Camuz Musique Montréal

Burdel Dali on the front page of Camuz Musique Montréal!



They posted a whole gallery of the photos here.

DJ TouskiBurdel Dali CrewLa Fanfare JarryDJ Ira

Le party était pogné hier au Divan Orange! On a commencé dans la rue piétonne avec la Fanfare Jarry et leur son festif, qui a attiré plusieurs dizaines de personnes n’ayant pas peur de montrer leurs talents de danseurs! À l’intérieur, le Dj Touski nous attendait pour nous faire voyager en Europe de l’est avec ses mixs bulgares, serbes et ukrainiens. Le trio de DJ’s de la Burdel Dali Crew, venus de New-York, nous ont ensuite fait danser encore et encore avec leur mélange de folklore plein de beats, pendant que le VJ IRA nous en mettait plein la vue avec ses visuels rythmés venus d’ailleurs. La Fanfare Jarry nous a refait un autre bon show avant de terminer cette magnifique soirée gypsy!

Bogota on fire with Emir Kusturica

“Emir Kusturica and his band were greeted for the second time in Bogota by over a thousand people drunk with happiness on a memorable 27 of March.

What started as a tour full of cigarettes, beer, salsa dancing, traditional food, liquor and a visit to the football stadium of the city, became a performance with all the power of Eastern Europe, featuring an explosive presentation, closing with the irrepressible energy of these party animals. For two hours they shook the city with the anthems and chants all balkanistas long dream of witnessing .

“Bravo! ” Was the ovation given to the No Smoking Orchestra,  and rock band Burning Gypsy Caravan, who got the audience hot and ready for the final chaos.

This concert was definitely a great achievement for the Colombian Balkan scene, an audience of music lovers and night owls that has gown over the years, infecting them with the nostalgia of gypsy music that will continue traveling the world of fiery souls.”

By Doktor Chiflamikas, Translated by Raphlex. Doctor Chiflamicas is founder of The Folka Rumba and the Balkan scene in Colombia.


Photo: Fernanda Pineda.Amplificado TV | See more photos.


Via We Are Selecters: London based young photographer Max Montgomery is living the dream of working as the first assistant to renown photographer Rankin and has worked with Mario Testino. His hard work and patience looks like its paying off… recently, during one of Rankin’s journeys, Max documented the trip and has shared his photo diary with Rankin’s Hunger magazine. Max’s images of the Eastern giant, Russia, portray the reality of this city, … from cultural benchmarks to the Japanese tourists, a wedding party and a few interesting elderly people.

















Vote For The People’s Caravan!

Hey comrades, we’re asking you to take two clicks worth of your morning to vote for our friends from The People’s Caravan and their theme for Magneet Festival in the Netherlands. All you have to do is click this link and click once more to vote.

The founders of The People’s Caravan are currently in India spreading the news about their nomadic arts & culture project, and will be heading to Europe to do more of the same in the next couple weeks. We’ve had the pleasure of partying with them at a variety of wild events and sharing moments of music and festivity with them over the past few years, and we believe they can light a fire that will burn brightly enough for all who desire more creativity + inspiration in their lives. Right now they’re just trying to share the idea with as many people as they can, and Magneet Festival is one of their goals.


So once again, click this link and click once more to vote.

Thanks Burdelitos!



Happy International Women’s Day to all the truly international and trans-global (and beautiful) ladies of Burdel Dali, without whom we could not keep moving forward!

women's day


Our 2012 video xmas & holiday card has landed! Happy holidays to you and yours, and don’t forget to come dance with us this Thursday night. Who knows, it might be the last chance you get!

Tomorrow night, at Mehanata! Chico Teck is tag-teaming with Raphlex for some immigrant anthems & folk-dance face-off’s. Details & RSVP here.



☆ Yuri Yunakov & The Grand Masters of Gypsy Music

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Watch the Burdel familia’s 2012 xmas & holiday video below:

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๑۩๑ Watch our 2012 Promo video! ♪♪ ๑۩๑

Hosted by Mishka &

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…Life is short, wine is cheap, and history repeats itself.


Instead of hurricane babble, here’s a cool set of photos by a blogger we like.

Though, if you do feel like hurricationing, re-visit last year’s hurricane party in photos! This year we’re just holed up with some wine and watching the flood waters rise around us.

Source: Disarming Darling

Stay safe, East Coast!




Original article here.

Read the translators’ statements here.

On August 8th, the three members of Russian feminist punk band Pussy Riot delivered their closing statements at the Moscow Khamovniki District Court. Charged with “hooliganism motivated by religious hatred,” Maria Alyokhina, Yekaterina Samutsevich, and Nadezhda Tolokonnikova were first arrested on March 3, a day before the controversial re-election of Vladimir Putin. Meanwhile, they had committed their crime on February 21, when five members of Pussy Riot staged a guerrilla performance on the altar of the Cathedral of Christ the Savior in Moscow. For less than a minute, the women danced, singing “Our Lady, Chase Putin Out!” and crossing themselves until they were apprehended by security guards. If found guilty, they face three years in prison. 

