E Jay Maminho

Oh, man...Dearly
20/04/2026

Oh, man...

Dearly

ANY1 ELSE MISS OBAMA - PRESS LIKE IF YES

This is a black, black, blackity black 😁Smiješan je Jamie od palca do šilterice.
15/04/2026

This is a black, black, blackity black 😁

Smiješan je Jamie od palca do šilterice.

...

Je li Vam ovo jedan od najboljih, zapravo iznenađujućih guest sola u povijesti rock glazbe, ako imate bolji, atraktivnij...
14/04/2026

Je li Vam ovo jedan od najboljih, zapravo iznenađujućih guest sola u povijesti rock glazbe, ako imate bolji, atraktivniji, u smislu da ga dogovoreno njegov čovjek pridrži da bi mogao jedan dio solirati u neprirodno nagnutom položaju, a da nakon završetka istog baci gitaru u zrak i publiku (naravno svom tipu, jer taj custom Fender je obožavao i najbolja soliranja u ovom, ali i drugim stilovima su uvijek na njemu 🤷) da je solo live izveden, i na neki već ultra poznati standard, stavite u komentar!

Hvala!!!

Bit će mi drago ako imate bolji, užasno. Naučiti ću nešto.

2021 Remastered Edit: Tom Petty, Jeff Lynne, Steve Winwood, Dhani Harrison & Prince pay tribute to George Harrison at the 2004 Induction Ceremony

Goodbye my English friend!🤷❤️EC, legend.
16/03/2026

Goodbye my English friend!

🤷❤️

EC, legend.

Super Hilarious Story of Liam Gallagher recruiting Eric Cantona for Liam Gallagher's Once music video.Reposted ...

"I have best words".Yeah. We know.
11/03/2026

"I have best words".

Yeah. We know.

08/03/2026

🌹 Sretan Dan žena!

Danas slavimo žene koje su mijenjale svijet – i one koje su mijenjale glazbu.
Jedna od njih je i Gillian Gilbert, ključna članica New Order i polovica projekta The Other Two.

Njezin doprinos zvuku New Ordera često se podrazumijeva, ali bez Gillian mnoge stvari koje danas smatramo temeljem moderne elektronike i synth-popa jednostavno ne bi zvučale isto.

Od hipnotičnih klavijatura i sekvenci u The Perfect Kiss, pa sve do brojnih tekstura koje su definirale njihov spoj post-punka, elektronike i plesne glazbe — Gillian je bila jedan od tihih arhitekata zvuka benda koji je promijenio povijest popularne glazbe.

Ako tražimo paralelu bliže nama, na prostoru bivše Jugoslavije to je bila Margita Stefanović iz Ekatarina Velika — Magi.

Za naše uvjete jednako ključna i vizionarska figura.

Ali kad pogledamo globalno, utjecaj Gillian Gilbert proteže se od klubova Manchestera do plesnih podija cijelog svijeta.

🎹 Bez tih klavijatura mnoge generacije ne bi plesale na isti način.
Sretan Dan žena svim ženama koje stvaraju, mijenjaju, inspiriraju – u glazbi i izvan nje. ✨

Sad još s Verom Rubin u Čileu, gledamo nebo kao nikad prije, a Rubin i zapaža tisuće promjena svakodnevno i bilježi i vr...
07/03/2026

Sad još s Verom Rubin u Čileu, gledamo nebo kao nikad prije, a Rubin i zapaža tisuće promjena svakodnevno i bilježi i vremenom će pregledati i zabilježiti cijelo nebo.

Webb g***a sve u drugoj frekvi, infracrvenoj i zato:

James Webb Space Telescope vidi puno dalje zato što promatra infracrveno zračenje (infrared), a ne vidljivu svjetlost kao klasični teleskopi.

Frekvencije / valne duljine
Webb radi otprilike u području:

0.6 – 28 mikrometara (µm) valne duljine
to odgovara frekvencijama približno 10¹³ – 5×10¹⁴ Hz

To pokriva:
bliski infracrveni dio (near-infrared)
srednji infracrveni dio (mid-infrared)

Zašto tako vidi dalje

Tri glavna razloga:
Crveni pomak (redshift)
Svjetlost iz vrlo udaljenih galaksija rastezanjem svemira prelazi iz vidljivog u infracrveno područje.
Probijanje kroz kozmičku prašinu
Infracrvene valne duljine lakše prolaze kroz oblake plina i prašine, gdje nastaju zvijezde.

Hladni objekti zrače infracrveno
Planeti, protozvijezde i mnoge strukture svemira emitiraju najviše upravo u infracrvenom spektru.
Kako dobivamo “normalne slike”
Detektori na Webbu mjere intenzitet infracrvene svjetlosti u različitim filtrima.

Znanstvenici zatim:
svakoj infracrvenoj valnoj duljini dodijele vidljivu boju
kombiniraju ih u false-color sliku

Zato JWST fotografije izgledaju spektakularno — to su prevedene infracrvene informacije u vidljivi spektar.

Zašto tako daleko i kako točno:

How the James Webb Space Telescope can see almost to the beginning of the Universe

One of the reasons the James Webb Space Telescope is such a revolutionary instrument is that it observes the Universe primarily in infrared light, not visible light.

When the first galaxies formed, their light was mostly emitted in ultraviolet and visible wavelengths. But during the 13+ billion years it takes that light to reach us, the expansion of the Universe stretches those wavelengths — a phenomenon known as redshift.

