Psychological operations

Some Girls is the 14th British and 16th American studio album by English rock band the Rolling Stones, released on 9 June 1978 by Rolling Stones Records. It was recorded in sessions held from October 1977 to February 1978 at Pathé Marconi Studios in Paris and produced by the band's chief songwriters – lead vocalist Mick Jagger and guitarist Keith Richards – with Chris Kimsey engineering the recording. By 1976, the Rolling Stones' popularity was in decline as the music industry was dominated by disco and newer rock bands. In addition, the punk rock movement was an emerging cultural force in the UK. Due to legal troubles surrounding Richards, Jagger is generally regarded as the principal creative force behind Some Girls. With him drawing influence from dance music, most notably disco, the recording sessions were highly productive, resulting in numerous outtakes that appeared on subsequent albums. It was the first album to feature guitarist Ronnie Wood as a full-time member; Wood had contributed to some tracks on the band's prior two albums, It's Only Rock 'n Roll (1974) and Black and Blue (1976). With a stable lineup in place for the first time in several years, the album marked a return to basics for the Rolling Stones and did not feature many guest musicians, unlike many of their prior albums. Notable contributions to the album, however, come from blues harmonica player Sugar Blue on "Miss You" and the title track. Despite controversy surrounding its cover artwork and lyrical content, Some Girls was a commercial success, peaking at number two on the UK Albums Chart and number one on the US Billboard Top LPs & Tape chart. It became the band's top-selling album in the United States, having been certified by the RIAA for selling six million copies by 2000. Several hit singles emerged from the album, which became rock radio staples for decades, including "Beast of Burden" (US number eight), "Shattered" (US number 31), "Respectable" (UK number 23), highlighted by "Miss You", which reached number one in the United States and number three in the UK. Rebounding from the relative critical disappointment of Black and Blue, Some Girls was a critical success, with many reviewers calling it a classic return to form for the band and their best album since Exile on Main St. (1972). It became the only Rolling Stones album to be nominated for a Grammy Award in the Album of the Year category. Retrospectively, it has continued to receive acclaim, with many commending the band's ability to blend contemporary music trends with their older signature style. Considered one of the band's finest records, Rolling Stone has included Some Girls in their lists of the 500 Greatest Albums of All Time. By 1976, the Rolling Stones' popularity was in decline as the charts were dominated by disco and newer bands such as Aerosmith and Kiss. In the UK, the punk rock movement was a rising force and made most artists connected with the 1960s era seem obsolete. The group had also failed to produce a critically acclaimed album since 1972's Exile on Main St. On 7 February 1977, the Stones were scheduled to play El Mocambo in Toronto, Ontario; however, Keith Richards and his partner Anita Pallenberg were arrested for possession of heroin and suspected of drug trafficking. With the help of Jimmy Carter, who obtained visas, the pair was permitted to leave Canada so that Richards could undergo detoxification in the United States. During this time, Richards obtained a conditional visa for France and met the rest of the Stones in Paris to begin work on what became Some Girls.[6] Facing the possibility of Richards receiving a seven-year sentence in Canada, Jagger and Richards both believed that the Stones might be forced to disband and that Some Girls could be the last album.[6] During Richards' trial, the courtroom was filled with Stones fans and it became clear to reporters present that he would not be "sent to jail." Overseeing the trial, Judge Lloyd Graburn stated that while "heroin addicts should go to prison if they commit theft to support their habit, or make no effort to kick the habit...Richards was different. He made so much money as a rock star, he didn't need to steal, and his effort to remove himself from the drug culture was an example to others." Graburn issued Richards a one-year probation and ordered that he play a benefit concert at the Canadian National Institute for the Blind within six months; Graburn chose this sentencing option after speaking with a blind fan whom Richards had befriended years earlier and ensured her safe passage to and from concerts. Tickets were provided for free to the blind and other tickets were made available for sighted fans at regular price. Later in February 1977, the Stones renewed their contract with Atlantic Records for US distribution, and out of patriotic feelings originating from this being the year of Queen Elizabeth II's Silver Jubilee, signed with EMI for distribution to the rest of the world. Mick Jagger is generally regarded as the principal creative force behind Some Girls. Keith Richards was in legal trouble for much of 1977, which resulted in the band being inactive on the touring circuit during that year, except for two shows in Canada during the spring for the live album Love You Live. Jagger solely wrote "Miss You", as well as "Lies" and "When the Whip Comes Down". In addition to punk, Jagger claims to have been influenced by dance music, most notably disco, during the recording of Some Girls, and cites New York City as a major inspiration for the album, an explanation for his lyrical preoccupation with the city throughout. At least as important for the band's reinvigoration was the addition of Ronnie Wood to the lineup, as Some Girls was the first album recorded with him as a full member. Unlike the guitar style of Mick Taylor, Wood's guitar playing style meshed with that of Richards, and slide guitar playing became one of the band's hallmarks. His unconventional uses of the instrument featured