Featured early in an Apple TV 2023 documentary about Michael J. Fox...

"A Life of Illusion" is a song written by the American singer-songwriter and multi-instrumentalist Joe Walsh and guitarist Kenny Passarelli, which became a hit and one of Walsh's most recognizable songs. It appears as the fifth track on Walsh's fifth solo studio album, There Goes the Neighborhood (1981). The majority of the track was originally recorded in 1973 as part of The Smoker You Drink, the Player You Get sessions.

The song was a hit in the United States, peaking at #34 on the Billboard Hot 100, and also reaching #1 on the magazine's Top Tracks chart, where his former bandmates Don Henley and Glenn Frey would also score #1 hits.

In 2002, the Foo Fighters recorded a cover of the song as a B-side, which later appeared on their covers album Medium Rare in 2011

The song is used as the musical background to the opening scene in the film The 40-Year-Old Virgin (2005), and appears as the first track on the soundtrack album. It is also featured early in an Apple TV 2023 documentary about Michael J. Fox. The song is likewise referenced in author Rick Riordan's The Burning Maze (2018), the third book in The Trials of Apollo series.

Columbia Broadcasting System then and now
The Vietnam - Ukraine sync.

In trying to buff out the rough spots in the video editor I noticed Bob Dylan, the Counting Crows lyrics was the rug that really tied the room together...

Audio Buff and minor additions and subtractions
Research and content provided in part by the following:

Neil Young

The Counting Crows

Bob Dylan

440-432 Hz
Gary Lite
https://garylite.com/

https://www.youtube.com/@GaryLite

godgevlamste
https://www.youtube.com/@godgevlamste

The Autotune Ascension
Synchromysticism.
The greatest Hollywood theory ever told.
Home of Apophenia Productions.
https://www.youtube.com/@barelyHuman11

KALIYUGADAYS DeathCafe.com on Bitchute

and boxoffrogs for notes, timing and splicing...

"Shama Lama Ding Dong" is a song written by Mark Davis and performed by fictional band Otis Day and the Knights in the 1978 film National Lampoon's Animal House. Although Otis Day was portrayed by DeWayne Jessie in the film, the lead vocals were actually performed by Lloyd G. Williams, with backing vocals provided by Melvin Britt and Sidney Juston.

A version of the song, by beach music group Band of Oz, won People's Choice Song of the Year at the 1995 Carolina Beach Music Awards. It was also covered by John Mellencamp as the B-side of his 1987 single "Cherry Bomb."

The song was included on two albums by the University of California Men's Octet. It has also been performed and recorded by the Dartmouth Aires at Dartmouth College, the school on which Animal House was modeled.

National Lampoon was started by Harvard graduates and Harvard Lampoon alumni Doug Kenney, Henry Beard and Robert Hoffman in 1969, when they first licensed the "Lampoon" name for a monthly national publication. The Harvard Lampoon was established in 1876 and became a long-standing tradition of the campus, influencing the later National Lampoon Brand in its evolution from illustration-heavy publications to satirical wit, ranging from short fiction to comic strips. The magazine's first issue was dated April 1970 and went on sale on March 19, 1970. The company that owned the magazine was called Twenty First Century Communications.

After a shaky start for a few issues, the magazine rapidly grew in popularity. Like The Harvard Lampoon, individual issues had themes, including such topics as "The Future," "Back to School," "Death," "Self-Indulgence," and "Blight." The magazine regularly reprinted material in "best-of" omnibus collections. Its writers joyfully targeted every kind of phoniness, and had no specific political stance, even though individual staff members had strong political views.

Thomas Carney, writing in New Times, traced the history and style of the National Lampoon and the impact it had on comedy's new wave. "The National Lampoon," Carney wrote, "was the first full-blown appearance of non-Jewish humor in years—not anti-Semitic, just non-Jewish. Its roots were W.A.S.P. and Irish Catholic, with a weird strain of Canadian detachment. . . . This was not Jewish street-smart humor as a defense mechanism; this was slash-and-burn stuff that alternated in pitch but moved very much on the offensive. It was always disrespect everything, mostly yourself, a sort of reverse deism."

National Lampoon was an American humor magazine that ran from 1970 to 1998. The magazine started out as a spinoff from the Harvard Lampoon. National Lampoon magazine reached its height of popularity and critical acclaim during the 1970s, when it had a far-reaching effect on American humor and comedy. The magazine spawned films, radio, live theater, various sound recordings, and print products including books. Many members of the creative staff from the magazine subsequently went on to contribute creatively to successful media of all types.

During the magazine's most successful years, parody of every kind was a mainstay; surrealist content was also central to its appeal. Almost all the issues included long text pieces, shorter written pieces, a section of actual news items (dubbed "True Facts"), cartoons and comic strips. Most issues also included "Foto Funnies" or fumetti, which often featured nudity. The result was an unusual mix of intelligent, cutting-edge wit, combined with some crass, bawdy jesting. In both cases, National Lampoon humor often pushed far beyond the boundaries of what was generally considered appropriate and acceptable. It was especially anarchic, satirically attacking what was considered holy and sacred. As co-founder Henry Beard described the experience years later: "There was this big door that said, 'Thou shalt not.' We touched it, and it fell off its hinges." The magazine declined during the late 1980s and ceased publication in 1998.

National Lampoon was a monthly magazine for most of its publication history. Numerous "special editions" were also published and sold simultaneously on newsstands. Some of the special editions were anthologies of reprinted material; others were entirely original. Additional projects included a calendar, a songbook, a collection of transfer designs for T-shirts, and a number of books. The magazine sold yellow binders with the Lampoon logo, designed to store a year's worth of issues.

The original art directors were cartoonist Peter Bramley and Bill Skurski, founders of New York's Cloud Studio, an alternative-culture outfit known at the time for its eclectic style. Bramley created the Lampoon's first cover and induced successful cartoonists Arnold Roth and Gahan Wilson to become regular contributors.

Beginning with the eighth issue, the art direction of the magazine was taken over by Michael C. Gross, who directed the look of the magazine until 1974. text limit

"Can't You Hear Me Knocking" is a track by English rock band the Rolling Stones from their 1971 album Sticky Fingers. The track is over seven minutes long, and begins with a Keith Richards open-G tuned guitar intro. The main song lasts for two minutes and 43 seconds, after which it transforms into an extended improvisational jam. The entire track was captured in one take, with the jam being a happy accident; the band had assumed the tape machine had been stopped, and were surprised to find the entire session had been captured. Originally they were going to end the song before the jam started, but were so pleased with the jam that they decided to keep it in. Besides the regular Rolling Stones members Mick Jagger (vocals), Keith Richards (guitar), Mick Taylor (guitar), Charlie Watts (drum), and Bill Wyman (bass), the track also features conga player Rocky Dijon, saxophonist Bobby Keys, organist Billy Preston and additional percussion by producer Jimmy Miller.

The track featured Rocky Dijon on congas; tenor saxophonist Bobby Keys performs an extended saxophone solo over the guitar work of Richards and Mick Taylor, punctuated by the organ work of Billy Preston. At 4:40 Taylor takes over from Richards and carries the song to its finish with a lengthy guitar solo.