So the light that originally left those galaxies as ultraviolet or visible light arrives today shifted into the infrared. That’s exactly the range Webb is designed to observe.

There is also the simple but mind-bending fact that looking far away means looking back in time. If a galaxy is 13 billion light-years away, the light we see today actually left that galaxy 13 billion years ago. In other words, Webb is literally showing us what the Universe looked like when it was only a few hundred million years old.

Some of the galaxies Webb has already detected have redshifts around z ≈ 13–15, which means we are seeing them when the Universe was only 300–400 million years old — roughly 2–3% of its current age.

But to detect that extremely faint infrared light, Webb itself must be incredibly cold. If the telescope were warm, its own heat would glow in infrared and completely blind its detectors.

That’s why Webb carries its enormous five-layer sunshield, about the size of a tennis court. It permanently blocks light and heat from the Sun, Earth and Moon, cooling the telescope passively down to about 40 Kelvin (−233°C).

One of its instruments, MIRI (Mid-Infrared Instrument), has to go even colder — about 7 Kelvin (−266°C) — and uses a special cryocooler system to reach those temperatures.

Combined with Webb’s 6.5-meter segmented mirror and extremely sensitive infrared detectors (NIRCam, NIRSpec and MIRI), the telescope can capture unimaginably faint signals that have travelled across the Universe for more than 13 billion years.

Webb also uses another cosmic trick: gravitational lensing. Massive galaxy clusters bend space-time and act like natural magnifying glasses, allowing Webb to detect galaxies that would otherwise be far too faint.

The result is something that still feels almost unreal: images filled with galaxies whose light began its journey near the dawn of the Universe itself.

Yeah, right.That's not a fair question.I'm a professional radio and club DJ for so many years I'd rather not even mentio...
07/03/2026

Yeah, right.

That's not a fair question.

I'm a professional radio and club DJ for so many years I'd rather not even mention the number 😂

Anyway, when my boss recently asked everyone to send their TOP 10 albums of a lifetime for his great show Drive, I was probably the only one who didn't respond.

Because that kind of list would give me a nervous breakdown. It would change every couple of days — some albums would get in, some would fall out.

But when it comes to movies — especially from one of my favourite directors, Stanley Kubrick — that's an even harder question.

Back in former Yugoslavia (and yes, I'm writing this from Zagreb), A Clockwork Orange was censored and quickly pulled from distribution because of its controversial violence. Kubrick was famously protective of his work, and after that situation he essentially stopped allowing his films to be screened there for a period of time.

So only for today, because of that strange bit of history, I'll pick The Shining (1980).

I remember waiting years for that film to finally arrive. While waiting, I immediately bought the newly published novel by Stephen King and read it before seeing the movie.

Also — I'm a bit of a DP freak when it comes to cinematography. Kubrick was the ultimate control-freak auteur and constantly pushed technical boundaries. The Shining was one of the first major films to truly showcase the Steadicam — those legendary tracking shots through the Overlook Hotel corridors and behind Danny’s tricycle are still hypnotic.

And of course the famous hedge maze at the end. That sequence would hardly be possible — or at least never that effective — without the freedom of the Steadicam following the characters through the labyrinth.

For a kid from Zagreb obsessed with music, cinema and gear… that was pure magic in my head — even before I actually saw the film on a pirate VHS copy.

Kubrick probably wouldn't have approved of that part. But somehow I think he would understand the obsession.

One film stays. The others go.

Which Kubrick film are you keeping?

07/03/2026

Dovoljno je reći samo Stanley i odmah će se znati na koga mislite.

Najveći.

Ovo sam napisao u komentarima ispod statusa ispod gdje od svih plakata/filmova izaberem samo jadan, jer sutra bi to mogao biti Barry ili neki drugi dan, ovih dana je čak i Eyes Wide Shut nevjerojatno, nažalost, aktualan.

That's not a fair question.

I'm a professional radio and club DJ for so many years I'd rather not even mention the number 😂

Anyway, when my boss recently asked everyone to send their TOP 10 albums of a lifetime for his great show Drive, I was probably the only one who didn't respond.

Because that kind of list would give me a nervous breakdown. It would change every couple of days — some albums would get in, some would fall out.

But when it comes to movies — especially from one of my favourite directors, Stanley Kubrick — that's an even harder question.

Back in former Yugoslavia (and yes, I'm writing this from Zagreb), A Clockwork Orange was censored and quickly pulled from distribution because of its controversial violence. Kubrick was famously protective of his work, and after that situation he essentially stopped allowing his films to be screened there for a period of time.

So only for today, because of that strange bit of history, I'll pick The Shining (1980).

I remember waiting years for that film to finally arrive. While waiting, I immediately bought the newly published novel by Stephen King and read it before seeing the movie.

Also — I'm a bit of a DP freak when it comes to cinematography. Kubrick was the ultimate control-freak auteur and constantly pushed technical boundaries. The Shining was one of the first major films to truly showcase the Steadicam — those legendary tracking shots through the Overlook Hotel corridors and behind Danny’s tricycle are still hypnotic.

And of course the famous hedge maze at the end. That sequence would hardly be possible — or at least never that effective — without the freedom of the Steadicam following the characters through the labyrinth.

For a kid from Zagreb obsessed with music, cinema and gear… that was pure magic in my head — even before I actually saw the film on a pirate VHS copy.

Kubrick probably wouldn't have approved of that part. But somehow I think he would understand the obsession.

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