In a country that was willing to sic its secular court on a “religious” cause, Pussy Riot are true revolutionaries. Nonetheless, it was not until they delivered these closing statements that their supporters—and opponents—heard what these three brave women stand for. Although they are being crushed in the jaws of the system—and know it!—their courage and steadfast sincerity are sufficient cause for (impossible) hope. If not for the Russian state, then at least for the Russian people.

—Bela Shayevich

Yekaterina Samutsevich

In the closing statement, the defendant is expected to repent, express regret for her deeds, or enumerate attenuating circumstances. In my case, as in the case of my colleagues in the group, this is completely unnecessary. Instead, I want to voice some thoughts about what has happened to us.

That Christ the Savior Cathedral had become a significant symbol in the political strategy of the authorities was clear to many thinking people when Vladimir Putin’s former [KGB] colleague Kirill Gundyayev took over as leader of the Russian Orthodox Church. After this happened, Christ the Savior Cathedral began to be openly used as a flashy backdrop for the politics of the security forces, which are the main source of political power in Russia.

Why did Putin feel the need to exploit the Orthodox religion and its aesthetic? After all, he could have employed his own, far more secular tools of power—for example, the state-controlled corporations, or his menacing police system, or his obedient judicial system. It may be that the harsh, failed policies of Putin’s government, the incident with the submarine Kursk, the bombings of civilians in broad daylight, and other unpleasant moments in his political career forced him to ponder the fact that it was high time to resign; that otherwise, the citizens of Russia would help him do this. Apparently, it was then that he felt the need for more persuasive, transcendent guarantees of his long tenure at the pinnacle of power. It was then that it became necessary to make use of the aesthetic of the Orthodox religion, which is historically associated with the heyday of Imperial Russia, where power came not from earthly manifestations such as democratic elections and civil society, but from God Himself.

How did Putin succeed in this? After all, we still have a secular state, and any intersection of the religious and political spheres should be dealt with severely by our vigilant and critically minded society. Right? Here, apparently, the authorities took advantage of a certain deficit of the Orthodox aesthetic in Soviet times, when the Orthodox religion had an aura of lost history, of something that had been crushed and damaged by the Soviet totalitarian regime, and was thus an opposition culture. The authorities decided to appropriate this historical effect of loss and present a new political project to restore Russia’s lost spiritual values, a project that has little to do with a genuine concern for the preservation of Russian Orthodoxy’s history and culture.

It was also fairly logical that the Russian Orthodox Church, given its long mystical ties to power, emerged as the project’s principal exponent in the media. It was decided that, unlike in the Soviet era, when the church opposed, above all, the brutality of the authorities toward history itself, the Russian Orthodox Church should now confront all pernicious manifestations of contemporary mass culture with its concept of diversity and tolerance.

Implementing this thoroughly interesting political project has required considerable quantities of professional lighting and video equipment, air time on national television for hours-long live broadcasts, and numerous background shoots for morally and ethically edifying news stories, where the Patriarch’s well-constructed speeches would in fact be presented, thus helping the faithful make the correct political choice during a difficult time for Putin preceding the election. Moreover, the filming must be continuous; the necessary images must be burned into the memory and constantly updated; they must create the impression of something natural, constant, and compulsory.

Our sudden musical appearance in the Cathedral of Christ the Savior with the song “Mother of God, Drive Putin Out” violated the integrity of the media image that the authorities had spent such a long time generating and maintaining, and revealed its falsity. In our performance we dared, without the Patriarch’s blessing, to unite the visual imagery of Orthodox culture with that of protest culture, thus suggesting that Orthodox culture belongs not only to the Russian Orthodox Church, the Patriarch, and Putin, but that it could also ally itself with civic rebellion and the spirit of protest in Russia.

Perhaps the unpleasant, far-reaching effect of our media intrusion into the cathedral was a surprise to the authorities themselves. At first, they tried to present our performance as a prank pulled by heartless, militant atheists. This was a serious blunder on their part, because by then we were already known as an anti-Putin feminist punk band that carried out its media assaults on the country’s major political symbols.

In the end, considering all the irreversible political and symbolic losses caused by our innocent creativity, the authorities decided to protect the public from us and our nonconformist thinking. Thus ended our complicated punk adventure in the Cathedral of Christ the Savior.

I now have mixed feelings about this trial. On the one hand, we expect a guilty verdict. Compared to the judicial machine, we are nobodies, and we have lost. On the other hand, we have won. The whole world now sees that the criminal case against us has been fabricated. The system cannot conceal the repressive nature of this trial. Once again, the world sees Russia differently than the way Putin tries to present it at his daily international meetings. Clearly, none of the steps Putin promised to take toward instituting the rule of law has been taken. And his statement that this court will be objective and hand down a fair verdict is yet another deception of the entire country and the international community. That is all. Thank you.

Translated by Chto Delat News 

See the rest below…

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