Richards described writing the guitar riff:

"Can't You Hear Me Knocking" came out flying – I just found the tuning and the riff and started to swing it and Charlie picked up on it just like that, and we're thinking, hey, this is some groove. So it was smiles all around. For a guitar player it's no big deal to play, the chopping, staccato bursts of chords, very direct and spare.

In 2002, Richards commented on the recording:

The jam at the end wasn't inspired by Carlos Santana. We didn't even know they were still taping. We thought we'd finished. We were just rambling and they kept the tape rolling. I figured we'd just fade it off. It was only when we heard the playback that we realised, Oh, they kept it going. Basically we realised we had two bits of music. There's the song and there's the jam.

Taylor recalled in a 1979 interview:

"Can't You Hear Me Knocking" ... is one of my favourites ... [The jam at the end] just happened by accident; that was never planned. Towards the end of the song I just felt like carrying on playing. Everybody was putting their instruments down, but the tape was still rolling and it sounded good, so everybody quickly picked up their instruments again and carried on playing. It just happened, and it was a one-take thing. A lot of people seem to really like that part.

Taylor added, "I used a brown Gibson ES-345 for 'Dead Flowers' and the solo on 'Can't You Hear Me Knocking'."

Jagger noted in the Spotify Landmark interview on the album that the key was too high for his voice and that "I [did] lots of vocals, harmonies to sort of hide the fact that I didn't really hit the notes that great in the chorus bits."

"Can't You Hear Me Knocking"
album: "Sticky Fingers" (1971)

Yeah, you got satin shoes
Yeah, you got plastic boots
Y'all got cocaine eyes
Yeah, you got speed-freak jive now

Can't you hear me knockin' on your window?
Can't you hear me knockin' on your door?
Can't you hear me knockin' down your dirty street, yeah?

Help me baby, ain't no stranger
Help me baby, ain't no stranger
Help me baby, ain't no stranger

Can't you hear me knockin', ah, are you safe asleep?
Can't you hear me knockin', yeah, down the gas light street, now
Can't you hear me knockin', yeah, throw me down the keys
Alright now

Hear me ringing big bell tolls
Hear me singing soft and low
I've been begging on my knees
I've been kickin', help me please

Hear me prowlin'
I'm gonna take you down
Hear me growlin'
Yeah, I've got flatted feet now, now, now, now

Hear me howlin'
And all, all around your street now
Hear me knockin'
And all, all around your town

Rasputin
Boney M.
Written by: Frank Farian, Fred Jay, Reyam
Album: 50 Hits
Released: 2016

There lived a certain man in russia long ago
He was big and strong, in his eyes a flaming glow
Most people looked at him with terror and with fear
But to moscow chicks he was such a lovely dear
He could preach the bible like a preacher
Full of ecstacy and fire
But he also was the kind of teacher
Women would desire

Ra ra rasputin
Lover of the russian queen
There was a cat that really was gone
Ra ra rasputin
Russia's greatest love machine
It was a shame how he carried on

He ruled the russian land and never mind the czar
But the kasachok he danced really wunderbar
In all affairs of state he was the man to please
But he was real great when he had a girl to squeeze
For the queen he was no wheeler dealer
Though she'd heard the things he'd done
She believed he was a holy healer
Who would heal her son

Ra ra rasputin
Lover of the russian queen
There was a cat that really was gone
Ra ra rasputin
Russia's greatest love machine
It was a shame how he carried on

But when his drinking and lusting and his hunger
For power became known to more and more people,
The demands to do something about this outrageous
Man became louder and louder.

"This man's just got to go!
" Declared his enemies
But the ladies begged
"Don't you try to do it, please
No doubt this rasputin had lots of hidden charms
Though he was a brute they just fell into his arms
Then one night some men of higher standing
Set a trap, they're not to blame

"Come to visit us
" They kept demanding
And he really came

Ra ra rasputin
Lover of the russian queen
They put some poison into his wine
Ra ra rasputin
Russia's greatest love machine
He drank it all and he said
"I feel fine

Ra ra rasputin
Lover of the russian queen
They didn't quit, they wanted his head
Ra ra rasputin
Russia's greatest love machine
And so they shot him till he was dead

Oh, those Russians.

Elon's Rocket Assisted Balloon Company Ax-2 Mission

"Welcome to the Machine" is the second song on Pink Floyd's 1975 album Wish You Were Here. It features heavily processed synthesizers and acoustic guitars, as well as a wide range of tape effects. Both the music and the lyrics were written by bassist Roger Waters.

The track was built upon a basic throbbing sound made by an EMS VCS 3 followed by a one-repeat echo which Waters would have played originally on bass guitar. On the original LP, the song segued from the first 5 parts of the suite "Shine On You Crazy Diamond" and closed the first side. On the CD pressings, especially the 1997 and 2000 remastered issues, it segues (although very faintly) to "Have a Cigar". This segueing is a few seconds longer on the US version than the UK version. David Gilmour admitted that he had trouble singing one line of the song, saying, "It was a line I just couldn't reach, so we dropped the tape down half a semitone." He sang the part at a slightly lower pitch, and then the tape speed was raised back to normal.

Like many Pink Floyd songs, "Welcome to the Machine" features some variations in its metre and time signatures. Each bass "throb" of the VCS synthesizer is notated as a quarter note in the sheet music, and each note switches from one side of the stereo spread to the next. Although the introduction of the song (when the acoustic guitar enters) does not actually change time signatures, it does sustain each chord for three measures, rather than two or four, resulting in a nine-bar intro where an even number of bars might be expected.

The only time we've ever used tape speed to help us with vocals was on one line of the Machine song. It was a line I just couldn't reach so we dropped the tape down half a semitone and then dropped the line in on the track.
— David Gilmour, 1975, WYWH Songbook

It's very much a made-up-in-the-studio thing which was all built up from a basic throbbing made on a VCS 3, with a one repeat echo used so that each 'boom' is followed by an echo repeat to give the throb. With a number like that, you don't start off with a regular concept of group structure or anything, and there's no backing track either. Really it is just a studio proposition where we're using tape for its own ends -- a form of collage using sound.
— David Gilmour, 1975, WYWH Songbook

It's very hard to get a full synthesiser tone down on tape. If you listen to them before and after they've been recorded, you'll notice that you've lost a lot. And although I like the sound of a synthesiser through an amp, you still lose something that way as well. Eventually what we decided to do was to use D.I. on synthesiser because that way you don't increase your losses and the final result sounds very much like a synthesiser through a stage amp.
— David Gilmour, 1975, WYWH Songbook

Almost 10 years to the day since the release of The Dark Side Of The Moon, Pink Floyd’s album The Final Cut was released. A decade earlier, the material for Dark Side had been worked up thoroughly on the road, and all four band members had writing credits on the record. With The Final Cut, the group – a trio, following the sacking of keyboard player Rick Wright – had become, through default more than by design, a method of carriage for the words and music by de facto leader Roger Waters alone, with session musicians featured heavily throughout its recording.

The album had few discernible hooks, no standout commercial moment, and Floyd never played anything from it live. Initially that didn’t stop the Floyd juggernaut. Fans worldwide had been waiting three and a half years for a new album, their longest wait to date. And so, on its release in March 1983, The Final Cut became Pink Floyd’s first UK No.1 album since 1975’s Wish You Were Here. Rolling Stone gave it the full five stars, and suggested that it might be “art rock’s crowning masterpiece”.

