Psychological operations

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.'" Gillian G. Gaar described it as "a song whose sing-along melody typically masks the disturbing quality of the lyric, which touches on the solace one can find in religion or madness." As Cobain explained, "In the song, a guy’s lost his girl and his friends and he’s brooding. He’s decided to find God before he kills himself. It’s hard for me to understand the need for a vice like [religion] but I can appreciate it too. People need vices.” In Come As You Are, Cobain acknowledged that the song might have been inspired in part by the time he spent living with his friend Jesse Reed and his born-again Christian parents. Cobain told Azerrad that he wasn't necessarily anti-religion, saying that "I've always felt that some people should have religion in their lives ... That's fine. If it's going to save someone, it's okay. And the person in ['Lithium'] needed it." Snowpiercer is a 2013 post-apocalyptic science fiction action film based on the French climate fiction graphic novel Le Transperceneige by Jacques Lob, Benjamin Legrand and Jean-Marc Rochette. The film was directed by Bong Joon-ho and written by Bong and Kelly Masterson. A South Korean-Czech co-production, the film marks Bong's English-language debut; almost 85% of the film's dialogue is in English. The film stars Chris Evans, Song Kang-ho, Tilda Swinton, Jamie Bell, Octavia Spencer, Go Ah-sung, John Hurt, and Ed Harris. It takes place aboard the Snowpiercer train as it travels a globe-encircling track, carrying the last remnants of humanity after a failed attempt at climate engineering to stop global warming has created a new Snowball Earth. Evans stars as Curtis Everett, leader of the lower-class tail-section passengers, as they rebel against the elite of the front of the train. Filming took place at Barrandov Studios in Prague, using train car sets mounted on gimbals to simulate the train's motion. Snowpiercer received critical acclaim, and appeared on many film critics' top ten lists of 2014 after its international release, with praise for its vision, direction, and performances, particularly by Evans and Swinton. In the United States, the film was initially planned for a limited-screen showing but the critical response prompted The Weinstein Company to expand the showing to more theaters and to digital streaming services. With a budget of $40 million, it remains one of the most expensive South Korean productions ever. In 2031, 17 years after an attempt to stop global warming via stratospheric aerosol injection catastrophically backfires and creates a new ice age, the remnants of humanity have taken to a self-sustaining circumnavigational train, the Snowpiercer, run by reclusive transportation magnate Wilford. The passengers on the train are segregated, with the elite in the extravagant front cars and the poor crammed into squalid tail compartments overseen by armed guards. Urged by his mentor, Gilliam, Curtis Everett and his second-in-command, Edgar, lead the tail passengers in a revolt after they realize the guards' weapons have no ammunition; bullets are believed to be "extinct" due to a previous revolt. They free Namgoong Minsoo, a captive security specialist, who insists that his clairvoyant daughter, Yona, be freed as well. Namgoong helps the tail mob progress forward, but they find themselves facing guards with melee weapons, overseen by Minister Mason. During the battle, the train goes into a tunnel, causing total darkness. The guard force, who have night vision, begin picking off the blind rebels. However, the tail-sectioners launch a counterattack with torches and push the guards back. Edgar is held hostage, but Curtis abandons him to capture Mason, forcing her to order the remaining guards to surrender while Edgar is fatally stabbed. The tail army stays back, holding the guards captive, while Curtis takes Mason, Namgoong, Yona, skilled fighter Grey, and Tanya and Andrew (two parents who have had their children taken from them) toward the front of the train. Curtis's group travels through several opulent cars. Namgoong and Yona recognize a landmark outside and consider that the ice may be thawing. The group reaches a schoolroom, where a teacher is indoctrinating the children on Wilford's greatness. A bald man brings eggs for the children to open to celebrate the eighteenth circumnavigation of the Earth. The bald man goes to the tail army and shoots them with loaded automatic guns hidden under the eggs, revealing that bullets still exist. The captured guards are freed, as is Mason's henchman Franco. The teacher, who received a gun from the bald man, kills Andrew before Grey kills her. Franco broadcasts to the classroom his execution of Gilliam, which prompts Curtis to kill Mason. Curtis's group moves on, but Franco catches up with them, killing Grey and Tanya. Franco is then seemingly killed by Curtis and Namgoong. The two, along with Yona, continue onward. In the last car before the engine, Namgoong reveals that the reason he collected the drug Kronole was to use it as an explosive to escape the train with Yona, believing they can survive. Curtis stops them, as he wants to meet Wilford; Curtis explains that in the early days of the train, 17 years before, the tail section had resorted to cannibalism, and he had been ready to eat the infant Edgar but Gilliam offered him his arm instead. Curtis wants to face Wilford to ask why he created this closed ecosystem. The engine door opens, and Wilford's assistant Claude emerges and wounds Namgoong before inviting Curtis inside. Curtis meets Wilford and, to his shock, learns that he and Gilliam conspired to stage Curtis's rebellion to reduce the tail section's population to sustainable levels. Wilford orders 74% of the tail passengers killed. He then offers Curtis his position leading the train. Curtis appears ready to accept as Yona overpowers Claude, rushes in, and asks for matches. In desperation she pulls open a floorboard, with Curtis' help, to reveal Tanya's son, Timmy, working the engine as a machine part, taken from his mother to be a slave. Appalled, Curtis knocks out Wilford and rescues Timmy from the machinery, though he loses his arm in the process. Curtis gives Yona matches to light the fuse for the Kronole bomb, while Namgoong fights and kills Franco, who had followed them, along with partygoers from another car. Andy, Andrew's missing son, crawls out of a nook and is unresponsive to Curtis' begging as he climbs into the engine. As the door to the engine room was damaged during the fighting and will not close, Curtis and Namgoong use their bodies to protect Yona and Timmy from the blast. The explosion triggers an avalanche that derails and wrecks the train. With Namgoong unresponsive, Yona escapes the wreckage with Timmy. They see a polar bear in the distance, indicating that life exists outside the train.

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're waiting for you got to score you (Butt out butt out) Handy with a shovel and so sincere (Butt out butt out) Ooh... they got the kid glove (Butt out butt out) You just want someone to talk to They just wanna to get their hands on you You get whatever you choose Oh, no you can't do that Once you started wearin' those shoes Oh, no you can't do that Once you started wearin' those shoes (Butt out butt out) Umm (Butt out butt out) Shoot (Butt out butt out) (Butt out butt out) Whoa-whoa (Butt out butt out) (Butt out butt out) (Butt out butt out) (Butt out)

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 :) Text Limit... 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. They were very popular which motivated me to create more but also focus on more elite tools. Q. If somebody could buy all your art skills and leave you with none, how much would you sell them for? A. I don't want to sell them :) If I got millions of dollars, I might start doing some global projects to push humanity's progress and stop the destruction of our planet, but I don't think masons or oil tycoons would allow me to live a long life :) I think I would only trade my art skills for music or singing skills since I always wanted to have my own post-hardcore band. "School" is a song co-written by Rick Davies and Roger Hodgson of British rock band Supertramp, and included in the band's third and breakthrough 1974 album, Crime of the Century, of which it was the opening track. It was later released as a single in 1983, backed with "Oh Darling", a track from their 1979 album Breakfast in America, and charted at number 27 in Netherlands in 1989. In 2020, the song peaked at number 1 as its highest radio airplay chart in Spain. The song starts with a long, slow harmonica intro. Hodgson’s verse vocals are first only above his flanged guitar, and then an elongated, strummed guitar section before the song finally fully kicks in. Davies later provides a bright piano lead. It has been described as presaging a similar approach used on Pink Floyd's "Another Brick in the Wall (Part Two)", a centrepiece of the band's 1979 similar concept album The Wall. Hodgson stated that the song is "basically saying that what they teach us in schools is all very fine, but it’s what they don’t teach us in schools that creates so much confusion in our being. They don’t really prepare us for life in terms of teaching us who we are on the inside. They teach us how to function on the outside and to be very intellectual, but they don’t tell us how to act with our intuition or our heart or really give us a real plausible explanation of what life’s about." Prog contributor Daryl Eastlea said that "'School' married Hodgson’s rally against his upbringing with Davies’ ever-remarkable piano break."

