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LINKEDIN ADVERTISING: LEAD GENERATION

Here's what we know about LinkedIn Lead Gen Forms:

Function:

They are essentially pre-formatted pop-up forms that integrate with your LinkedIn ad campaigns.

When a user clicks on your ad, the lead gen form appears, pre-filled with their LinkedIn profile information (name, email, company, etc.) This makes it easier and faster for users to submit their lead information.

Benefits:

Increased Lead Quality: By pre-filling information, lead gen forms reduce friction and encourage more qualified leads to submit their details since they don't need to type everything in manually.

Improved User Experience: The pre-filled forms create a smoother user experience, making it more likely for potential customers to engage with your ad.

Targeted Campaigns: You can tailor the lead gen forms to capture specific information relevant to your campaign goals.

Data Collection: Leads are automatically collected and stored within LinkedIn's Campaign Manager, making it easy to access and manage your leads.

Additional Points:

Cost-Effective: LinkedIn Lead Gen Forms can be a cost-effective way to generate leads compared to traditional methods like landing pages, as they reduce drop-off rates during the lead capture process.

Analytics & Tracking: You can track the performance of your lead gen forms, including metrics like form fill rates and cost per lead, allowing you to optimize your campaigns for better results.

Integration: Lead gen forms can integrate with your CRM or marketing automation tools, streamlining your lead nurturing process.

Overall, LinkedIn Lead Gen Forms are a valuable tool for B2B marketers looking to generate high-quality leads directly through their LinkedIn advertising campaigns.

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FINTECH SEO CONSULTANT

FINTECH SEO CONSULTANT

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NOSTALGHIA A film by Andrei Tarkovsky

The film is a slow-paced and meditative exploration of themes such as alienation, nostalgia, the nature of art and culture, and the search for meaning in life. Tarkovsky's use of long takes, evocative imagery, and symbolic elements creates a film that is both visually stunning and emotionally resonant.

One of the central themes of Nostalghia is the untranslatability of art and culture. Tarkovsky suggests that art is a unique expression of a particular culture and cannot be fully understood by those who are not part of that culture. This is reflected in the protagonist's struggle to connect with Italy and its culture, and in his growing nostalgia for Russia.

Another important theme in the film is the search for meaning in life. The protagonist is a writer who has lost his faith in art and his ability to communicate with others. He is also struggling with his own mortality. In Italy, he meets a madman (Erland Josephson) who claims to have found the answer to the meaning of life. The madman believes that the world can be saved if a single person is willing to sacrifice themselves for the sake of humanity.

While the protagonist is skeptical of the madman's claims, he is also drawn to his idealism. In the end, he is forced to make a difficult choice about whether or not to believe in the possibility of redemption.

Nostalghia is a complex and challenging film, but it is also a deeply rewarding one. It is a film that stays with you long after you have seen it, and it continues to resonate with audiences today.

In addition to the themes mentioned above, Nostalghia is also a film about the following:

The relationship between art and reality

The nature of memory and longing

The importance of home and homeland

The possibility of transcendence

Tarkovsky's film is a unique and deeply personal work that offers a profound meditation on the human condition.

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INTERLINKED

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K. Penderecki's "A Polish Requiem" is a large-scale choral and orchestral work that was first performed in 1984. The work is a setting of the traditional Latin texts of the Requiem Mass, but it also incorporates Polish folk music and other elements of Polish culture.

The work is in six movements, each of which is based on a different text from the Requiem Mass. The first movement, "Introitus," is a somber and reflective introduction. The second movement, "Dies irae," is a powerful and dramatic depiction of the Day of Judgment. The third movement, "Tuba mirum," is a more lyrical and contemplative movement. The fourth movement, "Mors stupebit," is a triumphant celebration of the Resurrection. The fifth movement, "Libera me," is a prayer for deliverance from eternal damnation. The sixth movement, "Pie Jesu," is a tender and moving plea for mercy.

"A Polish Requiem" is a challenging and demanding work, but it is also a deeply moving and powerful expression of grief and hope. The work is a testament to Penderecki's mastery of musical form and his ability to communicate complex emotions through music.

Some specific details about the work:

The work is scored for a large orchestra, including a full complement of brass and percussion, as well as a large choir.

The work is full of dramatic contrasts, from the quiet and reflective passages to the loud and dissonant passages.

The work incorporates elements of Polish folk music, such as the use of bagpipes and other traditional instruments.

The work is dedicated to the victims of the Holocaust and other atrocities.

"A Polish Requiem" is a significant work in the history of 20th-century music. It is a powerful and moving expression of grief and hope that continues to be performed and admired around the world.