But the juggernaut would soon jackknife. The Final Cut disappeared almost as soon as it arrived, leaving the album, a single and a 19-minute ‘video album’ as its only footprints. There were no promotional appearances, no group publicity photographs, no tour. But it soon became Exhibit A in the painful, public breakdown of one of the world’s biggest and most successful groups.

Through the fish-eyed lens of tear stained eyes
I can barely define the shape of this moment in time
And far from flying high in clear blue skies
I'm spiraling down to the hole in the ground where I hide

If you negotiate the minefield in the drive
And beat the dogs and cheat the cold electronic eyes
And if you make it past the shotgun in the hall
Dial the combination, open the priest hole
And if I'm in I'll tell you (what's behind the wall)

There's a kid who had a big hallucination
Making love to girls in magazines
He wonders if you're sleeping with your new found faith
Could anybody love him
Or is it just a crazy dream?

And if I show you my dark side
Will you still hold me tonight?
And if I open my heart to you
And show you my weak side
What would you do?
Would you sell your story to Rolling Stone?
Would you take the children away
And leave me alone?
And smile in reassurance
As you whisper down the phone?
Would you send me packing?
Or would you take me home?

Thought I oughta bare my naked feelings
Thought I oughta tear the curtain down
I held the blade in trembling hands
Prepared to make it but just then the phone rang
I never had the nerve to make the final cut

Original Content found here. https://youtu.be/8xHgSx7EN9w All credit to Original Poster Mind Unveiled I simply broke the video in two parts and tried some program magic to make it more user friendly. https://www.mindunveiled.com/ https://www.instagram.com/mindunveiled/ Email: [email protected] did I ask permission? No... I got pissed that a clickable link thumbnail did not transfer with the original post... so I had an aneurysm and did this...

from original post.

Welcome to BILTMORE UNVEILED Today, we have a really long video, really if you are planning on watching this quick trust me it will take a while but it’s worth it.

I feel this may be our biggest video, for lots of reasons, but it really can assist someone new to this subject to understand how we may have been lied to when it comes to who really built America and all these old world buildings.

We cover the history of the Robber Barons, specifically the VANDERBILTS, and their origins.

You will hear some things that they like to gloss over when it comes to mainstream history and biographies, but after bringing them back to light, we can then begin to question the entire story behind these wealthy New York Aristocrats.

Afterward, we learn about Asheville NC, there is a really interesting story on the origins of this town and how it is deeply connected with New York.

We essentially ask the question of whether the Vanderbilts truly got their riches on their own. Starting as noble farmers working their way from poor to being one of the richest men on the world, or is there something else going on with this story.

After the history lesson, we finally get to Biltmore Unveiled:

We cover the main counter-argument

The History of the Biltmore

Our experience going there

Our final thoughts and review

Hope you all enjoy this one, let us know your thoughts in the comments!!!

Come Join the Discord, Chat/Chill, Share, and become a Researcher!: https://discord.gg/GyJE4tzEKF

Original Content found here. https://youtu.be/8xHgSx7EN9w All credit to Original Poster Mind Unveiled I simply broke the video in two parts and tried some program magic to make it more user friendly. https://www.mindunveiled.com/ https://www.instagram.com/mindunveiled/ Email: [email protected] did I ask permission? No... I got pissed that a clickable link thumbnail did not transfer with the original post... so I had an aneurysm and did this...

from original post.

Welcome to BILTMORE UNVEILED Today, we have a really long video, really if you are planning on watching this quick trust me it will take a while but it’s worth it.

I feel this may be our biggest video, for lots of reasons, but it really can assist someone new to this subject to understand how we may have been lied to when it comes to who really built America and all these old world buildings.

We cover the history of the Robber Barons, specifically the VANDERBILTS, and their origins.

You will hear some things that they like to gloss over when it comes to mainstream history and biographies, but after bringing them back to light, we can then begin to question the entire story behind these wealthy New York Aristocrats.

Afterward, we learn about Asheville NC, there is a really interesting story on the origins of this town and how it is deeply connected with New York.

We essentially ask the question of whether the Vanderbilts truly got their riches on their own. Starting as noble farmers working their way from poor to being one of the richest men on the world, or is there something else going on with this story.

After the history lesson, we finally get to Biltmore Unveiled:

We cover the main counter-argument

The History of the Biltmore

Our experience going there

Our final thoughts and review

Hope you all enjoy this one, let us know your thoughts in the comments!!!

Come Join the Discord, Chat/Chill, Share, and become a Researcher!: https://discord.gg/GyJE4tzEKF

Bizarro World Philosophy 01 every breath you take

Lunch Lady Land Adam Sandler

"Who Let the Dogs Out" is a song performed by Bahamian junkanoo band Baha Men. Originally released by Anslem Douglas (titled "Doggie"), it was covered by producer Jonathan King who sang it under the name Fat Jakk and his Pack of Pets. He brought the song to the attention of his friend Steve Greenberg, who then had the Baha Men cover the song. The song, released on 26 July 2000, became the band's first and only hit in the United Kingdom and the United States, and it gained popularity after appearing in Rugrats in Paris: The Movie.

"Who Let the Dogs Out" peaked at No. 2 on the UK Singles Chart, as well as topping the charts in Australia and New Zealand, and reached the Top 40 in the United States. In Britain, it was championed by DJ John Peel and went on to be the fourth biggest-selling single of 2000, and one of the highest-selling singles of the decade not to reach No. 1. The track went on to win the Grammy for Best Dance Recording at the 2001 Grammy Awards. The song became a prominent feature of Bahamian popular culture and was the subject of a major lawsuit over copyright ownership that was settled. In 2019, an eponymous-titled documentary about the creation of the song was the surprise hit of the SXSW music festival in Austin, Texas.

"The manager of the Baha Men at that time heard a version of the song from Europe. He called [Knight's bandmate] Isaiah [Taylor] and told him it was an absolute must that Baha Men record that song, because they had the vibe to make it a huge hit. Isaiah heard the song and said there was 'no way in hell we're recording that song'. ... Management had the vision, and the Baha Men were reluctant, but the group went in and recorded it anyway."

"Who Let The Dogs Out" is a cover of the 1998 song "Doggie" (or "Dogie") by Trinidadian calypso/soca/Junkanoo artist Anslem Douglas. Douglas himself claimed that the song has nothing to do with dogs and actually has a feminist theme. In an interview that was published on his website, he said:

"It's a man-bashing song. I'll tell you why. The lyric of the song says, 'The party was nice, the party was pumpin'.' When I said the word 'party' I was being metaphorical. It really means things were going great. The 'Yippie-Yi-Yo,' that's everybody's happy, right? 'And everybody was having a ball.' Life was going great. 'Until the men start the name-callin' / And then the girls respond to the call.' So the men started calling the women 'skank' and 'skettel,' every dirty word you can think of. The men started the name-calling and then the girls respond to the call. And then a woman shouts out, 'Who let the dogs out?' And we start calling men dogs. It was really a man-bashing song."