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

Raphael Lacoste lives in Canada, Montreal, with his family since 2002. He was born in 1974 in Paris, but lived mostly around Bordeaux, south west of France until he left for Canada. He studied in 1993 at Fine Arts school, Art and Media option, Photography and Video, at the same time, he was photographer and composer for a theatre company "les Pygmalions". He was already attracted by the scenery, mood and lighting. The Company Gave him the opportunity in 1997 to work on "the little Prince" of St Exupéry, he did there his first 3D pictures that were projected on giant screens with Pani 6KW projectors, Raphael was also the screening coordinator. Later in 1998, he went to CNBDI school (Angouleme, France) and got a European Master of Art in 3D animation, his movie "Nîumb" was screened at Siggraph 2000, Imagina 2000, Anima mundi 2001... He had teachers like René Laloux, Director of "Time masters", "Gandahar", "Fantastic Planet"... Raphael was very impressed by the work of his teacher and learned a bit of his knowledge... Raphael Lacoste has been now Art director on Videogames and Cinematics (CG) for more than 7 years, he worked at Ubisoft on such licenses as Prince of Persia and Assassin's Creed (VES, AIAS, GDC awarded). He won a VES Award in February 2006 for his work as Art Director on Prince of Persia the Two Thrones Cinematics. His Focus now is to work as Senior Concept Artist, Matte painter and production designer for Film. He is skilled particularly in environments, moods, picture composition and lighting (see portfolio). He joins the RodeoFX team in Montreal in October 2007. Raphael Lacoste was the Art Director at Ubisoft on such titles as Prince of Persia and Assassin's Creed. Winning two VES Awards, in February 2006 for his work on the "Two Thrones" cut scene from Prince of Persia and in 2017 for his work on "Assassin's Creed Origins". Wanting to challenge himself in the film industry, Raphael stepped away from the game industry to work as a Matte Painter and Senior Concept Artist on such feature films as: Terminator Salvation, Journey to the Center of the Earth, Death Race, Immortals 2011, Repo Men, Jupiter Ascending... As of 2009, Raphael has returned to the video game industry, working as a Senior Art Director for Electronic Arts Montreal and Ubisoft, as Brand Art Director on the Assassin’s Creed Franchise... After working on many of the most successful assassin's Creed Titles, Raphael joined some of the original creators of the Franchise at Haven Studios inc as Artistic Director. After the Gold Rush is the third studio album by the Canadian-American musician Neil Young, released in September 1970 on Reprise Records, catalogue number RS 6383. It is one of four high-profile solo albums released by the members of folk rock group Crosby, Stills, Nash & Young in the wake of their chart-topping 1970 album Déjà Vu. Young's album consists mainly of country folk music along with several rock tracks, including "Southern Man". The material was inspired by the unproduced Dean Stockwell-Herb Bermann screenplay After the Gold Rush. Except for the track "Birds", recorded on June 30, 1970, at Sound City Studios, the remainder of the album was recorded at various sessions in a makeshift basement studio ("Redwood Studios") in Young's Topanga Canyon home during March and April 1970 with CSNY bassist Greg Reeves, Crazy Horse drummer Ralph Molina and burgeoning eighteen-year-old musical prodigy Nils Lofgren of the Washington, D.C.-based band Grin on piano. The incorporation of Lofgren was a characteristically idiosyncratic decision by Young, as Lofgren had not played keyboards on a regular basis prior to the sessions. Along with Jack Nitzsche, Lofgren would join an augmented Crazy Horse sans Young before enjoying success with his own group as well as solo cult success and membership in Bruce Springsteen's E Street Band. Biographer Jimmy McDonough has asserted that Young was intentionally trying to combine Crazy Horse and CSNY on this release, with members of the former band appearing alongside Stephen Stills (who contributed backing vocals to "Only Love Can Break Your Heart") and Reeves. The cover art is a solarized image of Young passing an old woman at the New York University School of Law campus in the Greenwich Village district of New York City. The picture was taken by photographer Joel Bernstein and was reportedly out of focus. It was because of this he decided to mask the blurred face by solarizing the image. The photo is cropped; the original image included Young's friend and CSNY bandmate Graham Nash. Songs on the album were inspired by the Dean Stockwell-Herb Bermann screenplay for the unmade film After the Gold Rush. Young had read the screenplay and asked Stockwell if he could produce the soundtrack. Tracks that Young recalls as being written specifically for the film are "After the Gold Rush" and "Cripple Creek Ferry". The script has since been lost, though it has been described as "sort of an end-of-the-world movie." Stockwell said of it, "I was gonna write a movie that was personal, a Jungian self-discovery of the gnosis ... it involved the Kabala, it involved a lot of arcane stuff." Graham Nash has claimed that "Only Love Can Break Your Heart" was written for him in the aftermath of his breakup with Joni Mitchell. According to the Neil Young Archives, After the Gold Rush was released on September 19, 1970. One month later, on October 24, the lead single "Only Love Can Break Your Heart" entered the Billboard Hot 100 chart.

"That's the Way" is a folk rock ballad by Led Zeppelin from their third album, Led Zeppelin III, released in 1970. As with several of the tracks on the album, it is an acoustic song. Jimmy Page and Robert Plant wrote the piece in 1970 on a retreat at Bron-Yr-Aur cottage, Wales. Page noted that the two developed it and recorded a rough demo after a long walk before they returned to the cottage. The original working title of the song was "The Boy Next Door". On the surface, the lyrics are about one boy's parents being against a friendship with another boy due to his long hair and coming from the wrong side of town. It also reflects on the group's early American tours, when they were sometimes harassed for their appearance. Instrumentation for the song is spare, consisting of a strummed twelve-string acoustic guitar, with overdubbed mandolin and steel guitar fills; percussion and bass are absent from much of the song until the instrumental outro. According to Page, "And right at the end, where everything opens up, I played a dulcimer." He also plays the bass heard at the conclusion: "I was doing a bunch of overdubs and got excited. [Bassist] John Paul Jones went home, so I put the bass part on it as well! [laughs] That didn't happen often, believe me!" "Tangerine" by the English band Led Zeppelin. Recorded in 1970, it is included on the second, more acoustic-oriented side of Led Zeppelin III (1970). The plaintive ballad reflects on lost love and features strummed acoustic guitar rhythm with pedal steel guitar. The Yardbirds, with guitarist Jimmy Page, recorded an early version of the song in 1968, titled "Knowing That I'm Losing You". When it was released on the Page-produced 2017 album Yardbirds '68, Keith Relf's vocal was left out. "Tangerine" has been performed in concert by Led Zeppelin at different points in their career and has been recorded by other musicians. "Tangerine" dates back to Page's time as lead guitarist with the Yardbirds. In April 1968, the group recorded demos for several songs at the Columbia Studios in New York City. Page biographer George Case notes that "Knowing That I'm Losing You" is very similar to "Tangerine" and suggests that Jackie DeShannon inspired the tune. Recordings from these sessions (with producer Manny Kellem) and the concert performance later used for Live Yardbirds: Featuring Jimmy Page were rejected for release at the time, but were issued in 2017 on the Yardbirds '68 compilation album produced by Page. While the demo recorded by the Yardbirds featured a vocal by Keith Relf, the 2017 release does not include it. To develop material for a follow-up album to Led Zeppelin II, Page and singer Robert Plant took a working holiday at Bron-Yr-Aur, a rustic retreat in South Snowdonia, Wales. Plant in particular was inspired by the back-to-the-land trends in northern California and the British folk scene. Accompanied only by acoustic guitar, hand-claps, and harmonica, the pair created tunes that served as the basis for several songs on Led Zeppelin III and later albums. Although written earlier, "Tangerine" reflects this rural sensibility and journalist Nigel Williamson includes it with the acoustic material born of the Bron-yr-aur sojourn. Other earlier influences include songs recorded at Mickie Most's Donovan sessions, when John Paul Jones and Page were studio musicians. "The Maid Freed from the Gallows" is one of many titles of a centuries-old folk song about a condemned maiden pleading for someone to buy her freedom from the executioner. In the collection of ballads compiled by Francis James Child in the late 19th century, it is indexed as Child Ballad number 95; 11 variants, some fragmentary, are indexed as 95A to 95K. The Roud Folk Song Index identifies it as number 144. The ballad exists in a number of folkloric variants, from many different countries, and has been remade in a variety of formats. For example, it was recorded in 1939 as "The Gallis Pole" by folk singer Huddie "Lead Belly" Ledbetter, and in 1970 as "Gallows Pole", an arrangement of the Fred Gerlach version, by English rock band Led Zeppelin, on the album Led Zeppelin III. There are many versions, all of which recount a similar story. A maiden (a young unmarried woman) or man is about to be hanged (in many variants, for unknown reasons) pleads with the hangman, or judge, to wait for the arrival of someone who may bribe him. Typically, the first person (or people) to arrive, who may include the condemned person's parent or sibling, has brought nothing and often has come to see them hanged. The last person to arrive, often their true love, has brought the gold, silver, or some other valuable to save them. Although the traditional versions do not resolve the fate of the condemned one way or the other, it may be presumed that the bribe would succeed. Depending on the version, the condemned may curse all those who failed them.