prominently on Some Girls and he contributed to the writing process. Wood later recalled that working with the Stones was a different experience from with his former band the Faces, stating, "I had never worked so intensely before on a project." In addition, Jagger, who had learned to play guitar over the previous decade, contributed a third guitar part to many songs. This gave songs such as "Respectable" a three-guitar lineup. For the first time since 1968's Beggars Banquet, the core band — now Jagger, Richards, Wood, Charlie Watts, and Bill Wyman — were the main musicians on a Rolling Stones album, with few extra contributors. Ian McLagan, Wood's bandmate from the Faces, played keyboards, and harmonica player Sugar Blue contributed to several songs, in addition to saxophonist Mel Collins and Simon Kirke, who played percussion. The band decided not to use studio musicians, including Billy Preston and Nicky Hopkins, as Richards felt that these musicians were "technically superior", but ultimately led the band into experimental territory and away from their basic sound. Jagger's guitar contributions caused the band's road manager, Ian Stewart, to be absent from many of the sessions, as he felt piano would be superfluous, making this a rare Rolling Stones album on which he did not appear. Rehearsals for Some Girls began in October 1977 and lasted a month before recording commenced in November, breaking before Christmas and starting up again after New Year's before finishing in March 1978. Under their new British recording contract with EMI (remaining with Warner Music Group in North America only), they were able to record at EMI's Pathé Marconi Studios in Paris, a venue at which they would record frequently for the next several years. Three studios were made available to the band - two large studios featuring high ceilings and 24-track recording capabilities and a more modest studio with 16-track capabilities. The band opted to use the latter as a rehearsal space, and despite Jagger wanting to move to the larger studios, opted to remain in the smaller one and use it for recording. According to Richards, songs were written on a day-by-day basis. The band ended up recording about 50 new songs, several of which turned up in altered forms on Emotional Rescue (1980) and Tattoo You (1981). Chris Kimsey was the engineer for the sessions. Kimsey's direct method of recording, together with the entrance of the then state-of-the-art Mesa/Boogie Mark I amplifiers instead of the Ampeg SVT line of amps, yielded a bright, direct, and aggressive guitar sound. The album cover for Some Girls was conceived and designed by Peter Corriston, who designed the next three album covers, with illustrations by Hubert Kretzschmar. An elaborate die-cut design, with the colours on the sleeves varying in different markets, it featured the Rolling Stones' faces alongside those of select female celebrities inserted into a copy of an old Valmor Products Corporation advertisement. The cover design was challenged legally when Lucille Ball, Farrah Fawcett, Liza Minnelli (representing her mother Judy Garland), Raquel Welch, and the estate of Marilyn Monroe threatened to sue for the use of their likenesses without permission. Similarly, Valmor did take legal action and were given a monetary award for the use of their design. The album was quickly reissued with a redesigned cover that removed all the celebrities, whether they had complained or not. The celebrity images were replaced with black and punk-style garish colours with the phrase "Pardon our appearance – cover under reconstruction". Jagger later apologised to Minnelli when he encountered her during a party at the famous discothèque Studio 54. The only celebrity whose face was not removed was ex-Beatle George Harrison. As with the original design, the colour schemes on the redesigned sleeves varied in different markets. A third version of the album cover with the hand-drawn faces from the original Valmor ad was used on the 1986 CD reissue. Immediately following its release, Some Girls attracted controversy. According to Cyrus Patell, a prominent black music station WBLS in New York City refused to play "Miss You" due to what the station deemed to be "the offensive racial attitudes of the album and the band." Additionally, the title track attracted controversy with the line "Black Girls just want to get fucked all night/I just don't have that much jam." Regarding the line, Ahmet Ertegun, the chairman of Atlantic Records (the US distributor of Rolling Stones Records), stated: "When I first heard the song, I told Mick it was not going to go down well. Mick assured me that it was a parody of the type of people who hold these attitudes. Mick has great respect for blacks. He owes his whole being, his whole musical career, to black people." Incidentally, black-oriented radio stations began to boycott "Some Girls", leading Jagger to tell Rolling Stone: "Atlantic tried to get us to drop it, but I refused. I've always been opposed to censorship of any kind, especially by conglomerates. I've always said, 'If you can't take a joke, it's too fucking bad.'" On 6 October 1978, Ertegun met with Reverend Jesse Jackson, then leader of Operation PUSH (People United to Save Humanity) to discuss the lyric. The meeting ended with Jackson declaring the song to be a "racial insult" that "degrades blacks and women", threatening to boycott the record until a resolution was met. Ertegun concurred, saying, "It is not our wish to in any way demean, insult, or make less of the people without whom there would be no Atlantic Records." After discussing the matter with Atlantic officials, who considered censoring the line, Earl McGrath, president of Rolling Stones Records, released a statement on 12 October on behalf of the band: It never occurred to us that our parody of certain stereotypical attitudes would be taken seriously by anyone who heard the entire lyric of the song in question. No insult was intended, and if any was taken, we sincerely apologize.