However, Douglas has said "I never told anyone, 'Hey, I came up with the phrase.' Never did, 'cause I didn't." In late 1995 or early 1996 Patrick Stephenson and Leroy Williams, two producers who worked for Wreck Shop Radio out of Toronto, wrote a radio promo for WBLK in Buffalo, NY containing the "Who Let The Dogs Out" chorus. Douglas's brother-in-law was the host of the Toronto show and encouraged Douglas to record the song. Stephenson and Williams allowed Douglas to record the song and have said they didn't "take care of the business" of legally protecting the song. They did not know it was licensed to the Baha Men until they heard it on the radio in 2000.

Complicating matters further, 20 Fingers and Gillette released "You're a Dog" in 1995 with a very similar chorus where they sing, "Who let the dogs loose?" Stephenson and Williams claim to have never heard the song, and 20 Fingers has made no legal claim to "Who Let the Dogs Out?". Even earlier, Brett Hammock and Joe Gonzalez also recorded a song called "Who Let the Dogs Out?” in 1992 as rap duo Miami Boom Productions out of Jacksonville, Florida. It was not widely released, and they were also surprised to hear "Who Let The Dogs Out?" on the radio in 2000. Miami Boom states their version was inspired by "Da Mad Scientist" by Bass Patrol, in which there is a sample of 1987's "Pump Up The Party" by songwriter and producer Stevie B (released under the pseudonym Hassan) that includes the lyrics, "Who's rocking this dog's house?"

John Michael Davis from Dowagiac, Michigan contacted 99% Invisible contributor Ben Sisto. He said his hometown is sometimes referred to as "the dog patch", and the crowd at the Dowagiac Chieftains high school football games frequently chanted "Oooh, let the dogs out!” during their state championship run in 1990. During this time Joe Gonzalez of Miami Boom lived in Michigan, but he states he has no memory of hearing this chant. Sisto states that variations of the "Who let the dogs out?” chant are evident in regional high school sports, discovering a chant almost exactly like the chorus of the Baha Men song as far back as 1986 at Austin Reagan High School. Sisto surmised:
txt limit...

THE SECRET COVENANT of CABALISTIC JEWS

Rust Never Sleeps is the seventh album by Canadian American singer-songwriter Neil Young and American band Crazy Horse. It was released on June 22, 1979, by Reprise Records and features both studio and live tracks. Most of the album was recorded live, then overdubbed in the studio, while others originated in the studio. Young used the phrase "rust never sleeps" as a concept for his tour with Crazy Horse to avoid artistic complacency and try more progressive, theatrical approaches to performing live.

The album peaked at No. 8 on the Billboard 200 album chart and spawned the hit single Hey Hey, My My (Into the Black) that peaked at No. 79 on the US Billboard Hot 100 chart. It also included one of Young's most popular and critically acclaimed songs, the enigmatic Powderfinger. The album, along with Young's 1990 release Ragged Glory, has widely been considered a precursor of grunge music with the bands Nirvana and Pearl Jam having cited Young's heavily distorted and abrasive guitar style on the B side to this album as an inspiration.

After his final performance at the Boarding House on May 28, Young collaborated with the art punk band Devo on a cacophonous version of "Hey Hey, My My (Into the Black)" at the Different Fur studio in San Francisco. During the Different Fur studio session, Devo vocalist Mark Mothersbaugh added the lyrics "Rust never sleeps", a slogan he remembered from his graphic arts career promoting the automobile rust proofing product Rust-Oleum.

Young adopted Mothersbaugh's lyrics and created a new version of the song with Crazy Horse. He also adopted Mothersbaugh's lyrics for the title of his album as a metaphor about the hazards of complacency on his music career and the need to keep moving forward. The lyrics, "It's better to burn out than fade away", were widely quoted by his peers and by critics. In a 1980 interview with David Sheff from Playboy magazine, John Lennon was dismissive of the lyric and the song's reference to Johnny Rotten for what he interpreted as worship for the dead saying, "No, thank you. I’ll take the living and the healthy." In 1994, Kurt Cobain quoted the lyric in his suicide note.

The electric sets were recorded during the Neil Young/Crazy Horse tour in late 1978, with overdubs added later. Audience noise is removed as much as possible, although it is clearly audible at certain points, most noticeably on the opening and closing songs. The 1978 tour featured an abrasive style of guitar playing influenced by the punk rock zeitgeist of the late 1970s that Young saw as a wake up call for a rock music world which, in his opinion had become predictable and overdone. The electric sets provided a reenergized response to the punk rock revolution and, were in stark contrast from Young's previous, folk-inspired album Comes a Time.

Ride My Llama
Neil Young
Written by: Neil Young
Album: Rust Never Sleeps
Released: 1979

This version is:
previously unreleased version from Zuma sessions.
Neil Young – guitar, hand claps, vocal; Frank “Poncho” Sampedro – guitar, hand claps; Billy Talbot – bass, hand claps, vocal; Ralph Molina – drums, hand claps, vocal.

Recorded at House, Point Dume, CA, 5/22/1975.
Produced by David Briggs & Neil Young.

Neil Young Archives Volume II (1972–1976)
Disc 8 – Dume (1975)

Remember the Alamo
When help was on the way
It's better here and now
I feel that good today
I'd like to take a walk
But not around the block
I really got some news
I met a man from Mars
He picked up all my guitars
And played me traveling songs
And when we got on ship
He brought out something for the trip
And said, "It's old but it's good"
Like any other primitive would

I'm gonna ride my llama
From Peru to Texarkana
I wanna ride him good
In my old neighborhood
My old neighborhood
My old neighborhood
Old neighborhood
Old neighborhood

Monster Magnet Space Lord Uncut
"Space Lord" is a 1998 single by American rock band Monster Magnet from the album Powertrip. The song is in the key of C minor. It brought them mainstream success, with its accompanying music video directed by Joseph Kahn. The song peaked at number three on the Billboard Mainstream Rock Songs chart, and number twenty-nine on the Billboard Alternative Songs chart. A remixed version of the song was also made, and was featured (along with the original) on their compilation album Greatest Hits. The music video is notable for being the first video ever aired on MTV's Total Request Live on September 14, 1998. It appeared on the countdown five times climbing no higher than the No. 7 position.

The line "Space lord, mother fvcker" was truncated and an echo added to make the song more radio- and TV-friendly (the lyric is heard as "Space lord, mother, mother"), but the vocal rhythm is unchanged, and a band version with the original lyric has never been released. The original lyric can be heard uncensored on the "Intergalactic 7 Remix" on international releases of the aforementioned Greatest Hits album and also on the unofficial Boys Noize "Monster Bootnet" remix.

Singer Dave Wyndorf told Kerrang, "I'd hurt my knee, and had time off, so spent it in a dominatrix's apartment in New Orleans. Our record company forwarded me press from Europe and in Germany they called me 'Space Lord'. She saw it and took the piss, saying 'So you think you're the space lord?' I said, 'Someday when I can walk. I'll make you pay for taunting me by writing a song.'"