"Two Suns in the Sunset" is the closing track on Pink Floyd's 1983 concept album The Final Cut, and Roger Waters' final chronological contribution to the band, before leaving in 1985. Since there was no promotional tour for The Final Cut, and this album was entirely ignored by Gilmour, Wright and Mason during the tours for A Momentary Lapse of Reason and The Division Bell, "Two Suns in the Sunset" was never performed live by Pink Floyd. However, Roger Waters, as a solo artist, premiered the song almost 35 years after its release in a concert from the Us + Them Tour, held on 17 October 2018 at Itaipava Arena Fonte Nova in Salvador, Bahia, Brazil. Waters also played it in 2022 on his 2022–23 show This Is Not a Drill. Partway through the song, the lyric "the sun is in the east, even though the day is done" refers to the glowing fireball of a nuclear explosion. The song was partly inspired by Andrzej Wajda's movie Ashes and Diamonds (Polish: Popiół i Diament) Session drummer Andy Newmark plays drums on this song, as Pink Floyd drummer Nick Mason felt unable to perform its complex time signature changes. The song begins and ends in 9/8 time, while the majority of the song is in 4/4 (or "common time"), and it is punctuated with added measures of 7/8 and 3/8. Adding to the complexity, the main theme of the rhythm guitar has chords changing emphatically in dotted eighth notes, so three eighth-note beats are divided equally in two. This is not unlike what "Mother", from the previous Pink Floyd album, The Wall, does, and on that song, Mason relinquished the drumming duties, in that case to Jeff Porcaro. Roger Waters – vocals, acoustic guitar, bass guitar, scream, sound effects David Gilmour – electric guitar with: Andy Newmark – drums Andy Bown – Hammond organ Raphael Ravenscroft – saxophone Michael Kamen – piano Written by: George Roger Waters Album: The Final Cut Released: 1983 Two Suns in the Sunset Pink Floyd In my rear view mirror The sun is going down Sinking behind bridges in the road I think of all the good things That we have left undone And I suffer premonitions Confirm suspicions Of the holocaust to come The rusty wire that holds the cork That keeps the anger in Gives way and suddenly It's day again The sun is in the east Even though the day is done Two suns in the sunset Could be the human race is run? Like the moment when the brakes lock And you slide towards the big truck (oh no) You stretch the frozen moments with your fear And you'll never hear their voices (daddy, daddy!) And you'll never see their faces You have no recourse to the law anymore As the windshield melts and my tears evaporate Leaving only charcoal to defend Finally I understand the feelings of the few Ashes and diamonds Foe and friend We were all equal in the end

Westminster Police at the charge of Chief tiny dick Matthew Patterson charged me with "dogs at large" because of BUZZARDS AT LARGE DESTROYING PROPERTY. Fuck you Matthew Patterson and that cunt PTL McKinley Kelly-Jones. Leave the dog wrangleing to animal control and quit being the fucking shit hole buzzards you are. Fuck off and die, Your taxpaying civic slave, Franklyn Jones. The Judge that gets to hear it? Oh that's another inbred dick named William Derrick Jr. You see the Westminster City attorney works out of who's law office? Attorney William Derrick Sr. esq? Nepotism and the Jews that love it. Westminster South Carolina, capital of tyrannical government and inbred politics.

ACTUAL MESSAGES ON MY VOICEMAIL SET TO OFFICE SPACE. YOU'LL CATCH THE LOOP. THIS IS REAL. the same fvcking video that bitchute refuses to play uploaded again. Original upload date Jun 07, 2019 (bitchute). Now I am distributing across ALL video hosting formats I use. It is stunning the resemblance. That is an epic story in itself. Source of Voice Mail... A Psychiatric Clinician at Johns Hopkins no less... a very specific one...

Degüello is the sixth studio album by the American rock band ZZ Top, released in November 1979. It was the first ZZ Top release on Warner Bros. Records and eventually went platinum. It was produced by Bill Ham, recorded and mixed by Terry Manning, and mastered by Bob Ludwig. Returning from a two-year hiatus, the band began to showcase the influence they have collected during the time away; Gibbons' time in Europe introduced him to punk music, the influences of which seeped into the creation of the album. The band also consciously tried experimenting with technology: Gibbons saw an episode of The Phil Donahue Show where a person's identity was protected using silhouette and a pitch shifter; liking the sound, he asked engineer Manning to call the show and find out what the effects unit was. Manning eventually convinced a reluctant show producer to reveal it, and the effect was used for both vocals and guitars on songs like "Manic Mechanic". The album marked the first time that ZZ Top featured cover versions on a studio album: "I Thank You" by Isaac Hayes/David Porter and "Dust My Broom", credited on early editions to Elmore James but subsequently credited to Robert Johnson who recorded it in 1936. Elmore James had adapted and popularized the song in 1951. "Degüello" means "decapitation" (literally, a slashing of the throat) or, idiomatically, when something is said to be done "a degüello", it means "no quarter" in Spanish (as in, "no surrender to be given or accepted—a fight to the death"). It was also the title of a Moorish-origin bugle call used by the Mexican Army at the Battle of the Alamo in 1836. The song "I'm Bad, I'm Nationwide" was inspired by Texas bluesman Joey Long. As Billy Gibbons tells it, Long always had a new Cadillac. However, since he didn’t have a drivers license, his beautiful wife Barbarella used to drive him to gigs. Long died in 1995. The song is also noteworthy as the only tune other than Somebody Else Been Shaking Your Tree where Gibbons plays pedal steel guitar. Gibbons also plays “a multi-stringed mandolin-like instrument from Parral, Mexico” that Long gave him. “If you listen closely, you can hear close-miked mandolin-sounding rhythm accompaniment,” he told Guitar World. “The lead track was played on a custom-made, half-sized, real short-scaled guitar tuned to G. It was actually standard tuning cranked up three steps, which remained quite playable thanks to the guitar’s short scale. The song’s tail end alternates between three distinct effects created by two pedals: an Echoplex doubler and a Maestro octave box alternating every third bar between having the octave up and the octave down.” Released November 1979 Recorded April–August 1979 Side 1 Song 3 I'm Bad, I'm Nationwide Well, I was rolling down the road In some cold blue steel I had a blues man on the back And a beautician at the wheel We going downtown In the middle of the night We laughing and I'm joking And we feeling alright Oh I'm bad, I'm nationwide Yes I'm bad, I'm nationwide Easing down the highway In a new Cadillac I had a fine fox in front I had three more in the back They sporting short dresses Wearing spike-heel shoes They smoking Lucky Strikes And wearing nylons too Cause we bad, we're nationwide Yeah we bad, we're nationwide Well, I was moving down the road In my V-8 Ford I had a shine on my boots I had my sideburns lowered With my New York brim And my gold tooth displayed Nobody give me trouble Cause they know I got it made I'm bad, I'm nationwide Well, I'm bad, bad, bad Bad, bad, I'm nationwide, yeah, yeah