"Looks That Kill" is a song by American heavy metal band Mötley Crüe. It was released as a single in January 1984. The song is considered one of their best. The track was written by bassist Nikki Sixx and spent 10 weeks on the Billboard Hot 100 chart in the United States, peaking at #54 and #12 on the Mainstream Rock Tracks. The music video was filmed at A&M Records' main sound stage. It features the band in a post-apocalyptic setting where they trap a group of women in a cage while performing the song. In the middle of the video, the warrior queen (played by Wendy Barry) appears to release the women before confronting the band. The band follows and surrounds her, but she disappears, leaving a flaming pentagram on the ground. Vince Neil – lead vocals Mick Mars – guitar Nikki Sixx – bass Tommy Lee – drums, percussion Looks That Kill Mötley Crüe Now listen up She's razor sharp If she don't get her way She'll slice you apart Now she's a cool, cool black She moves like a cat If you don't get her game Well, you might not make it back She's got the looks that kill That kill She's got the looks that kill That kill She's got the look (She's got the looks that kill) (She's got the looks that kill) Now she's bulletproof She keeps her motor clean And believe me, you She's a number 13 The church strikes midnight She's lookin' louder and louder She's gonna turn on the juice, boy And then she'll turn on the power She's got the looks that kill That kill She's got the looks that kill That kill She's got the look (She's got the looks that kill) (She's got the looks that kill) (She's got the looks that kill) (She's got the looks) Now listen up She's razor sharp If she don't get her way She'll slice you apart She's a cool, cool black Moves like a cat If you don't get her game You might not make it back She's got the looks that kill That kill She's got the looks that kill That kill She's got the look (She's got the looks that kill) (She's got the looks that kill) (She's got the looks that kill) (She's got the looks that kill) (She's got the looks that kill) (She's got the looks that kill) (She's got the looks that kill) (She's got the looks that kill) (She's got the looks that kill) (She's got the looks that kill)

La Villa Strangiato by Rush Villa Strangiato is a real place in Italy. It was the home of the late Barone (Baron) Strangiato, an Italian nobleman, but it is not a major Italian landmark. Neil Peart joked that Rush spent more time working on this song than they did on the entire Fly by Night album. Hemispheres is the sixth studio album by Canadian rock band Rush, released in October 1978 by Anthem Records. After touring to support the band's previous release, A Farewell to Kings, during which the group gained popularity in the UK, Rush started work on their next album. As with the band's previous studio album, Hemispheres was recorded at Rockfield Studios in Monmouthshire and Trident Studios in London with longtime engineer and arranger, Terry Brown. Rush continued its progressive rock sound with the side-long "Cygnus X-1 Book II: Hemispheres" and the nine-minute instrumental "La Villa Strangiato", which was the band's first instrumental piece. "La Villa Strangiato" is a nine-minute instrumental in 12 distinct sections and a subtitle of "An Exercise in Self-Indulgence". According to Lifeson, it is based on the various nightmares he would have, particularly while on tour, which provided the theme to what he described as a "musical re-creation" of them. The track was the sole piece that developed from the two-week rehearsal period the group had prior to entering the studio. Rush encountered great difficulty in recording it, as the band wanted it put down as a single live performance, rather than a more produced and edited piece. Lee said it took them around 40 takes to produce a take they were satisfied with. Peart and Lee pointed out that they spent more time recording "La Villa Strangiato" than they did recording the entire Fly by Night (1975) album. Peart recalled the group spent four days and nights playing it repeatedly, playing while their hands were sore and their minds tired. "We were determined to get the whole thing perfect, but in the end I just couldn't do it, and we ended up putting it together from a few different takes." The segments "Monsters!" and "Monsters! (Reprise)" are adapted from "Powerhouse", a 1937 jazz instrumental by Raymond Scott.