Space Lord
Monster Magnet
Album: Powertrip
Released: 1998

I've been stuffed in your pocket
For the last 100 days
When I don't get my bath
I take it out on the slaves
So grease up your baby
For the ball on the hill
And polish them rockets now
And swallow those pills

And sing, whoa
Space Lord, mother fvcker
Huh, ah-huh

There's a car in the field
Now in a column of flame
With two doors to choose
But only one bears your name
You been drinkin' my blood
Well, I been lickin' your wounds
Well, I'll shave off the pitch now
In the scope of your tune

You'll sing, whoa
Space Lord, mother fvcker
Huh, yeah

I left my throne a million miles away
I drink from your tit, I sing the blues every day
Now give me the strength to split the world in two, yeah
I ate all the rest and now I gotta eat you
Well, I sing

Milkin' my nightmares and usin' my name
You're strokin' my cortex and you know I'm insane
I'm squeezed out in hump-drive and I'm drownin' in love
Encompass them all to a position above

And sing, whoa
Space Lord, mother fvcker
Yeah
Ahh, yeah
Hey-hey-hey

I left my throne a million miles away
I drink from your tit, I sing the blues every day
Now give me the strength to split the world in two, yeah
I ate all the rest and now I've gotta eat you

Well, I sing (whoa)
Space Lord, mother fvcker
(Whoa)
Space Lord, mother fvcker
(Whoa)
Space Lord, mother fvcker
(Whoa)
Space Lord, mother fvcker
(Whoa)

I lost my soul when I fell to Earth
My planets call me to the void of my birth
The time has come for me to kill this game
Now open wide and say my name

(Whoa)
Space Lord, mother fvcker
(Whoa)
Space Lord, mother fvcker
(Whoa)
Space Lord, mother fvcker...

"Lithium" is a song by the American rock band Nirvana, written by vocalist and guitarist, Kurt Cobain. It appears as the fifth track on the band's second album Nevermind, released by DGC Records in September 1991.

In a 1992 interview with California fanzine Flipside, Cobain explained that the song was a fictionalized account of a man who "turned to religion as a last resort to keep himself alive" after the death of his girlfriend, "to keep him from suicide." Nirvana biographer Michael Azerrad described its lyrics as "an update on Marx's description of religion as the 'opiate of the masses.'"

"Lithium" was released as the third single from Nevermind in July 1992, peaking at number 64 on the US Billboard Hot 100 and number 11 on the UK Singles Chart. It also reached number one in Finland and the top five in Ireland and Portugal. The accompanying music video, directed by American filmmaker Kevin Kerslake, is a compilation of live footage from the band's October 31, 1991, concert at the Paramount Theatre in Seattle, Washington, and from the completed but then-unreleased film, 1991: The Year Punk Broke.

Written in 1990, "Lithium" was debuted at a video session at the Evergreen State College's television studio in Olympia, Washington on March 20, 1990. The full session, which also included versions of three songs from the band's 1989 debut album, Bleach, was directed by Jon Snyder and conceived by Cobain as a potential video release. It featured the band performing live while a montage of television footage taped by Cobain at home playing in the background. To date, no full songs from this session have been officially released by Nirvana's record company, although videos for "Lithium" and "School," edited by Snyder and featuring additional footage and still photos, appeared on two episodes of 1200 Seconds, a television show produced by Evergreen students. The episodes aired in the fall of 1990 on a local community access cable station.

The song was added to Nirvana's setlist soon after, over a year before the release of Nevermind. Kim Thayil, guitarist of Seattle rock band Soundgarden, recalled hearing it for the first time during Nirvana's show at the Off Ramp Cafe in Seattle on November 25, 1990, saying that "when I heard 'Lithium,' it stuck in my mind. Ben, our bass player, came up to me and said, 'That's the hit. That's the Top 40 hit right there."

In April 1990, "Lithium" was recorded by Butch Vig at Smart Studios in Madison, Wisconsin, during the recording sessions for what was intended to be a second album for the band's original label, Sub Pop. However, the release was abandoned after the departure of drummer Chad Channing later that year, and the eight-song session was instead circulated as a demo tape, which helped generate interest with the band among major labels.

On September 25, 1990, Cobain performed a solo acoustic version of the song on the Boy Meets Girl show, hosted by Calvin Johnson, on KAOS (FM) in Olympia, Washington.

"Lithium" was re-recorded by Vig in May 1991 at Sound City Studios in Van Nuys, California, during the sessions for what became Nirvana's second album and major-label debut, Nevermind. Preliminary attempts at recording the song's instruments were unsuccessful, in part because the band was having a difficult time maintaining a steady tempo, and kept speeding up. After one failed take, the band abandoned the song as a "frustrated" Cobain began playing the song, "Endless, Nameless" instead. This version of "Endless, Nameless" was released as the album's hidden track. The band's timing problems were immediately solved when their new drummer, Dave Grohl, took Vig's advice to play with a metronome. Vig also advised Grohl to use simpler fills and patterns for the song than he had initially attempted.

The song's quiet verses and loud choruses dynamic also presented a challenge for Vig, who said that "getting the verses to sound relaxed and the chorus to sound as intense as possible, and make the transitions feel natural and effortless, was a hard one to do." As Vig recalled, "Kurt wanted to be able to play the guitar very ... not methodical-it needed to have this space." The dark sound of the distorted guitar was achieved by using a Big Muff fuzzbox played through a Fender Bassman bass amplifier, recorded with what Vig believes was an U47 microphone that he usually used to record bass guitar. The vocals for the song's verses were recorded in two takes, with the second take being used as the master vocal track, although Vig used the second line of the second verse from take one. The chorus vocals were quickly recorded and double-tracked after.

According to Cobain, "Lithium" was "one of those songs I actually did finish while trying to write it instead of taking pieces of my poetry and other things".

In his 1993 biography Come As You Are: The Story of Nirvana, Azerrad described the song's title as "an update on Marx's description of religion as the 'opiate of the masses.'"

Cruel Shoes is a collection of essays and short stories by Steve Martin and is also the title of one of the essays included, a satirical short-short story about a woman in a shoe store.

Cruel Shoes was Martin’s first book, released in 1977 as a handmade limited edition of 750 signed and numbered books published by Press of the Pegacycle Lady (Victoria Dailey). The cover is just pale paper over pressboard. It only contained 48 pages and many of the stories that appeared in the trade version were not included.

Table of contents
The works included in the 1979 trade edition of the book are:

"My Uncle's Metaphysics"
"Demolition of Cathedral at Chart
"Annareddy Akshayareddy and her struggle"
"The Boring Leading the Bored"
"Cruel Shoes"
"The Bohemians"
"Serious Dogs"
"The Diarrhea Gardens of El Camino Real"
"Turds"
"The Undertakers"
"The Day the Dopes Came Over"
"The Smokers"
"She Had The Jugs"
"Sex Crazed Love Goddesses"
"Women Without Bones"
"The Children Called Him Big Nose"
"Wrong Number"
"Morse and the Naughty Magnets"
"Dynamite King"
"The Gift of the Magi Indian Giver"
"Poodles... Great Eating"
"Shuckin' the Jive"
"How To Fold Soup"
"The Vengeful Curtain Rod"
"Cows In Trouble"
"The Complete Works of Alfredo Francesi"
"Society In Aspen"
"The Day the Buffalo Danced"
"Things Not To Be"
"No Man's Land"
"Oh Mercy, The Prose-Poem Triptych!"
"Comedy Events You Can Do"
"Dr. Fitzkee's Lucky Astrology Diet"
"The Morning I Got Out of Bed"
"What to Say When the Ducks Show Up"
"The Year Winter Lasted Nine Minutes"
"The Almaden Summer"
"The Nervous Father"
"Dogs In My Nose"
"Awards"
"Rivers of the Dead"
"When Men Shop"
"The Last Thing On My Mind"

Limited 1977 edition
"Confessions"
"Smokers"
"Jugs"
"Women"
"Poodles"
"Alfredo"
"Cows"
"Self-review"
"Serious"
"S.M. Collection of Am. Art"
"Day"
"Sex Crazed"
"Wrong #"
"Morse"
"Gift"
"Fold Soup"
"Dr. Fitzkees"
"Morning"
"Year"
"Last Thing"
"Other Books"
"My Uncle's"
"The Day"
"Children"

The Long Run is the sixth studio album by American rock group the Eagles. It was released in 1979, on Asylum in the United States and the United Kingdom. This was the first Eagles album to feature Timothy B. Schmit, who had replaced founding member Randy Meisner, and the last full studio album to feature Don Felder before his termination from the band in 2001.