"Have a Cigar" is the third track on Pink Floyd's 1975 album Wish You Were Here. It follows "Welcome to the Machine" and on the original LP opened side two. In some markets, the song was issued as a single. English folk-rock singer Roy Harper provided lead vocals on the song. It is one of only three Pink Floyd recordings with a guest singer on lead vocals, the others being "The Great Gig in the Sky" (1973) with Clare Torry and "Hey Hey Rise Up" (2022) with Andriy Khlyvnyuk. The song, written by Waters, is his critique of the rampant greed and cynicism so prevalent in the management of rock groups of that era. The song's music and lyrics were written by Roger Waters in critique of hypocrisy and greed within the music business. Waters has frequently implied it to be a follow-up to "Money" with the lyrics representing the demands of a record executive after the runaway success of The Dark Side of the Moon. The song is more straightforwardly rock-oriented than the rest of the album, and is the only one on the album that starts abruptly (the other four either fade in or segue from the previous song). It begins with a churning riff played on electric guitar and bass and is filled out with additional guitar, electric piano and synthesizer parts to create a rock texture. "Have a Cigar" concludes with a guitar solo, which is abruptly interrupted by a synthesizer filter-sweep sound effect as the music reduces in volume to tinny, AM radio-like levels. Finally, the song ends with the sound of a radio being dialled off-station; this effect is used as a transition to the title track, "Wish You Were Here". Harper's involvement with the recording arose from the dissatisfaction that Waters and David Gilmour felt with their own attempts to sing the lead vocal line. After trying it both separately and as a duet (available on the 2011 Experience and Immersion editions of Wish You Were Here), they turned to Harper, who was recording his album HQ at Abbey Road at the same time as Pink Floyd. Harper agreed to sing the part as a way of repaying a favour to Gilmour, who had earlier provided him with some guitar licks ("...for a price"). In his book Pigs Might Fly: The Inside Story of Pink Floyd, author Mark Blake recounts that Gilmour had been unwilling to sing the lead vocal as he did not share Waters' opinions, as expressed in the lyrics, on the nature of the music industry. Waters has since said he dislikes Harper's version, saying he would have liked it to emerge "more vulnerable and less cynical", adding that Harper's version was too parodic while Gilmour loved Harper's vocal delivery and called it the "perfect version". A lot of people think I can't sing, including me a bit. I'm very unclear about what singing is. I know I find it hard to pitch, and I know the sound of my voice isn't very good in purely aesthetic terms, and Roy Harper was recording his own album in another EMI studio at the time, he's a mate, and we thought he could probably do a job on it. — Roger Waters, October 1975, Interviewed by Nick Sedgewick in the Wish You Were Here songbook "Have a Cigar" was a whole track on which I used the guitar and keyboards at once. There are some extra guitars which I dubbed on later, but I did the basic guitar tracks at one time. — David Gilmour, October 1975, Interviewed by Gary Cooper in the Wish You Were Here songbook We did have people who would say to us "Which one's Pink?" and stuff like that. There were an awful lot of people who thought Pink Floyd was the name of the lead singer and that was Pink himself and the band. That's how it all came about, it was quite genuine. — David Gilmour, December 1992, In the Studio with Redbeard for "Making of Shine On" and "Making of Wish You Were Here" David Gilmour – electric guitars Richard Wright – Wurlitzer electric piano, ARP String Synthesizer, Minimoog, Hohner clavinet D6, piano Roger Waters – bass Nick Mason – drums with: Roy Harper – lead vocals

"Carry On Wayward Son" is a song by American rock band Kansas, released from the band's fourth studio album Leftoverture (1976). Written by guitarist Kerry Livgren, the song became the band's first Top 40 single, reaching No. 11 on the US Billboard Hot 100 in early 1977. The song has since remained a classic rock radio staple and a signature song for the band. While Kansas' previous three albums had split songwriting duties between lead vocalist Steve Walsh and band member Kerry Livgren, the latter essentially provided all the material for the band's fourth album release, Leftoverture. According to Livgren, "On the very first day of rehearsals, Steve...said that he had nothing – not a single song. I don't relish that kind of pressure, but with hindsight it really brought out the best in me." Although based in Atlanta, Kansas had returned to their Topeka, Kansas hometown to work up material for what would be the Leftoverture album, the band rehearsing in a vacant store in a strip mall the material Livgren was working up on a Lowrey organ at the parental home where he was staying. "Carry On Wayward Son" was written after the band had completed rehearsals. Livgren, who perceived the song as being "beamed down" to him in toto, in 2004 stated: "It's an autobiographical song. Parallel to my musical career I've always been on a spiritual sojourn, looking for truth and meaning. It was a song of self-encouragement. I was telling myself to keep on looking and I would find what I sought." Livgren was born again on July 25, 1979, and since 1980 recorded primarily as a Christian rock artist. When it came out, there was nothing like it. [It has] so many musically interesting parts. It wasn't rubber-stamped; it was unique to itself. It's a great sing-along. It had a lot of things going for it. When we recorded it, we knew we had a great song. ...we didn't realize what it would turn into. It's become part of rock-&-roll culture. But then it seemed like a fluke. It was the right song at the right time. Kansas guitarist Rich Williams on the song's impact and enduring appeal Drummer Phil Ehart recalled that Livgren mentioned a new song as Kansas was packing up to leave Topeka for Studio in the Country, the Louisiana facility where Leftoverture was recorded from December 1975, with Livgren presenting "Carry On Wayward Son" to his bandmates only after they had reached the studio. According to Livgren "It was the last night we were in Topeka. I came into the studio on the last day and said, ‘I think you better hear this one’. The guys looked at each other and said, ‘We gotta do this’." In 2004, Ehart recalled, "It was the last, last [song] to be submitted for...'Leftoverture'...I can't even remember if we dropped something else to get [it] on there...[When] we recorded it, we didn't really think it would be a hit [as] it was about six minutes long...We were on the road [in December 1976 when] our manager...said: 'Well, you're not gonna believe this, but we actually have a hit song.' We said, 'What?' He said, 'Yeah. "Carry On Wayward Son" is shooting up the charts.' And it barely made it on the album!" Kansas other guitarist Rich Williams indicated in 2004 that the success of "Carry On Wayward Son" was not a total surprise to the band: "As far as knowing what a hit was, we didn't have any idea. But we knew there was something special about ['Carry On Wayward Son']. It was very easy to listen to but still very different." Steve Walsh – lead vocals, keyboards, organ Robby Steinhardt – backing vocals Kerry Livgren – guitar, piano Rich Williams – acoustic and electric guitar Dave Hope – bass Phil Ehart – drums Written by: Kerry Livgren Carry on my wayward son There'll be peace when you are done Lay your weary head to rest Don't you cry no more Once I rose above the noise and confusion Just to get a glimpse beyond this illusion I was soaring ever higher But I flew too high Though my eyes could see, I still was a blind man Though my mind could think, I still was a mad man I hear the voices when I'm dreaming I can hear them say Carry on, my wayward son There'll be peace when you are done Lay your weary head to rest Don't you cry no more Masquerading as a man with a reason My charade is the event of the season And if I claim to be a wise man, well It surely means that I don't know On a stormy sea of moving emotion Tossed about, I'm like a ship on the ocean I set a course for winds of fortune But I hear the voices say Carry on, my wayward son There'll be peace when you are done Lay your weary head to rest Don't you cry no more No! Carry on, you will always remember Carry on, none can equal the splendor Now your life's no longer empty Surely heaven waits for you Carry on, my wayward son There'll be peace when you are done Lay your weary head to rest Don't you cry (Don't you cry no more) No more