Friday June 23rd at about 7am, I was beaten and tasered by two deputies from the Oconee County South Carolina Sheriffs department. They were sent by the South Carolina Department of Natural Resources Agent who WITNESSED NOTHING. His WIFE told him a story so here is what the Brethren do. Where was I? At my house being aggressively questioned about "dog drool". Yea... pissed me off too. They brought an Oconee County Animal Control Officer to write me tickets based on hearsay. The crime that got me beat up and tasered and jailed for most of the day? POSSIBLE dog at large, as no one in my yard was an eyewitness to anything. Just so we are all on the same page. I am disabled. The weight limit I can manipulate is no more than 50 pounds by doctors order. I am missing my gallbladder and 38 cm of my large intestine due to everyone's favorite cancer. I live alone with two dogs, who are very kind creatures that my neighbors would attest to. I'm very hurt and have been beat by cops in my own yard. I demand an INVESTIGATION INTO THIS MATTER. THIS IS AN EXCESSIVE USE OF FORCE BEATING AN OLD DISABLED MAN IN HIS OWN YARD OVER "Dog at Large" allegations... with the alleged dog watching and not being violent as I'm being beat by YOUR PIGS THAT I FVCKIN PAY FOR. Fvck all you pricks and anyone else that beats the slaves with no cause.

"Stuck in the Middle with You" (sometimes known as "Stuck in the Middle") is a song written by Scottish musicians Gerry Rafferty and Joe Egan and performed by their band Stealers Wheel. The band performed the song on the BBC's Top of the Pops in May 1973, and the song charted at No. 8 in the UK Singles Chart. It also became an international hit, reaching No. 6 in the US Billboard Hot 100. "Stuck in the Middle with You" was released on Stealers Wheel's 1972 eponymous debut album. Gerry Rafferty provided the lead vocals, with Joe Egan singing harmony. It was produced by Jerry Leiber and Mike Stoller. Rafferty's lyrics are a dismissive tale of a music industry cocktail party written (i.e. the clowns and jokers would be all the music executives and hangers on), and performed as a parody of Bob Dylan's style (the vocal impression, subject, and styling were so similar, listeners have wrongly attributed the song to Dylan since its release). The band was surprised by the single's chart success.[4] The single sold over one million copies, eventually peaking at No. 6 on the US Billboard Hot 100 chart, No. 8 in the UK, and No. 2 in Canada. Billboard ranked it as the No. 30 song for 1973. The band appeared playing the song on BBC's Top of the Pops on 18 May 1973. Written by: Joe Egan, Gerald Rafferty Album: Stealers Wheel Released: 1972 Stuck In The Middle With You Stealers Wheel Well I don't know why I came here tonight I've got the feeling that something ain't right I'm so scared in case I fall off my chair And I'm wondering how I'll get down the stairs Clowns to the left of me Jokers to the right Here I am stuck in the middle with you Yes I'm stuck in the middle with you And I'm wondering what it is I should do It's so hard to keep this smile from my face Losing control, yeah I'm all over the place Clowns to the left of me Jokers to the right Here I am stuck in the middle with you When you started off with nothing And you're proud that you're a self-made man And your friends they all come crawling Slap you on the back and say Please Please Trying to make some sense of it all But I can see it makes no sense at all Is it cool to go to sleep on the floor? 'Cause I don't think that I can take anymore Clowns to the left of me Jokers to the right Here I am stuck in the middle with you When you started off with nothing And you're proud that you're a self-made man And your friends they all come crawling Slap you on the back and say Please Please Well I don't know why I came here tonight I've got the feeling that something ain't right I'm so scared in case I fall off my chair And I'm wondering how I'll get down the stairs Clowns to the left of me Jokers to the right Here I am stuck in the middle with you Yes I'm stuck in the middle with you Stuck in the middle with you Here I am, stuck in the middle with you