Here is a more detailed description of each movement:

Introitus (Introduction)

The "Introitus" is a somber and reflective introduction to the work. The music is slow and quiet, with a simple melody in the choir. The movement is based on the Latin text "Requiem aeternam dona eis, Domine, et lux perpetua luceat eis." ("Grant them eternal rest, O Lord, and let light perpetual shine upon them.")

Dies irae (Day of Judgment)

The "Dies irae" is a powerful and dramatic depiction of the Day of Judgment. The music is loud and dissonant, with a driving rhythm. The movement is based on the Latin text "Dies irae, dies illa, solvet saeclum in favilla, teste David cum Sibylla." ("Day of wrath, that day shall dissolve the world in ashes, as David and the Sibyl foretold.")

Tuba mirum (The wondrous trumpet)

The "Tuba mirum" is a more lyrical and contemplative movement. The music is slow and peaceful, with a simple melody in the choir. The movement is based on the Latin text "Tuba mirum spargens sonum per sepulchra regionum, coget omnes ante thronum." ("The wondrous trumpet, scattering its sound through the tombs of the regions, will summon all before the throne.")

Mors stupebit (Death shall be astonished)

The "Mors stupebit" is a triumphant celebration of the Resurrection. The music is loud and joyful, with a triumphant melody in the choir. The movement is based on the Latin text "Mors stupebit et natura, cum resurget creatura, judicanti responsura." ("Death shall be astonished and nature, when the creature shall rise again, to answer the Judge.")

Libera me (Deliver me)

The "Libera me" is a prayer for deliverance from eternal damnation. The music is slow and pleading, with a simple melody in the choir. The movement is based on the Latin text "Libera me, Domine, de morte aeterna, in die illa tremenda." ("Deliver me, O Lord, from eternal death, on that terrible day.")

Pie Jesu (Pie Jesu)

The "Pie Jesu" is a tender and moving plea for mercy. The music is slow and peaceful, with a simple melody in the choir. The movement is based on the Latin text "Pie Jesu Domine, dona eis requiem sempiternam." ("Merciful Jesus, Lord, grant them eternal rest.")

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KOROWA BAR

The roots of the group Korowa bar go back to the early 1980s when guitarist Hrvoje Piletić Pile and Davor Gobac began to play music in Pile's basement. In addition to the two of them, Dražen Pencel Pink also participated in this attempt to create a band, playing bass guitar, Zdravko Ostojić Mark played drums, and Igor Zambelli Slojmun sang. However, Gobac soon left and formed Psihomodo pop, as did Mark, who started La Fortunjerose. Pile then invited Toma in Der Mühlen to join the band, playing guitar synthesizer. Mladen Smrekar wrote the first lyrics and also came up with the band's name, "Korowa Bar," after the milk bar from the cult novel "A Clockwork Orange" by Anthony Burgess, which may be better known to a wider audience by the Stanley Kubrick film of the same name. Thus, in early 1981, the band was ready to make its debut.

Additional details:

The band's name is a play on words, combining the Croatian word for "cow" (korova) with the English word "bar."

The band's music is a mix of punk rock, new wave, and electronic music.

Korowa bar was one of the most popular bands in Croatia during the 1980s.

The band released four studio albums, two live albums, and one compilation album.

Specific translation of key phrases:

"tamburati" - to play the tamburine

"uhvatio se" - to take up

"pjevao" - to sing

"oformio" - to form

"pokrenuo" - to start

"smislio" - to come up with

"kultni" - cult

"poznatija" - better known

"izlazak na scenu" - to make a debut

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ELECTRO ALTERNATIVE ROCK

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LAIBACH and Yugoslavia

LAIBACH is an industrial music group from Trbovlje, Slovenia. They formed in 1980 in the Socialist Federal Republic of Yugoslavia, and their early work was characterized by its use of totalitarian imagery and rhetoric, as well as its provocative and often controversial lyrics.

The group's name is a German transliteration of the Slovenian word "Ljubljana," the capital of Slovenia. The name was chosen as a way to challenge the Yugoslav government's efforts to suppress Slovenian culture and identity.

LAIBACH's early work was heavily influenced by the industrial music scene in England, but the group also drew inspiration from a wide range of other sources, including totalitarian regimes, religious extremism, and avant-garde art.

In 1983, LAIBACH released their debut album, Laibach. The album was a critical and commercial success, and it helped to establish the group as one of the leading industrial music bands in the world.

LAIBACH's music is often characterized by its use of distorted guitars, pounding drums, and electronic effects. The group's lyrics are often sung in German, but they also sing in Slovenian, English, and other languages.

LAIBACH's live shows are known for their elaborate stage productions, which often feature totalitarian imagery and symbolism. The group has been controversial throughout its career, but they have also been praised for their innovative music and their willingness to challenge the status quo.

In 1985, LAIBACH released their second album, Nova Akropola. The album was even more controversial than their debut, and it was banned in several countries.

