Music
- David Bowie's 1987 song "Time Will Crawl" was inspired by the disaster.
- The Japanese punk band The Blue Hearts' song "Chernobyl", on their 1988 single "Blue Hearts Theme", was written in protest of nuclear power. The band's record label at the time had ties to the nuclear industry, thus the group left the label to release the song.
- "Mayday in Kiev", a song by Watchtower on their 1989 album Control and Resistance. The song title is a pun on the May Day celebrations, which were held in the Ukrainian capital Kiev only days after the explosion as if nothing had happened, and the emergency signal Mayday.
- The German electronic band Kraftwerk mentions Chernobyl at the beginning of their 1991 remix of their song "Radioactivity", released on the album The Mix. Chernobyl is mentioned along with other places of nuclear incidents and accidents, such as Harrisburg, Sellafield and Hiroshima. The names were included in the remix of the song because some critics had found the original version of the song to be too optimistic towards nuclear energy.
- The music video for the 2007 song "What We Made" by British rapper Example is shot on location at Pripyat, focusing on some parts of the city that has been greatly affected by the disaster.
- The song "Spam" by the band Save Ferris claims that the product is made in Chernobyl, to rhyme with the line, "It's pink and it's oval."
- Crossover thrash band Municipal Waste wrote a song entitled "Wolves of Chernobyl," which was about the effects of the fallout, on their 2009 album Massive Aggressive.
- "Nuclear Sun" an album of the Catalan neo-classical band "Der Blaue Reiter" is a musical interpretation of the disaster.
- The Catalan neo-classical band "Der Blaue Reiter" have dedicated an entire album "Nuclear Sun - Chronicle Of A Nuclear Disaster" to the Chernobyl disaster.
Read more about this topic: Cultural Impact Of Chernobyl Disaster
Famous quotes containing the word music:
“If mass communications blend together harmoniously, and often unnoticeably, art, politics, religion, and philosophy with commercials, they bring these realms of culture to their common denominator—the commodity form. The music of the soul is also the music of salesmanship. Exchange value, not truth value, counts.”
—Herbert Marcuse (1898–1979)
“It is hard to describe the thrill of creative joy which the artist feels when the conviction seizes her that at last she has caught the very soul of the character she wishes to portray, in the music and action which reveal it.”
—Maria Jeritza (1887–1982)
“During the cattle drives, Texas cowboy music came into national significance. Its practical purpose is well known—it was used primarily to keep the herds quiet at night, for often a ballad sung loudly and continuously enough might prevent a stampede. However, the cowboy also sang because he liked to sing.... In this music of the range and trail is “the grayness of the prairies, the mournful minor note of a Texas norther, and a rhythm that fits the gait of the cowboy’s pony.””
—Administration in the State of Texa, U.S. public relief program (1935-1943)