“Tenderloin” is the ninth track of Agents of Fortune. A tenderloin is the best cut you can buy... Tenderloin Blue Öyster Cult Written by: Allen Lanier Album: AGENTS OF FORTUNE Released: 1976 I come to you in a blue, blue room By some abuse and some heart You raise the blinds say, "Let's have light on life Let's watch it fall apart Let's watch it fall apart" Night time flowers, evening roses Bless this garden that never closes Treat her gently, treat her kind Tenderloin will last all night I'm feeling hungry, have another line So faith is taken up You raise your eyes, say that's just like life There's never quite enough There's never quite enough Night time flowers, evening roses Bless this garden that never closes Treat her gently, treat her kind Tenderloin will last all night I come to you in a blue, blue room By some abuse and some heart You raise the blinds say "Let's have light on life" Let's watch it fall apart Let's watch it fall apart Let's watch it fall apart

Inside, Doctor Krieger has a chain steering wheel, two sets of leopard print curtains and heavily tinted black windows. Lana comments on the "illegal-ass window tint" and says the van, "is like rolling probable cause," meaning police officers wouldn't need much of an excuse to pull over and search the van. Malory is embarrassed to be in the van, and calls it the "S.S. Date Rape." Krieger usually brings his virtual girlfriend into the van, or she has a projector there. He uses the van as a place where they can have privacy. Krieger has had multiple vans, with a recurring theme being that Krieger engages in questionable activities to obtain funds to create an ultra-cool van, which is then destroyed, usually because of Archer. They nearly always have names and painted murals based on Rush albums. The first van, "Exit: Van Left" (a homage to Rush's "Exit: Stage Left" live album), was totaled when Katya Kazanova fell on top of it. Krieger's second van, "Vanispheres," first seen and subsequently destroyed in "The Man From Jupiter," is a homage to Rush's album Hemispheres. This van was outfitted with a wheelchair lift to accommodate Ray. In the Season 3 finale, "Space Race: Part II", Krieger's third van borrows its name, "Caress of Krieger," and appearance from the Rush album Caress of Steel. At least part of this was apparently financed by selling access to Lana's medical records and information, and telling Barry that Archer was on the International Space Station. Apparently this particular van provided some method for Krieger to have sex with his virtual girlfriend, because they enter the van after he shows it off to her and it begins rocking. In the Season 4 episode, "The Wind Cries Mary", another van of Krieger's is shown in a flashback as a weapon distribution center (yet another way he funds projects like his van). It is an homage to the Rush album Fly by Night, and aptly named "Van by Night". Krieger's van has not been seen outside of this flashback in Season 4, so it is unclear where this van fits in the continuity. In Season 6, Krieger's van is repainted as simply "VAN," in homage to Rush's self-titled album. In Season 11, Krieger's van is named "Screaming For Van-geance," which is a homage to Judas Priest's album "Screaming For Vengeance." In "Helping Hands", the van is destroyed by Hands using a rocket launcher. Krieger was using his first van to tape bum fights, among other things, as referenced in "Honeypot."