In 1987, LAIBACH released their third album, Opus Dei. The album was a critical and commercial success, and it helped to cement the group's status as one of the leading industrial music bands in the world.

In 1989, LAIBACH released their fourth album, Let It Be. The album was a departure from the group's previous work, and it featured a more melodic and accessible sound.

In 1991, LAIBACH released their fifth album, Kapital. The album was a return to the group's more industrial sound, and it was praised for its dark and atmospheric sound.

In 1994, LAIBACH released their sixth album, NATO. The album was a controversial and provocative release, and it was banned in several countries.

In 1996, LAIBACH released their seventh album, Jesus Christ Superstars. The album was a concept album that explored the life and death of Jesus Christ.

In 2003, LAIBACH released their eighth album, WAT. The album was a return to the group's more industrial sound, and it was praised for its dark and atmospheric sound.

In 2006, LAIBACH released their ninth album, Volk. The album was a concept album that explored the themes of nationalism and populism.

In 2008, LAIBACH released their tenth album, Laibach: Live in Russia. The album was a live recording of a concert that the group performed in Moscow in 2008.

In 2012, LAIBACH released their eleventh album, Spectre. The album was a concept album that explored the theme of surveillance.

In 2014, LAIBACH released their twelfth album, The Sound of Music. The album was a cover album of songs from the musical The Sound of Music.

In 2018, LAIBACH released their thirteenth album, Also Sprach Zarathustra. The album was a concept album that was inspired by the work of Friedrich Nietzsche.

In 2021, LAIBACH released their fourteenth album, So Be It. The album was a return to the group's more industrial sound, and it was praised for its dark and atmospheric sound.

LAIBACH and Yugoslavia

LAIBACH's music was often controversial in Yugoslavia, and the group was frequently censored by the government. In 1983, the group was arrested and charged with sedition after they performed a concert in which they used Nazi imagery.

Despite the controversy, LAIBACH was a popular band in Yugoslavia, and they attracted a large following among young people. The group's music was seen as a way to express dissatisfaction with the Yugoslav government and its policies.

LAIBACH's Legacy

LAIBACH is one of the most influential industrial music bands of all time. The group's music has been praised for its originality, its innovation, and its willingness to challenge the status quo.

LAIBACH's music has also been criticized for its use of totalitarian imagery and rhetoric. However, the group has always argued that their use of these symbols

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I ONDA JE DOSAO JEDAN COVEK SA BALKANA...

Mitar Subotić Suba bio je srpski muzičar i kompozitor, pionir elektronske muzike na prostorima bivše Jugoslavije. Rođen je 23. juna 1961. godine u Novom Sadu, gde je diplomirao na Akademiji umetnosti, na odseku za kompoziciju i orkestraciju.

Suba je počeo da se zanima za elektronsku muziku još u tinejdžerskim godinama, pod uticajem nemačkog benda Kraftwerk i britanskog kompozitora Brajana Inoa. Nakon diplomiranja, odlazi u Radio Beograd na kurs elektronske muzike kog je držao britanski saksofonista Pol Pinjon. Tada otkriva sintisajzer koji će do kraja života biti njegov osnovni instrument.

Suba je svoju prvu ploču "Disillusioned" ("La Strada") objavio 1987. godine povodom trideset godina emitovanja emisije "Randevu s muzikom" Radio Novog Sada. Na ploči su učestvovali Milan Mladenović, Uroš Šećerov, Massimo Savić i Zoran Radomirović Švaba.

Uporedo sa eksperimentisanjem raznim zvukovima i stvaranjem ambijentalne muzike, Suba je bavio se i komponovanjem muzike za performanse. Naročito je dobro sarađivao s novosadskom umetnicom Linom Busov, s kojom je gostovao u Veneciji i Parizu.

Suba je tragično preminuo 2. novembra 1999. godine u São Paulu, u Brazilu, u trenutku kada je trebao da postane jedan od najistaknutijih brazilskih producenata.

Suba se smatra jednim od najvažnijih pionira elektronske muzike na prostorima bivše Jugoslavije. Njegova muzika je bila inovativna i originalna, a uticala je na generacije muzičara koji su došli posle njega.

Evo nekih od Subinih najpoznatijih albuma i singlova:

"Disillusioned" (1987)

"In The Mooncage" (1992)

"Angel's Breath" (1994)

"Sao Paulo Conffesions" (1999)

"Tanto Tempo" (1999)

"The Dreambird" (2000)

Suba poznat i kao "Gringo Paulista"

je ostavio značajan trag u srpskoj i svetskoj elektronskoj muzici. Njegova muzika je i dalje inspirativna i popularna, a njegova dela se redovno izvode na festivalima i koncertima širom sveta.