https://www.pinterest.com/aboxoffrogs/fantasy-art/ Rodney Matthews (born 6 July 1945) is a British illustrator and conceptual designer of fantasy and science-fiction. Trained at the West of England College of Art, Matthews worked in advertising for Plastic Dog Graphics before turning freelance in 1970, initially under the name Skyline Studios. Matthews has painted over 140 subjects for record album covers, for many rock and progressive rock bands. More than 90 of his pictures have been published worldwide, selling in poster format, as well as many international editions of calendars, jigsaw puzzles, postcards, notecards, snowboards and T-shirts. His originals have been exhibited throughout the UK and Europe. He has been a regular exhibitor at the Chris Beetles Gallery, in London's West End, where he met English comedian, actor, writer and producer John Cleese, an avid collector of his work. Matthews has illustrated numerous books, including those by English fantasy and science fiction author Michael Moorcock. Their collaboration in the 1970s resulted in a series of 12 large posters, depicting scenes from Moorcock's Eternal Champion series. These images were also used for a 1978 calendar entitled "Wizardry and Wild Romance". In 1998, Matthews and the late Gerry Anderson completed Lavender Castle, a 26-episode stop-motion CGI animation series for children. It was produced at Cosgrove Hall Films in Manchester and purchased by ITV for the UK. Matthews has also contributed concept designs for the 2005 film The Magic Roundabout. He supplied conceptual designs for computer games such as the Sony/Psygnosis game Shadow Master and Haven: Call of the King, published by Midway. Matthews has produced some publicity and a logo for the green energy company Ecotricity. He has also written lyrics and played drums on a music album influenced by his images; American guitarist Jeff Scheetz, John Payne (Asia) on bass guitar, Oliver Wakeman (Yes) on keyboards and Pete Coleman (composer and multi-instrumentalist). Album covers (including EPs, LPs and DVDs) 1965, Pentworth's People, demo cover 1971, Thin Lizzy, New Day (EP) 1971, Fred Wedlock, The Folker 1971, Ian A. Anderson, A Vulture Is Not a Bird You Can Trust 1971, Pigsty Hill Light Orchestra, Piggery Jokery 1971, Various artists, The Great White Dap (EP) 1972, Amon Düül II, Live in London 1972, Dave Evans, Elephantasia 1972, Hillbilly Jazz, Vol. 1 1972, Hillbilly Jazz, Vol. 2 1972, Hunt & Turner, Magic Landscape 1972, Ian A. Anderson, Singer Sleeps on as Blaze Rages 1972, Various artists (feat. Little Richard, Sam Cooke and more), This Is How It All Began 1973, Al Jones, Jonesville 1973, Art Rosenbaum, Five String Banjo 1973, Bola Sete, Ocean 1973, Captain Lockheed and the Starfighters, Ejection (EP) 1973, Dave Carlsen (feat. Noel Redding, Keith Moon & Spencer Davis), Pale Horse 1973, David Stone & Allan Schiller, Delius 1973, Fred Wedlock, Frollicks 1973, Hamish Imlach, All Round Entertainer 1973, Stefan Grossman, Aunt Molly's Murray Farm 1973, Stefan Grossman, Contemporary Ragtime Guitar 1973, The Dartington String Quartet, Shostakovich 1974, Brinsley Schwarz, Golden Greats 1974, Geoffrey Woodruff, Live (6" LP) 1974, Old Pete, Old Pete (6" LP) 1974, Old Pete, Old Pete's Christmas Story (6" LP) 1974, Various artists, Some People Play Guitar Like a Lotta People Don't! 1975, Halfbreed, Halfbreed 1976, 20th Century Steel Band, Yellow Bird Is Dead 1977, Bo Hansson, Music Inspired by Lord of the Rings 1979, Nazareth, May The Sun Shine (single) 1979, Nazareth, No Mean City 1980, Magnum, Chase the Dragon 1980, Praying Mantis, Praying Mantis (single) 1980, Praying Mantis, Time Tells No Lies 1981, Praying Mantis, Cheated (EP) 1981, Tygers of Pan Tang, Crazy Nights 1982, Bitches Sin, Predator 1982, Diamond Head, Borrowed Time 1982, Eloy, Planets 1982, Eloy, Time to Turn 1982, Scorpions, Lonesome Crow 1983, Magnum, The Eleventh Hour 1984, Eloy, Metromania 1984, Tigermoth, Tigermoth 1985, Magnum, On a Storyteller's Night 1986, Motherlode, The Sanctuary 1987, Diamond Head, Am I Evil 1987, Magnum, Mirador 1988, Magnum, Kingdom of Madness 1988, Magnum, Magnum II 1988, Tigermoth, Howling Moth 1989, Full Moon, Full Moon 1989, Magnum, Foundation 1990, Detritus, Perpetual Defiance 1990, Seventh Angel, The Torment 1991, Praying Mantis, Predator in Disguise 1991, Rick Wakeman, 2000 A.D. Into the Future 1991, Seventh Angel, Lament for the Weary 1991, White Metal Warriors, Last Ship Home 1992, Asia, Aqua 1992, Asia, Who Will Stop the Rain? (single) 1992, Magnum, Only in America (single) 1992, Magnum, Sleepwalking 1992, Rudi Dobson & Rodney Matthews, The House on the Rock 1992, Veni Domine, Fall Babylon Fall 1993, Barclay James Harvest, Caught in the Light 1993, Gethsemane Rose, Tattered 'N' Torn 1993, Magnum, Archive 1993, Magnum, Keeping the Nite Light Burning 1993, Stairway, No Rest: No Mercy 1994, Rodd & Marco, Jurassic Church 1994, Veni Domine, Material Sanctuary 1995, Asia, Arena 1995, Rick Wakeman, The New Gospels 1995, Tradia, Welcome to Paradise 1996, Asia, Archiva Vol. 1 1996, Asia, Archiva Vol. 2 1996, Crucifer, Hellbound Angel 1997, Magnum, Stronghold 1999, Oliver Wakeman & Clive Nolan, Jabberwocky 2000, Doug King, The Snugldorfs 2003, Asia, Different Worlds Live 2003, Asia, Live in Moscow (DVD) 2003, Barclay James Harvest, 25th Anniversary Concert (DVD) 2003, Hawkwind, Welcome to the Future (2CD/DVD Box) 2003, Magnum, A Winter's Tale (DVD) 2003, Squidd, Twice Upon a Time (3 Track CD) 2003, Steve Hackett, Horizons (DVD) 2003, Uriah Heep, Live in the USA (DVD) 2003, Various artists (feat. Fairport Convention, Lindisfarne, The Strawbs and more), Folk Rock Anthology (DVD) 2003, Various artists (feat. Black Sabbath, Deep Purple, Saxon and more), Hard Rock Anthology (DVD) 2003, Various artists (feat. Keith Emerson, Jon Lord, Rick Wakeman and more), Keyboard Wizards (DVD) 2003, Various artists (feat. Lynard Skynyrd, Free, Asia, Magnum and more), Rock Anthems (DVD) 2003, Various artists (feat. Mick Box, Steve Howe, Jan Akkerman, Toni Iommi and more), The Guitar Wizards: Presented By Mick Box (DVD) 2003, Various artists (feat. Uriah Heep, Asia, Nektar and more), The International Classic Rock Festival (DVD) 2003, Various artists (feat. Emerson, Lake & Palmer, Focus, Rick Wakeman and more), The Progressive Rock Anthology (DVD) 2003, Various artists (feat. Caravan, Curved Air, Family and more), The Underground Anthology (DVD) 2004, John Lawton Band, Shakin' the Tale (CD/DVD) 2004, Uriah Heep, Magic Night (CD/DVD) 2005, Russell Allen & Jørn Lande, The Battle 2006, Nazareth, The Very Best of Nazareth 2007, Magnum, Princess Alice and the Broken Arrow 2007, Russell Allen & Jørn Lande, The Revenge 2007, Stormzone, Caught in the Act 2008, Bob Catley, Immortal 2008, Hawkwind, Out of the Shadows (CD/DVD) 2008, Jeff Scheetz, Behind the Mask 2008, Magnum, Wings of Heaven Live 2008, V-Rats, Intelligent Design 2009, Magnum, Into the Valley of the Moon King 2009, Roxxcalibur, NWOBHM For Muthas 2010, Magnum, The Gathering 2010, Russell Allen & Jørn Lande, The Showdown 2010, Stairway, Interregnum 2011, Atkins May Project, Serpent's Kiss 2011, Magnum, The Visitation 2011, Roxxcalibur, Lords of the NWOBHM 2012, Atkins May Project, Valley of Shadows 2012, Frog Riders, Utterly Spontaneous 2012, Geoff Whitely Project, Confidential Whispers 2012, Magnum, On the 13th Day 2012, Tygers of Pan Tang, Ambush 2013, Avantasia, The Mystery of Time 2013, Geoff Whitely Project, Yetoto 2014, Atkins May Project, Empire of Destruction 2014, Jeff Scheetz, Rodney Matthews & Friends, I Saw Three Ships (Single) 2014, Magnum, Escape from the Shadow Garden 2014, Rick Wakeman, Fields of Green 2015, Nazareth, No Means of Escape 2015, Praying Mantis, Legacy 2015, Starquake, Times That Matter 2016, Magnum, Sacred Blood "Divine" Lies 2016, Seeing Red, Keep the Fire Burning 2016, The Rolling Stones, Another Time, Another Place 2017, The Rolling Stones, Time on Our Side 2017, The Rolling Stones, Painted Black 2018, Magnum, Lost on the Road to Eternity 2018, The Dukes of the Orient, The Dukes of the Orient 2018, Praying Mantis, Gravity 2020, Ellesmere, Wyrd 2021, Blind Golem, A Dream of Fantasy