"Mama Told Me Not to Come", also written as "Mama Told Me (Not to Come)", is a song by American singer-songwriter Randy Newman written for Eric Burdon's first solo album in 1966. Three Dog Night's 1970 cover topped the US pop singles chart. Tom Jones and Stereophonics' version also reached No. 4 on the UK Singles Chart in 2000. Newman says that the song was inspired by his own lighthearted reflection on the Los Angeles music scene of the late 1960s. As with most Newman songs, he assumes a character; in this song the narrator is a sheltered and extraordinarily straitlaced young man, who recounts what is presumably his first "wild" party in the big city, is shocked and appalled by marijuana smoking, whiskey drinking, and loud music, and – in the chorus of the song – recalls that his "Mama told [him] not to come". The first recording of "Mama Told Me Not to Come" was cut by Eric Burdon & The Animals. A scheduled single-release of September 1966 was withdrawn, but the song was eventually included on their 1967 album Eric Is Here. Newman's own turn at his song was released on the 1970 album 12 Songs, and was characterized by Newman's mid-tempo piano accompaniment, as well as Ry Cooder's slide guitar part, both of which give the song the feel of a bluesy Ray Charles-style rhythm and blues number. Also in 1970, Three Dog Night released a longer, rock 'n roll and funk-inspired version (titled "Mama Told Me (Not to Come)") on It Ain't Easy, featuring Cory Wells singing lead in an almost humorous vocal style, Jimmy Greenspoon playing a Wurlitzer electronic piano, Michael Allsup playing guitar, and Donna Summer on backing vocals, though uncredited. Billboard ranked the record as the No. 11 song of 1970. The single was certified gold by the Recording Industry Association of America on July 14, 1970, the same day that It Ain't Easy was certified gold. It was also the number-one song on the premiere broadcast of American Top 40 with Casey Kasem on July 4, 1970. Cash Box suggested that this song could "do for Randy Newman what the Fifth Dimension did for Laura Nyro" since Three Dog Night is "the first to apply muscle to his material." Tom Jones and Stereophonics covered the song for Jones' 34th album, Reload, in 1999. It was released as a single on March 6, 2000, and reached No. 4 on the UK Singles Chart, No. 7 in Iceland, No. 11 in Ireland and No. 45 in New Zealand. This version was produced by Steve Bush and Marshall Bird (also known as "Bird & Bush"). Stereophonics lead singer Kelly Jones (no relation and no relation) shared the lead vocals with Jones. The video featured an appearance by Welsh actor Rhys Ifans. Studios Recorded at Hook End (Oxfordshire, England), Eden Studios, and RAK Studios (London, England) Mixed at The Townhouse (London, England) Mastered at The Soundmasters (London, England) Personnel Randy Newman – writing Tom Jones – vocals Kelly Jones – vocals, guitar Victy Silva – backing vocals Richard Jones – bass guitar Tony Kirkham – keyboards Stuart Cable – drums Andy Duncan – programming, percussion Bird and Bush – production Stephen Hague – additional production Bob Kraushaar – engineering Jeremy Wheatley – mixing Kevin Metcalf – mastering P. J. Proby recorded one of the earliest takes on the song in 1967, followed by Three Dog Night's 1970 hit. Also in 1970, American singer-songwriter Odetta covered the song on her album "Odetta Sings". It has also been recorded by a diverse range of artists, including Wilson Pickett, Lou Rawls, The Wolfgang Press, Yo La Tengo, The Slackers, and Paul Frees (as W.C. Fields) accompanied by The Animals' Lazlo Bane. Jazz singer Roseanna Vitro included it in her 2011 collection The Music of Randy Newman. A 1970 cover by The Jackson 5 was released on Come and Get It: The Rare Pearls. Tea Leaf Green and Widespread Panic have performed this song live. In 1971, the comic singer Patrick Topaloff released a French version named Maman, viens me chercher. Three Dog Night's version is used to great effect in the 1997 Paul Thomas Anderson film Boogie Nights, playing as Eddie Adams first arrives at Jack Horner's home after Eddie's fight with his mother. It would also later appear in Terry Gilliam's 1998 movie adaptation of Hunter S. Thompson's 1972 gonzo novel Fear and Loathing in Las Vegas. Due to the song's upbeat, paranoid mood, it was used for the scene of obsessively drug-using protagonists Raoul Duke and Dr. Gonzo escaping a "District Attorneys convention on narcotics and dangerous drugs". It also appears as the last song in the movie's G-rated trailer, mainly accompanying Duke's wild car ride to have Dr. Gonzo catch a plane in time, a scene where in the R-rated trailer and in the actual film, Viva Las Vegas by Dead Kennedys was used instead.

"In the Light" is a song by English band Led Zeppelin from their 1975 album Physical Graffiti. The song was composed primarily by bassist/keyboardist John Paul Jones on synthesizer, though singer Robert Plant and guitarist Jimmy Page also received songwriting credits. The unique sound of the intro was created by Page using a bow on an acoustic guitar, as a backdrop to Jones' opening synthesizer solo. The song is based on an earlier band composition titled "In the Morning". Led Zeppelin also recorded an alternative version of the song, "Everybody Makes It Through" (In the Light) [Early Version/In Transit]". This version was released on 23 February 2015, as part of the remastering process of all nine albums. Led Zeppelin never performed "In the Light" in concert. In the Light Led Zeppelin Written by: John Paul Jones, James Patrick Page, Robert Anthony Plant Album: Physical Graffiti 1975 And if you feel that you can't go on And your will's sinkin' low Just believe, and you can't go wrong In the light you will find the road You will find the road Oh, did you ever believe that I could leave you Standing out in the cold I know how it feels 'cause I have slipped through To the very depths of my soul Ooh baby, I just want to show you what a clear view It is from every bend in the road Now listen to me Oh, whoa-whoa, as I was And really would be for you, too, honey As you would for me, oh, I would share your load Let me share your load Ooh, let me share, share your load And if you feel that you can't go on In the light you will find the road Though the winds of change may blow around you But that will always be so Whoa whoa, when love is pain it can devour you, but you are never alone I will share your load, I will share your load Baby, let me, oh, let me In the light Everybody needs the light Ooh yeah Ooh baby In the light, in the light, in the light Light, light, light, in the light Light, light, light, in the light, ooh, yeah Light, light, light, in the light Light, light, light, in the light Light, light, light, in the light, ooh, yeah Light, light, light, in the light

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

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.

