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Channel name was changed to «Sometimes Some Things Are Better Left Unknown, The Emotional Centre of Shinjuku Station by Hiro (1962)»

Channel name was changed to «betwixt souls who, though divided by custom, conviction, and circumstance, remain bound unto a common humanity.»

Channel name was changed to «Far beyond the theatre of warfare from whence it emerged, this composition concerneth itself with the lamentable estrangement—»

The work plays on subtle irony: the strike, usually associated with the world of industrial and working-class labor, is here transposed into the refined and elitist world of ballet. Through this contrast, Van Der Waay questions the universal dimension of rebellion and dignity in the workplace, whether among workers or artists. Ballerinas, often perceived as icons of grace and submission to the discipline of art, become figures of protest. They represent a femininity that is aware of its value, capable of saying no, and thus transforming the performance into a political act. The white tutu, a symbol of purity and innocence, becomes a symbol of collective power, of unity in resistance. The circle of tutus is no longer a choreography, but a social cohesion. The ballerinas appear as an allegory of female emancipation at the end of the 19th century, in a society where women are beginning to demand more rights

Nicolaas van der Waay (1855-1936), "Забастовка балерин" (1936).

Channel name was changed to «The echo of ivory keys beneath candlelit shadows; a sonata carried upon the evening air.»

Channel name was changed to «Magari.»