This was the band's final studio album for Asylum Records. It also turned out to be their last studio album as the Eagles disbanded in 1980 until 2007's Long Road Out of Eden after the band had reformed in 1994.

The album was originally intended to be a double album. The band could not come up with enough songs and the idea was therefore scrapped. The recording was protracted; they started recording in 1978, and the album took 18 months to record in five different studios, with the album finally released in September 1979. According to Don Henley, the band members were "completely burned out" and "physically, emotionally, spiritually and creatively exhausted" from a long tour when they started recording the album, and they had few songs. However, they managed to put together ten songs for the album, with contribution from their friends J. D. Souther and Bob Seger who co-wrote with Frey and Henley on "Heartache Tonight". (Souther also got songwriting credit on "Teenage Jail" and "The Sad Cafe".)

According to Henley, the title track was in part a response to press articles that said they were "passé" as disco was then dominant and punk emerging, which inspired lines such as "Who is gonna make it/ We'll find out in the long run". He said that the inspiration for the lyrics was also "irony", as they wrote about longevity and posterity while the group "was breaking apart, imploding under the pressure of trying to deliver a worthy follow-up to Hotel California".

Randy Meisner decided to leave the Eagles after an argument in Knoxville, Tennessee, during the Hotel California Tour in June 1977. He was replaced by Timothy B. Schmit,

Those Shoes
Eagles
Written by: Glenn Lewis Frey, Don Felder, Donald Hugh Henley
Album: The Long Run
Released: 1979

Tell us what you're gonna do tonight mama
There must be someplace you can go
In the middle of the tall drinks and the drama
There must be someone you know
God knows you're lookin' good enough
But you're so smooth and the world's so rough
You might have somethin' to lose
Oh, no pretty mama
What you gonna do in those shoes?
Got those pretty little straps around your ankles
Got those shiny little chains around your heart
You got to have your independence
But you don't know just where to start
Desperation in the singles bars
All those jerkoffs in their fancy cars
You can't believe your reviews
Oh, no you can't do that
Once you started wearin' those shoes
(Butt out)
(Butt out)
(Butt out)
(Butt out)
(Butt out butt out) They're lookin' at you leanin' on you
(Butt out butt out) Tell you anything you want to hear
(Butt out butt out) They give you tablets of love
(Butt out butt out)
(Butt out butt out) They'

https://www.pinterest.com/aboxoffrogs/science-fiction-art/

Lovedrive is the sixth studio album by German band Scorpions, released in 1979. Considered by some critics to be the pinnacle of their career, Lovedrive was a major evolution of the band's sound, exhibiting their "classic style" that would be later developed over their next few albums. Lovedrive cemented the "Scorpions formula" of hard rock songs combined with melodic ballads.

Lovedrive was the band’s first album to be released by Harvest Records in Europe and Mercury Records in the United States and Canada following the band's departure from RCA. It proved to be a major commercial breakthrough, reaching No. 55 on the Billboard Top 200, which none of their previous five albums had dented at all. The RIAA certified the record as Gold on 28 May 1986, and the album also proved a breakthrough in the United Kingdom where it was the first Scorpions album to chart and peaked at No. 36.

This is the first album to feature Matthias Jabs on lead guitar, and thus the first record to feature the band's "classic" lineup. Jabs replaced Uli Jon Roth who went on to form his own band, Electric Sun.

Michael Schenker, younger brother of rhythm guitarist Rudolf, had just split from UFO. He recorded lead guitars on "Another Piece of Meat", "Coast to Coast", "Holiday", "Loving You Sunday Morning" and "Lovedrive". At the beginning of the Scorpions' German tour in February 1979, Michael rejoined the band and the group reluctantly parted ways with Matthias Jabs. However, in April 1979 while the band was touring in France, Michael quit, which led to Jabs' immediate return after intense negotiations.

The original album cover depicted a well dressed man and woman seated in the back of a car, with the woman's right breast exposed and connected to the man's hand by stretched bubblegum. The back cover featured the same man and woman, but holding a photograph of the band, and with the woman's left breast completely exposed without any gum. It was created by Storm Thorgerson of the design firm Hipgnosis. It caused some controversy in the US upon the album's release, with later pressings of the album bearing a simple design of a blue scorpion on a black background. The original uncensored art was restored for the remaster series.

Recalling the cover photo with the woman and the car, Thorgerson remarked: "Not exactly the most politically correct scene you've ever seen. I thought it was funny, but women read a different inflection into it now."

In a 2010 interview, singer Klaus Meine commented on the album cover, stating: "We just did not know it would be a problem in America, it was just sex and rock 'n' roll. It is odd that in America some of these covers were a problem, because in the '80s when we would tour here, we always had boobs flashed to us at the front of the stage. Nowhere else in the world, just here. We just did not think it would be a problem to put out a record like Lovedrive in America."

Scorpions

Klaus Meine – lead vocals
Rudolf Schenker – rhythm guitar, backing vocals
Matthias Jabs – lead guitar, backing vocals
Francis Buchholz – bass, backing vocals
Herman Rarebell – drums, backing vocals
Michael Schenker – lead guitar, backing vocals
Production

Dieter Dierks – producer, engineer, mixing
Steve Fallone – mastering

Holiday
Scorpions
Written by: Rudolf Schenker, Klaus Meine
Album: Lovedrive
Released: 1979

Let me take you far away
You'd like a holiday
Let me take you far away
You'd like a holiday

Exchange the cold days for the sun
A good time and fun

Let me take you far away
You'd like a holiday

Let me take you far away
You'd like a holiday
Let me take you far away
You'd like a holiday

Exchange your troubles for some love
Wherever you are

Let me take you far away
You'd like a holiday

Longing for the sun you will come
To the island without name
Longing for the sun be welcome
On the island many miles away from home

Be welcome on the island without name
Longing for the sun you will come
To the island many miles away from home
Away from home
Away from home
Away from home

The Electric Light Orchestra (ELO) are an English rock band formed in Birmingham in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of pop and classical arrangements with futuristic iconography. After Wood's departure in 1972, Lynne became the band's sole leader, arranging and producing every album while writing nearly all of their original material. For their initial tenure, Lynne, Bevan, and keyboardist Richard Tandy were the group's only consistent members.

Out of the Blue is the seventh studio album, released on 28 October 1977. Written and produced by ELO frontman Jeff Lynne, the double album is among the most commercially successful records in the group's history, selling about 10 million copies worldwide by 2007.