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. A number of the National Lampoon's most acerbic and humorous covers were designed or overseen by Gross, including: Court-martialed Vietnam War mass-murderer William Calley sporting the guileless grin of Alfred E. Neuman, complete with the parody catchphrase 'What, My Lai?" (August 1971) The iconic Argentinian revolutionary Che Guevara being splattered with a cream pie (January 1972) A dog looking worriedly at a revolver pressed to its head, with what became a famous caption: "If You Don't Buy This Magazine, We'll Kill This Dog" (January 1973) The cover was conceived by writer Ed Bluestone. Photographer Ronald G. Harris initially had a hard time making the dog's plight appear humorous instead of pathetic. The solution was to cock the revolver; the clicking sound caused the dog's eyes to shift into the position shown. This was the most famous Lampoon cover gag, and it was selected by ASME as the seventh-greatest magazine cover of the last 40 years. This issue is among the most coveted and collectible of all the National Lampoon's issues. A replica of the starving child from the cover of George Harrison's charity album The Concert for Bangladesh, rendered in chocolate and with a large bite taken out of its head (July 1974) Michael Gross and Doug Kenney chose a young designer from Esquire named Peter Kleinman to succeed the team of Gross and David Kaestle. During his Lampoon tenure, Kleinman was also the art director of Heavy Metal magazine, published by the same company. The best known of Kleinman's Lampoon covers were "Stevie Wonder with 3-D Glasses" painted by Sol Korby, a photographed "Nose to The Grindstone" cover depicting a man's face being pressed against a spinning grinder wheel for the Work issue, the "JFK's First 6000 Days" issue featuring a portrait of an old John F. Kennedy, the "Fat Elvis" cover which appeared a year before Elvis Presley died, and many of the Mara McAfee covers done in a classic Norman Rockwell style. Kleinman designed the logos for Animal House and Heavy Metal. Kleinman left in 1979 to open an ad agency. He was succeeded by Skip Johnson, the designer responsible for the Sunday Newspaper Parody and the "Arab Getting Punched in the Face" cover of the Revenge issue. Johnson went on to The New York Times. He was followed by Michael Grossman, who changed the logo and style of the magazine. In 1984, Kleinman returned as creative director and went back to the 1970s logo and style, bringing back many of the artists and writers from the magazine's heyday. He left four years later to pursue a career in corporate marketing. At that time, the National Lampoon magazine entered a period of precipitous decline. The magazine was an outlet for some notable writing talents, including Douglas Kenney, Henry Beard, George W. S. Trow, Chris Miller, P. J. O'Rourke, Michael O'Donoghue, Anne Beatts, Chris Rush, Sean Kelly, Tony Hendra, Brian McConnachie, Gerald Sussman, Derek Pell, Ellis Weiner, Ted Mann, Chris Cluess, Al Jean, Mike Reiss, Jeff Greenfield, John Hughes and Ed Subitzky. The work of many important cartoonists, photographers, and illustrators appeared in the magazine's pages, including Neal Adams, Gahan Wilson, Robert Grossman, Michael Sullivan, Ron Barrett, Peter Bramley, Vaughn Bode, Bruce McCall, Rick Meyerowitz, Ralph Reese, Warren Sattler, M. K. Brown, Shary Flenniken, Bobby London, Edward Gorey, Jeff Jones, Joe Orlando, Arnold Roth, Rich Grote, Ed Subitzky, Mara McAfee, Sam Gross, Charles Rodrigues, Buddy Hickerson, B. K. Taylor, Birney Lettick, Frank Frazetta, Boris Vallejo, Marvin Mattelson, Stan Mack, Chris Callis, John E. Barrett, Raymond Kursar, Andy Lackow, and David C.K. McClelland. Comedy stars John Belushi, Chevy Chase, Gilda Radner, Bill Murray, Brian Doyle Murray, Harold Ramis, and Richard Belzer first gained national attention for their performances in the National Lampoon's stage show and radio show. The first three subsequently went on to become part of Saturday Night Live's original cast of Not Ready for Primetime Players, Bill Murray replaced Chase when Chase left SNL after the first season, and Brian Doyle Murray later appeared as an SNL regular. Harold Ramis went on to star in the Canadian sketch show SCTV and assumed role as its head writer, then left after season 1 to be a prolific director, writer and actor, working on such films as Animal House, Caddyshack, Ghostbusters, Groundhog Day and many more. Brian Doyle Murray has had roles in dozens of films, and Belzer was an Emmy Award-winning TV actor. Gerald L. "Jerry" Taylor was the publisher, followed by William T. Lippe. The business side of the magazine was controlled by Matty Simmons, who was chairman of the board and CEO of Twenty First Century Communications, a publishing company. Sounds foxy to me... National Lampoon's Animal House In 1978, National Lampoon's Animal House was released. Made on a small budget, it did phenomenally well at the box office. In 2001, the United States Library of Congress considered the film "culturally significant" and preserved it in the National Film Registry. The script had its origins in a series of short stories that had been previously published in the magazine. These included Chris Miller's "Night of the Seven Fires", which dramatized a fraternity initiation and included the characters Pinto and Otter, which contained prose versions of the toga party, the "road trip", and the dead horse incident. Another source was Doug Kenney's "First Lay Comics", which included the angel and devil scene and the grocery-cart affair. According to the authors, most of these elements were based on real incidents. The film was of great cultural significance to its time, as The New York Times describes the magazine's 1970s period as "Hedonism in full sway and political correctness in its infancy." Animal House, as the article describes was a crucial film manifestation of that culture. An article from The Atlantic Monthly describes how Animal House captures the struggle between "elitist {fraternity} who willingly aligned itself with the establishment, and the kind full of kooks who refused to be tamed." That concept was a crucial figment of the early National Lampoon Magazine, according to a New York Times article concerning the early years of the Magazine and co-founder Douglas Kenney's brand of comedy as a "liberating response to a rigid and hypocritical culture."