Ken W. Kelly (May 19, 1946 – June 2, 2022) was an American fantasy artist. Over his 50-year career, he focused in particular on paintings in the sword and sorcery and heroic fantasy subgenres. Kelly was the nephew of Frank Frazetta's wife Eleanor "Ellie" Frazetta (née Kelly; 1935–2009). Early in his career he was able to study the paintings of Frank Frazetta in the latter's studio. In the early 1970s he did a couple of cover paintings for Castle of Frankenstein magazine. Throughout the 1970s he was one of the foremost cover artists on Warren Publishing's Creepy and Eerie magazines. He depicted Conan the Barbarian, Tarzan and the rock and roll bands KISS, Manowar, Sleepy Hollow, Rainbow, and Ace Frehley. His work often portrays exotic, enchanted locales and primal battlefields. He developed the artwork for Coheed and Cambria's album Good Apollo, I'm Burning Star IV, Volume Two: No World for Tomorrow, and a painting of his was used as the cover art for Alabama Thunderpussy's 2007 release, Open Fire. In 2012, one of Kelly's paintings was used for the cover of Electric Magma's 12" vinyl release Canadian Samurai II. Kelly was a guest at the Kiss by Monster Mini Golf course in Las Vegas, Nevada, doing autograph signings of prints for the classic Kiss albums he drew cover artwork for. Ken Kelly died on June 2, 2022, at the age of 76. Notable album artwork Destroyer (1976) by Kiss Rising (1976) by Rainbow Love Gun (1977) by Kiss Fighting the World (1987) by Manowar Kings of Metal (1988) by Manowar The Triumph of Steel (1992) by Manowar Louder than Hell (1996) by Manowar Gods of War (2007) by Manowar Destroyer: Resurrected (2012) by Kiss The Lord of Steel (2012) by Manowar Space Invader (2014) by Ace Frehley Volume (EP) (2019) by The Vindicated Shadow Rising (2019) by Stormburner "Black Diamond" is a song by American hard rock band Kiss, written by rhythm guitarist Paul Stanley. "'Black Diamond' was written almost exactly as it is," he said, "except that the riff wasn't there; Gene [Simmons] brought that part in … It's all about arrangement and embellishment. That's what you're supposed to do in a band: come in and add something. But that doesn't mean you wrote the song." The song is the closing track on the band's eponymous first album, Kiss, released in 1974. It begins with an acoustic opening sung by Stanley before a furious riff enters, accompanied by Peter Criss on lead vocals. It ends with Ace Frehley's solo, then one chord repeated during a gradual slowing of the tape. The live version is usually sped up in tempo, combined with stage pyrotechnics and a rising drum platform. "Cold Gin" was written by the band's lead guitarist Ace Frehley and was released in 1974 on the band's eponymous debut album. The song is featured on many compilations released by the band. Live versions of the song were often extended for about two minutes due to Frehley's soloing. Guitar World listed "Cold Gin" as #7 on their list of greatest drinking songs. It is #14 on Liquor.com's list of top 15 drinking songs and it is ranked #32 of the 50 best drinking songs on TimeOut.com. "Cold Gin" is about a person suffering from poverty, loneliness, and alcoholism. However the song's meaning is widely misinterpreted to be about a struggling couple who uses alcohol to cope with a toxic relationship or about how cold gin affects the male sex drive, but thorough lyrical analysis shows this is not the case. Ace Frehley confirms what the song is about in his 2011 book No Regrets. Frehley said he wrote the song while he was in the subway. According to Frehley, the riff for the song was inspired by the song "Fire and Water" by English rock group Free. Gene Simmons actually wrote the bridge, according to Frehley, though Simmons turned down a writing credit: "Back then, it was definitely more of a brotherhood. It didn't matter who got credit, the only thing that mattered was if the song was good". The song was recorded in 1973 and was one of two songs from the band's debut album written by Frehley, the other being the album's instrumental, "Love Theme from KISS", which was written by the whole band. Although "Cold Gin" was never released as a single, it has remained a concert staple during the years. The studio version differs significantly from the demo version. In the demo, after the solo, Paul Stanley shouts "Whoa! Alright! C'mon!", but in the studio version, he shouts "Whoa yeah!". The second guitar solo was also cut and the outro was shortened. As Frehley was insecure about his singing ability, Simmons sang the song on the original studio version and in most live versions (despite the fact that Simmons is a teetotaler), although during the Alive/Worldwide Tour, Frehley would sing parts of the song. Frehley would provide the lead vocals when touring with his solo band.