" Jungle " is a song written by Jeff Lynne which first appeared as an album track from the 1977 album Out of the Blue. According to the band members' opinions, recording Jungle was a lot of fun owing to the various types of sound effects, the upbeat tune, and the jungle animal noises provided by Lynne, Bev Bevan, and Kelly Groucutt.

The album had 4 million pre-ordered copies and quickly went multi-Platinum upon release. Out of the Blue spawned five hit singles in different countries, and was ELO's most commercially successful studio album. It was also the first double album in the history of the UK music charts to generate four top twenty hit singles. Lynne considers A New World Record and Out of the Blue to be the group's crowning achievements, and both sold extremely well, reaching multi-platinum according to RIAA Certification. Capital Radio and The Daily Mirror Rock and Pop Awards (forerunner to The Brit Awards) named it "Album of the Year" in 1978. Lynne received his first Ivor Novello award for Outstanding Contributions to British Music the same year.

The US release of Out of the Blue was originally distributed by United Artists. This changed after United Artists Records was sold by Transamerica Corporation to an EMI Records-backed partnership, which triggered Jet Records' change of control clause in its distribution contract, and Jet shifted to CBS Records as its new distributor. American cut-out copies of Out of the Blue soon became widely available at discounted prices in record shops in the US and Canada shortly after the album's release, affecting the album's sales and triggering lawsuits by CBS and Jet. The suits were ultimately unsuccessful in stopping the discounted sales.

Jungle
Electric Light Orchestra
Written by: Jeff Lynne
Album: Out of the Blue
Released: 1977

I was standin' in the jungle, I was feeling alright
I was wanderin' in the darkness in the middle of the night
The moon began to shine, I saw a clearing ahead
But what's that goin' on? I think I'm out of my head

(Chooka-chooka, hoo la ley)
(Looka-looka, koo la ley)

A hundred animals were gathered 'round this night
And they were singin' out a lovely song under the pale moonlight
I stood and stared for quite a while
Then a lion sang to me and smiled
"Come join us if you so desire"

They sang
(Chooka-chooka, hoo la ley)
That's what they sang
(Looka-looka, koo la ley)
And then turned away
(Chooka-chooka, hoo la ley)
That's what they sang
(Looka-looka, koo la ley)

I said, "Now, please, explain the meaning of this song you sing"
("Wondrous is our great Blue Ship
That sails around the mighty Sun
And joy to everyone that rides along")

Oh, they sang
(Chooka-chooka, hoo la ley)
That's what they sang
(Looka-looka, koo la ley)
Oh, that's nice
And they danced

Pretty soon I knew the tune
And we sat and sang under the moon
And the jungle rang in joyful harmony

They sang
(Chooka-chooka, hoo la ley)
That's what they sang
(Looka-looka, koo la ley)
And then turned away
(Chooka-chooka, hoo la ley)
That's what they sang
(Looka-looka, koo la ley)

Wondrous is our great Blue Ship
That sails around the mighty Sun
Joy to everyone that rides along

This artwork was produced before the War in Ukraine. My theory is that much of the incorporation of the graphene driven injections with mRNA were studies and perfected at the University of Kiev by and through incentives for the local population to undergo medical experiments for payment. Notice all the eerie "organic" paintings. Looks like Igor may have worked in a Medical Lab or been influenced by those cut away pictures you always see hanging in the exam room of the doctor's office.

"My name is Igor Vitkovskiy, I'm digital and traditional artist based in Ukraine, Kyiv. I worked 4 years as a professional concept artist and illustrator in the game industry. Now I'm focused on personal projects and art. Also I'm author of a lot powerful photoshop brushes and tools for digital artists.
My works was featured in the worlds best digital art artbooks - EXPOSE 10 & russian artbook ARQUTE."

Q. What got you started in the wonderful world of digital art?

A. Oh, this was a long time ago! At school at the age of 8-10 I discovered Microsoft Paint when I got my first PC at age 10-11. I used Paint to create slides for my cartoon that I animated in Microsoft movie maker, also added some music and effects and had a lot of fun :) Then I discovered a software called Game Maker...

I used to paint all my pixel art and sprites inside Photoshop back then, all my paintings was very bad and I didn't really expect that I could be a professional artist one day. I also painted a lot of fan art, sci-fi, my own board game cards and so I had some traditional painting basics before doing digital art. Then I got a Genius Tablet… I think I made like 2-3 artworks and forgot about this horrible tool.

Then I went through 4 years of web & graphic design… I needed money to play WoW on official servers, so I was making banners for adult websites and other small gigs using Photoshop for 1$ - that was a start. Then were collages, matte-paintings and I was finally able to get a Wacom tablet at the age of 18. This is the start of my real digital art path. I think I've tried everything: 3D, animation, VFX, web design, matte, but got only one true love – Digital concept art & illustration.

Q. What is your best advice for young artists looking to build a career doing art?

A. Doing art is simple, doing good art is very hard. Learn your basics & tools as much as you can, try to paint

every piece as best as you can and try to always make any new painting better than the previous. It doesn't matter it's personal art, free work or paid work. You're doing art commissions for 10$? Spend as much effort as if you were getting paid $1000 instead. Never stop growing and you will succeed.

Q. Do you have a ritual or a particular steps you take before you paint to boost your creativity?

A. Mostly – no. For client work it's easy – you have a description – gather some references – thumbnails – done! For personal art I'm working mostly with abstract shapes, just doodling with no idea just waiting to catch something interesting. Laying on a couch in silence helps my brain generate some nice ideas and designs. I just have to make sure not to lose them later when I do art.

Q. Favorite food?

A. Hmm…fried potatoes & vegan salads mostly, pea soup cooked by me & my girl :)

Q. During what time of the day are you the most creative?

A. Mid day from 1 to 6 PM & evening/night from 8 PM to 5 AM.

I've tried all sleeping modes, from waking up in the evening at 6-8 PM and going to sleep in the morning at 10-11 am (most horrible and depressive of life ever) to waking up early in the morning at 5-6 AM (you feel really fresh, but very lazy most of the day, and not very productive) and going to sleep at night at around 9-11 PM.

My most comfortable and productive schedule is waking up in the morning at 8-10 AM and going sleep at 12-5 AM.

Q. How did you end up creating awesome brush packs for other artists to use?

A. It started when I realized that mostly all packs of brushes from different artists are similar…same trees, same basic brushes, clouds, oil brushes, they were all using and sharing the same ones and calling it their own.

So I started to actually create my own custom brushes to replace those from other artists in my brush set, with the goal to only have unique and useful tools made for me, by me. Interesting brushes can also impact your in a cool way, so experimenting with brushes is always good if you want to make your art and stronger. I have a huge number of custom brushes but most are still yet to be released. They will be soon! I have only 1 experimental set of gouache & acrylic emulation brushes, but I will update it soon also because this is was only my first try and it can be improved.

