I’m pullin’ up
When I’m pullin’ up