How many unique buzzards did you count? I estimate more than 2 dozen... from my front door... must be a lot of dead things around the Fire Department huh? Lana working gets a traffic ticket

Flippin' an' Trippin'

Don't Step on the Grass Sam and The Pusher Steppenwolf Don't Step On The Grass, Sam Steppenwolf Written by: John Kay Album: The Second Released: 1968 Starin' at the boob tube, turnin' on the big knob Tryin' to find some life in the waste land Fin'ly found a program, gonna deal with Mary Jane Ready for a trip into hate land Obnoxious Joe comes on the screen Along with his guest self-righteous Sam And a one more guy who doesn't count His hair and clothes are too far out While pushin' back his glasses Sam is sayin' casually "I was elected by the masses" And with that in mind he starts to unwind A vicious attack on the finest of grasses Well it's evil, wicked, mean and nasty (Don't step on the grass, Sam) And it will ruin our fair country (Don't be such an ass, Sam) Well it will hook your Sue and Johnny (You're so full of bull, Sam) All will pay that disagree with me (Please give up you already lost the fight, alright) Misinformation Sam and Joe Are feeding to the nation But the one who didn't count counted them out By exposing all their false quotations Faced by a very awkward situation This is all he'd say to save the day Well it's evil, wicked, mean and nasty (Don't step on the grass, Sam) And it will ruin our fair country (Don't be such an ass, Sam) It will hook your Sue and Johnny (You're so full of bull, Sam) All will pay that disagree with me (Please give up you already lost the fight alright) You waste my coin Sam, all you can To jail my fellow man For smoking all the noble weed You need much more than him You've been telling lies so long Some believe they're true So they close their eyes to things You have no right to do Just as soon as you are gone Hope will start to climb Please don't stay around too long You're wasting precious time Well it's evil, wicked, mean and nasty (Don't step on the grass, Sam) And it will ruin our fair country (Don't be such an ass, Sam) It will hook your Sue and Johnny (You're so full of bull, Sam) All will pay that disagree with me (Please give up you already lost the fight, alright) "The Pusher" is a rock song written by Hoyt Axton, made popular by the 1969 movie Easy Rider which used Steppenwolf's version to accompany the opening scenes showing drug trafficking. The lyrics of the song distinguish between a dealer in drugs such as marijuana—who "will sell you lots of sweet dreams"—and a pusher of hard drugs such as heroin—a "monster" who does not care "if you live or if you die". The song was made popular when rock band Steppenwolf released the song on their 1968 album Steppenwolf. Organist Goldy McJohn, who recorded the original Steppenwolf version, said the version that appears on Early Steppenwolf performed by The Sparrows, a predecessor band to Steppenwolf in 1967 at the Matrix came about when singer John Kay and Jerry Edmonton were late for a performance: Nick and Mars and me started that long version of the Pusher. John and Jerry's flight was late one night at the Avalon Ballroom, so we started and then we perfected it at the "Arc" in Sausalito on New Year's Eve in 1966. Songwriter Hoyt Axton did not place "The Pusher" on one of his albums until he included it on his 1971 Capitol LP Joy To The World. His version of the song was originally released in May 1969 on a various-artists mail-order album called First Vibration.[citation needed] Nina Simone included a soulful version of this song on her 1974 album It Is Finished and on the RCA "Novus Series 70" titled "Nina Simone ~~ The Blues." Originally recorded June 1971. Blind Melon released a version of "The Pusher" on their album "Nico", released 1996. The Flaming Lips & Deap Vally's collaboration dubbed Deap Lips released a cover of "The Pusher" on their 2020 self-titled album, Deap Lips. It included slightly different lyrics from the Steppenwolf version. The song has also been covered by Monkeywrench, Young Flowers, Black League, The Substitutes, UFO, Helix, Negative Space, Emerson Parris, and Gideon Smith, The Dixie Damned and Left Lane Cruiser. The band Cowboy Mouth covered "The Pusher" on the 1998 movie Soundtrack for the movie Half Baked. The Pusher Steppenwolf Written by: Hoyt Wayne Axton Album: Steppenwolf Released: 1968 You know I've smoked a lot of grass Oh lord, I popped a lot of pills But I never touched nothin' That my spirit could kill You know, I've seen a lot of people walkin' 'round With tombstone in their eyes But the pusher don't care Ah, if you live or if you die God damn, the pusher God damn, hey, I say the pusher I said God damn God damn the pusher man You know the dealer, the dealer is a man With the love grass in his hand Ah, but the pusher is a monster Good God, he's not a natural man The dealer for a nickel Lord, will sell you lots of sweet dreams Ah, but the pusher ruin your body Lord, he'll leave your He'll leave your mind to scream God damn, ah-ah, the pusher God damn, God damn the pusher I said God damn, God God damn the pusher man Well, Lord if I were the president Of this land you know I'd declare Total war on the pusher man I'd cut him if he stands And I shoot him if he'd run And I'd kill him with my Bible And my razor and my gun God damn, ah, the pusher God damn, the pusher I said God damn God damn the pusher man Steppenwolf John Kay – lead vocals, rhythm guitar, harmonica Michael Monarch – lead guitar Goldy McJohn – organ, piano Rushton Moreve – bass Jerry Edmonton – drums, vocals, lead vocals

Deutsche Bank, Trump's largest single lender, forced him into a 'managed exit'. The shotgun divorce followed months of Trump dodging the bank's questions, court papers show. As Deutsche Bank threatened default, Trump zeroed out hundreds of millions in debt. Just Got Paid ZZ Top Written by: Billy Gibbons, Bill Ham Album: Rio Grande Mud Released: 1972 I just got paid today Got me a pocket full of change Said, I just got paid today Got me a pocket full of change If you believe like workin' hard all day Just step in my shoes and take my pay I was born my papa's son When I hit the ground I was on the run I had one glad hand and the other behind You can have yours, just give me mine When the hound dog barkin' in the black of the night Stick my hand in my pocket, everything's all right I just got paid today Got me a pocket full of change Said, black sheep, black, do you got some wool? Yes, I do, man, my bag is full It's the root of evil and you know the rest But it's way ahead of what's second best