For fun I made a few crazy brush packs like Shia Labeouf Motivation brushes, Most Depressive PS Brushes, Game of thrones brushes - all created in a few hours and made available for free... text limit

FaceLikeTheSun
https://www.bitchute.com/channel/OESTBn2wcW3V/
OP https://www.bitchute.com/video/yfcprMi82l0/
"I was sent a handwritten letter from someone who said she was a Christian, and had contact with Elon Musk and his mother Maye Musk many years ago. The author of the letter claimed that Elon was a “child of the Illuminati” being bred to be a world leader who can present the Mark of the Beast. While such ideas are not completely ridiculous or out of line, especially on this channel, it was worth digging into some of what was claimed in the letter.

To my surprise, I was able to verify that Elon Musk’s grandfather, Joshua Haldeman, was in fact part of the Canadian Technocracy movement in the 1930’s to the point of being brought to trial after Technocracy was banned. While many others did not get arrested, Elon’s grandfather “wasn’t so lucky.” But he was let go with all charges dropped, which in hindsight, breeds all kinds of suspicion. Later that decade, he fathered Maye and Kaye (twins) in 1948 after marrying his second wife (he had 5 total children). He would then take his family (including Maye) on expeditions to the Kalahari desert of South Africa, searching for a lost civilization that many revisionist and alt. historians consider part of the ancient city of Atlantis.

The other part of the handwritten letter claimed that Maye was into African witchcraft, which is plausible given she moved to South Africa (age 2-3) and lived there for many years of her youth. The mention of Maye’s connection to Charles Manson and the Manson crime family in the letter is something I was unable to verify with my short and limited research for this video. It is interesting to note however, that there are literally no results on Google, Bing, Startpage and the rest, that actually contains the keyphrases “Maye Musk” or “Maye Haldeman” and “Charles Manson.” This could mean that there really is nothing there, or, it might be a purposeful “white washing” of any information that can be found on the topic online..."

"Slave" is a song by the English rock band the Rolling Stones on their 1981 album Tattoo You.

Written by Mick Jagger and Keith Richards, "Slave" was originally recorded in Rotterdam, Netherlands (under the working title "Vagina"), using the Rolling Stones Mobile Studio in late January or early February 1975. During that time, the Rolling Stones were faced with the unexpected challenge of filling the recently vacated position of second guitarist, after the abrupt departure of Mick Taylor. The track features Billy Preston on electric piano and organ (although the organ could also have been played by Ian Stewart). The Who's Pete Townshend provided backing vocals for the recording and one of saxophonist Sonny Rollins' three performances on tracks for the album appeared as well. Percussion by Ollie E. Brown was recorded in 1975, with Mike Carabello adding conga during the 1981 overdub sessions.

Called "...a standard Stones blues jam" in the album review by Rolling Stone magazine, "Slave" was the result of the Stones' experiments with funk and dance music during the Black and Blue recording sessions of 1974/75. The lyrics are sparse outside of a brief spoken verse by Jagger and the refrain of "Don't want to be your slave". Keith Richards provide the electric guitar part for the song, with Charlie Watts and Bill Wyman supporting on drums and bass, respectively.

The song was never performed by the Stones on stage - although rehearsed in 2002 - and appears on no compilation album.

The 1994 Virgin Records and 2009 Polydor CD reissues of Tattoo You contain an additional 90 seconds of "Slave".

Do it, do it, do it, do it, do it
Do it, do it, do it, do it, do it
Do it, do it, do it, do it, do it
Don't want to be your slave
Don't want to be your slave
Don't want to be your slave

Don't want to be your slave
Don't want to be your slave
Don't want to be your slave

Twenty-four hours a day
Hey, why don't you go down to the supermarket, get something to eat
Steal something of the shelves
Pass by the liquor store, be back about quarter to twelve

Don't want to be your slave
Don't want to be your slave
Don't want to be your slave (go, baby)
Don't want to be your slave (yeah)
Don't want to be your slave (go, baby)
Don't want to be your slave (yeah, baby)

(Go, yeah, go, baby, yeah, yeah, yeah, yeah)

Don't want to be your slave
Don't want to be your slave
Don't want to be your slave

Don't want to be your slave
Don't want to be your slave
Don't want to be your slave

Do it, do it, do it, do it, do it
Do it, do it, do it, do it, do it

Stefan Morrell
Concept Artist
Christchurch, New Zealand

Communiqué is the second studio album by British rock band Dire Straits, released on 5 June 1979 by Vertigo Records internationally, Warner Bros. Records in the United States and Mercury Records in Canada. The album featured the single "Lady Writer," which reached number 45 on the Billboard Hot 100 chart and number 51 on the UK Singles Chart. The album reached number one on album charts in Germany, Spain, New Zealand, and Sweden, number 11 in the United States and number 5 in the United Kingdom. Communiqué was later certified gold in the United States, platinum in the United Kingdom and double-platinum in France.

It is the last album to feature David Knopfler, who would later depart from the band during the making of their following album and the last with the original lineup.

Written by: Mark Knopfler
Album: Communique
Released: 1979

Where Do You Think You're Going?
Dire Straits

Where do you think you're going?
Don't you know it's dark outside?
Where do you think you're going?
I wish they'd care about my pride

Where do you think you're going?
I think you don't know
You got no way of knowing
You got no place you can go

I understand your changes
How long before you reach the door
I know where you think you're going
I know what you came here for

And now I'm sick of joking
You know I like you to be free
Where do you think you're going?
I think you'd better go with me, girl

You say there is no reason
But you still find cause to doubt me
When you ain't with me, girl
You're gonna be without me

Where do you think you're going?
Don't you know it's dark outside?
Where do you think you're going?
I wish they'd care about my pride

And now I'm sick of joking
You know I like you to be free
Where do you think you're going?
I think you'd better go with me, girl

Come on

On Every Street is the sixth and final studio album by British rock band Dire Straits, released on 9 September 1991 by Vertigo Records internationally, and by Warner Bros. Records in the United States. The follow-up to the band's massively successful album Brothers in Arms, On Every Street reached the top of the UK Albums Chart and was also certified platinum by the RIAA.

On Every Street was released more than six years after the band's previous album, Brothers in Arms, and was Dire Straits' final studio album. It reached number 12 in the United States and number one in the United Kingdom and numerous European countries. The album was produced by Mark Knopfler and Dire Straits.

By this time, the band comprised Knopfler, John Illsley, Alan Clark and Guy Fletcher, and the album features session musicians including Paul Franklin, Phil Palmer, Danny Cummings and American drummer Jeff Porcaro from Toto, who was asked to play the band's subsequent world tour, although he declined because of other commitments, both with Toto and as a studio musician.

Dire Straits promoted the album with a world tour which lasted until the end of 1992. The group disbanded in 1995, after which Mark Knopfler pursued a solo career.

The album was remastered and reissued with the rest of the Dire Straits catalogue in 1996 for most of the world, except for the United States, where it was reissued on 19 September 2000.

Written by: Mark Knopfler
Album: On Every Street (Remastered)
Released: 1991
Fade To Black
Dire Straits

Well I wonder where you are tonight
You're probably on the rampage somewhere
You have been known to take delight and
In gettin' in somebody's hair
And you, you always had the knack
Fade to black

I bet you already made a pass
I see a darkened room somewhere
You run your finger round the rim of his glass
Run your fingers through his hair they
Scratch across his back
Fade to black

Well maybe it's all for the best
But I wish I'd never been lassooed
And maybe it's some kind of test
But I wish I'd never been tattooed
Or been to hell and back
Fade to black