"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... Magic!

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

"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

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: mindunveiled@gmail.com 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: mindunveiled@gmail.com 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 ft. Klaus Schwab

"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: "I don't think anybody in this story is lying... You can hear something and it's just in there subconsciously until it's just ready to come out. One of the big myths we tell ourselves about art is that it's made by individuals and that myth is sort of what the art market is propped up on... It's just about the very nature of art and life and I think that all these ideas apply to every piece of creative work ever made." In the original music video for the song, a kennel security guard is watching a game show called Who Wants to Be a Zillionaire? on TV, in which a contestant is given the title question. Dogs escape from the kennel as the emergency alarm sounds. The guard responds by yelling the title song into his walkie-talkie. Throughout the video, the dogs chase people while the band Baha Men are performing. At the end of the video, the dogs return to the kennel, pleasing the security guard. A version also exists using the "Barking Mad Mix" of the song. This was the main video in Australia, as it was serviced to radio stations instead of the original version. A new version of the video also debuted at the end of the VHS release of Rugrats in Paris: The Movie, in which Rugrats clips are seen. The first use of the song at an American sporting event was at Mississippi State University. The university's mascot is the Bulldog, and the university school first played the song during football games in the fall of 1998 using the version sung by Chuck Smooth. It was accompanied by the crowd singing along and the team performing a dance on the field called "The Dawg Pound Rock" just before a kickoff. Later the Southeastern Conference ruled that they could not perform the dance on the field, so the team moved it to the sidelines. Several other teams followed suit, and the song quickly became a national phenomenon. In June 2000, Gregg Greene, then Director of Promotions for the Seattle Mariners, was the first to play the Baha Men's version of "Who Let the Dogs Out" at a Major League Baseball game. He debuted the tune as a joke for the team's backup catcher, Joe Oliver. Two days later, shortstop Alex Rodriguez requested the song be used as his walk-up music, and it quickly became the Mariners team anthem. The Baha Men performed at Safeco Field during a Mariners game in September 2000. The New York Mets, however, have claimed that they were the first MLB team to adopt the song, to which ESPN humorously commented "This is a little like scientists arguing over who discovered a deadly virus". The Baha Men recorded a version of the song that changed the chorus to "Who let the Mets out?" and all the lyrics to reflect the team and its players, which was played at Shea Stadium throughout the Mets' 2000 postseason run, including a live performance on the Shea Stadium field before Game 4 of the 2000 World Series against the New York Yankees. The song was written by David Brody of Z100 New York and recorded by the Baha Men initially for Z100. Brody then gave the song to the Mets to play at Shea. In the United Kingdom, the song was quickly appropriated by Liverpool supporters under then-manager Gérard Houllier. Regular chants of 'Hou led the reds out' by Liverpool fans (a reference to Liverpool's cup treble in 2001) were followed soon after by opposition fans' chants of 'Hou had a heart attack' (a reference to Houllier's illness in October 2001).

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