James Gurney (born June 14, 1958) is an American artist and author known for his illustrated book series Dinotopia, which is presented in the form of a 19th-century explorer's journal from an island utopia cohabited by humans and dinosaurs. Gurney is also a paleoartist who depicts and restores in his paintings extinct fauna such as both avian and non-avian dinosaurs. Gurney grew up in Palo Alto, California, the youngest of five children of Joanna and Robert Gurney, a mechanical engineer. Encouraged to tinker in the workshop, he built puppets, gliders, masks, and kites, and taught himself to draw by means of books about the illustrators Howard Pyle and Norman Rockwell. He studied archaeology at the University of California, Berkeley, receiving a bachelor of arts degree in anthropology with Phi Beta Kappa honors in 1979. He then studied illustration at the Art Center College of Design in Pasadena, California, for a couple of semesters. Prompted by a cross-country adventure on freight trains, he and Thomas Kinkade coauthored The Artist's Guide to Sketching in 1982. Gurney and Kinkade also worked as painters of background scenes for the animated film Fire and Ice (1983), co-produced by Ralph Bakshi and Frank Frazetta. Gurney's freelance illustration career began in the 1980s, during which time he developed his characteristic realistic renderings of fantastic scenes, painted in oil using methods similar to the academic realists and Golden Age illustrators. He painted more than 70 covers for science fiction and fantasy paperback novels, and he created several stamp designs for the U.S. Postal Service, most notably The World of Dinosaurs in 1996. Starting in 1983, he began work on over a dozen assignments for National Geographic magazine, including reconstructions of the ancient Moche, Kushite, and Etruscan civilizations, and the Jason and Ulysses voyages for Tim Severin. The inspiration that came from researching these archaeological reconstructions led to a series of lost-world panoramas, including Waterfall City (1988) and Dinosaur Parade (1989). With the encouragement of retired publishers Ian and Betty Ballantine, he discontinued his freelance work and committed two years' time to writing and illustrating Dinotopia: A Land Apart from Time, published in 1992. The book made The New York Times Bestseller List, and won Hugo, World Fantasy, Chesley, Spectrum, and Colorado Children's Book awards. It sold over a million copies and was translated into 18 languages. Sequels of Dinotopia that are both written and illustrated by Gurney include Dinotopia: The World Beneath (1995), Dinotopia: First Flight (1999), and Dinotopia: Journey to Chandara (2007). Original artwork by Gurney from the Dinotopia books has been exhibited at the National Museum of Natural History of the Smithsonian Institution, the Norman Rockwell Museum, the Royal Tyrrell Museum and is on tour to museums throughout the United States and Europe. Most recently, he has written two art-instruction books: Imaginative Realism: How to Paint What Doesn't Exist (2009), a book about drawing and painting things that do not exist; and Color and Light: A Guide for the Realist Painter (2010). These books are based upon Gurney's blog posts, in which he gives practical advice to realist and fantasy artists. On February 21, 2012, Gurney was inducted as a Living Master by the Art Renewal Center. The dinosaur Torvosaurus gurneyi was named in honor of Gurney in 2014. Gurney lives in Rhinebeck, New York, in the Hudson Valley of New York State. Dinosaur Hank Williams, Jr. Written by: Bob Corbin, Hank Jr. Williams Album: Habits Old And New Released: 1980 Hey man, them ain't high heel sneakers And they sure don't look like cowboy boots And that ain't rock and roll you're playin' And it sure ain't country or rhythm and blues You're singin' a song about making love to your drummer Well, gay guitar pickers don't turn me on And we don't all get into Donna Summer Do you happen to know any old Hank Williams' songs? 'Cause you see I'm a dinosaur I should've died out a long time before Have pity on a dinosaur Hand me my hat, excuse me, man, but where's the door? Used to be, I had a lot of fun in this old hang-out We'd get stoned at the jukebox and stay out of fights Now and then, we'd light a little smoke in the truck out back Ah, then a little old Jim Beam, and we'd get right And you know these flashin' lights sure make me dizzy And this disco's very strange to my ears It looks like they've turned The Longhorn into a spaceship And I'll be leavin' just as soon as I finish this beer 'Cause you see I'm a dinosaur Should've died out a long time before There's a whole lot of dinosaurs So give us our hats and excuse me, man, but where's the door? Get us our hats, 'scuse me, man, where's the door?

Camp Fire was the first nonsectarian, multicultural organization for girls in America. Its programs emphasize camping and other outdoor activities. Its informal roots extend back to 1910, with efforts by Mrs. Charles Farnsworth in Thetford, Vermont and Luther Gulick, M.D., and his wife, Charlotte Vedder Gulick, on Sebago Lake, near South Casco, Maine. Camp Fire Girls, as it was known at the time, was created as the sister organization to the Boy Scouts of America. The organization changed its name in 1975 to Camp Fire Boys and Girls when membership eligibility was expanded to include boys. In 2001, the name Camp Fire USA was adopted, and in 2012 it became Camp Fire. Camp Fire's programs include small group experiences, after-school programs, camping, as well as environmental education, child care and service-learning; they aim to build confidence in younger children and provide hands-on, youth-driven leadership experiences for older youth. In 1910, young girls in Thetford, Vermont watched their brothers, friends, and schoolmates—all Boy Scouts—practice their parts in the community's 150th anniversary, which would be celebrated the following summer. The pageant's organizer, William Chauncey Langdon, promised the girls that they too would have an organized role in the pageant, although no organization similar to the Boy Scouts existed for girls at the time. Langdon consulted with Mrs. Charles Farnsworth [Charlotte Joy (Allen) Farnsworth, known as "Madama"], preceptress of Horace Mann School near Thetford, Vermont. Both approached Luther Halsey Gulick M.D. about creating a national organization for girls. Gulick introduced the idea to friends, among them G. Stanley Hall, Ernest Thompson Seton, and James West, executive secretary of the Boy Scouts. After many discussions and help from Gulick and his wife Charlotte, Langdon named the group of Thetford girls the Camp Fire Girls. In 1907, the Gulicks had established Camp WoHeLo, a camp for girls, on Lake Sebago, near South Casco, Maine. There were seventeen WoHeLo maidens at the camp in the summer of 1910. Both the Vermont group and the Maine group would lead to the creation of the organization formally organized as Camp Fire Girls in 1912. On March 22, 1911, Dr. Gulick organized a meeting "to consider ways and means of doing for the girls what the Boy Scout movement is designed to do for the boys". On April 10, 1911 James E. West issued a press release from the Boy Scouts of America headquarters announcing that with the success of the Boy Scout movement, a group of preeminent New York men and women were organizing a group to provide outdoor activities for girls, similar to those in the Boy Scout movement. Mrs. Charlotte Gulick with Campfire Girls in 1915 In 1911, the Camp Fire Girls planned to merge with the Girl Scouts of America, formed by Clara A. Lisetor-Lane of Des Moines, Iowa, and Girl Guides of America (of Spokane, Washington) to form the Girl Pioneers of America, but relationships fractured and the merger failed. Grace Seton quit the group over the rejection of her committee's draft of a handbook, followed by Linda Beard in September 1911 over differences with the Gulicks.[16] However, there was an organization meeting held by Lina Beard on February 7, 1912 in Flushing, New York of a Girl Pioneers of America organization. Camp Fire Girls of America was incorporated in Washington, D.C, as a national agency on March 17, 1912. In late 1912, Juliette Gordon Low proposed that the Camp Fire Girls merge with her group, Girl Guides of America, but was rejected in January 1913 as the Camp Fire Girls were then the larger group. By December 1913, Camp Fire Girls' membership was an estimated 60,000, many of whom began attending affiliated summer camps. The Bluebird program was introduced that year for younger girls, offering an exploration of ideas and creative play built around family and community. In 1989, the Bluebirds became Starflight. Flushing, New York, 1917 The first official Camp Fire Girls handbook was published in 1913. During World War I, Camp Fire Girls helped to sell over one million dollars in Liberty Bonds and over $900,000 in Thrift Stamps; 55,000 girls helped to support French and Belgian orphans, and an estimated 68,000 girls earned honors by conserving food. The first local Camp Fire Girls council was formed in 1918 in Kansas City, Missouri. Kansas City would later become the national headquarters for Camp Fire in 1977. She's On Fire Aerosmith Written by: Steven Tallarico, Anthony Perry Album: Done With Mirrors Released: 1985 Oooh, She's On Fire Oooh, She's On Fire Hot to trot, she's a bit insane Little bit a pleasure With a little bit a pain I got to be smokin' So I know without a doubt Where there's smoke there's fire So I gotta boot it out Say oooh, She's On Fire Oooh, She's On Fire Homely child with a hang down lip Starved for love and companionship Little by little, catchin' up to me She's more of a woman Then I thought she'd be to me... yeah Hungry girl, she's the skinniest thing She's sayin' the word, I'm losin' sting? She's On Fire She hung my head in a guillotine She's my flame, she's a wettin' my dream She's On Fire Oooh, She's On Fire Oooh, She's On Fire Oooh, She's On Fire Oooh, She's On Fire