Psychological operations

The Scorpions, No One Like You, Rhythm of Love, Still Loving You, When the Smoke is Going Down Artwork by Boris Vallejo from my pinterest file at https://www.pinterest.com/aboxoffrogs/fantasy-art/ Boris Vallejo (born January 8, 1941) is a Peruvian-American painter who works in the science fiction, fantasy, and erotica genres. His hyper-representational paintings have appeared on the covers of numerous science fiction and fantasy fiction novels. They are also sold through a series of annual calendars. Born in Lima, Peru, Vallejo began painting at the age of 13, in 1954, and obtained his first illustration job three years later in 1957 at the age of 16. He attended the Escuela Nacional Superior Autónoma de Bellas Artes on a five-year scholarship, and was awarded a prize medal. After emigrating to the United States in 1964, at the age of 23, he quickly garnered a fan following from his illustrations of Tarzan, Conan the Barbarian, Doc Savage and various other fantasy characters (often done for paperback-fiction works featuring the characters). This led to commissions for movie-poster illustration, advertisement illustration, and artwork for various collectibles - including Franklin Mint paraphernalia, trading cards, and sculpture. Along with Julie Bell, Vallejo presents his artwork in an annual calendar and various books. Vallejo's work is often compared to the work of Frank Frazetta, not only because it is similar stylistically, but also because Frazetta painted covers for paperbacks of some of the same characters. Vallejo's preferred artistic medium is oil on board, and he has previously used photographs to combine discrete images to form composite images. Preparatory works are pencil or ink sketches, which have been displayed in the book Sketchbook. He and Julie Bell have worked on collaborative artworks together, in which they sign the artwork with both names. Vallejo has produced film posters for numerous fantasy and action movies, including Knightriders (1981), Q (1982), and Barbarian Queen (1985). He has also illustrated posters for comedies, notably National Lampoon's Vacation (1983), European Vacation (1985), Nothing But Trouble (1991) and Aqua Teen Hunger Force Colon Movie Film for Theaters (2007), co-created with Bell. He created the 1978 Tarzan calendar. His sea serpent paintings hang in the queue of Loch Ness Monster, a rollercoaster at Busch Gardens Williamsburg. He received the British Fantasy Award for best artist in 1979 for his painting The Amazon Princess and her Pet. Vallejo also won the 2011 Chelsey Award for Lifetime Artistic Achievement, and the 2014 Chelsey Award for Best Product Illustration. The Fantastic Art of Boris Vallejo (1980) Mirage (1982, reprinted 1996 and 2001) Enchantment. Stories By Doris Vallejo, Illustrated by Boris Vallejo (1984) Fantasy Art Techniques (1985) Ladies: Retold Tales of Goddesses and Heroines. By Boris and Doris Vallejo (1992) Bodies: Boris Vallejo: Photographic Art (1998) Dreams: The Art of Boris Vallejo (1999) Titans: The Heroic Visions of Boris Vallejo and Julie Bell (2000) Sketchbook (2001) Twin Visions (2002) Fantasy Workshop: A Practical Guide (with Julie Bell) (2003) Boris Vallejo and Julie Bell: The Ultimate Collection (2005) The Fabulous Women of Boris Vallejo and Julie Bell (2006) Imaginistix (2006) A yearly calendar of 13 paintings by Boris Vallejo and Julie Bell is produced by Workman Publishing. "No One Like You" is a song by German band The Scorpions. It was written by band members Rudolf Schenker (guitar) and Klaus Meine (vocals) and released as the lead single from the band's eighth studio album Blackout (1982). It was produced by Dieter Dierks and was recorded at Dierks' studio. "No One Like You" first appeared on the band's 1982 album Blackout. It was one of three hit singles from the record. The track also appeared on multiple greatest hits-type albums including: Best of Rockers 'n' Ballads, Bad for Good: The Very Best of Scorpions, and Box of Scorpions. A video was shot for the song in San Francisco. It features Alcatraz Island—with Klaus Meine being the recipient of capital punishment. The track was originally written in German and much of its meaning changed in translation. "Rhythm of Love" is a power ballad by German band The Scorpions. It was released on Harvest/EMI as a single in 1988. The video for the song, which depicts the band performing in a science fiction setting, features the model Joan Severance as one of several women enjoying the band's performance. "Still Loving You" is a power ballad by the German hard rock band Scorpions. It was released in June 1984 as the second single from their ninth studio album, Love at First Sting (1984). The song reached number 64 on the Billboard Hot 100. It was most successful in Europe, reaching the top 5 in several countries. In an interview with Songfacts, Rudolf Schenker explained, "It's a story about a love affair, where they recognized it may be over, but let's try again". The music video was released on 3 July 1984, and was filmed in Dallas, Texas at Reunion Arena. Album Blackout Blackout is the eighth studio album by German rock band Scorpions. It was released in 1982 on Harvest Records and Mercury Records. Side Two Track 9 "When the Smoke Is Going Down" by Klaus Meine

Frank Frazetta (born Frank Frazzetta; February 9, 1928 – May 10, 2010) was an American fantasy and science fiction artist, noted for comic books, paperback book covers, paintings, posters, LP record album covers, and other media. He is often referred to as the "Godfather of Fantasy Art", and one of the most renowned illustrators of the 20th century. He was also the subject of a 2003 documentary Painting with Fire. Frazetta was inducted into the comic book industry's Will Eisner Comic Book Hall of Fame, the Jack Kirby Hall of Fame, the Society of Illustrators Hall of Fame, the Science Fiction Hall of Fame, and was awarded a Life Achievement Award from the World Fantasy Convention. Born Frank Frazzetta in Brooklyn, New York City, Frazetta removed one "z" from his last name early in his career to make his name seem less "clumsy". The only boy in a family with three sisters, he spent much time with his grandmother, who began encouraging him in art when he was two years old. In 2010, a month before his death, he recalled that: When I drew something, she would be the one to say it was wonderful and would give me a penny to keep going. Sometimes I had nothing left to draw on but toilet paper. As I got older, I started drawing some pretty wild things for my age. I remember the teachers were always mesmerized by what I was doing, so it was hard to learn anything from them. So I went to art school when I was a little kid, and even there the teachers were flipping out. At age eight, Frazetta attended the Brooklyn Academy of Fine Arts, a small art school run by instructor Michel Falanga. "[H]e didn't teach me anything, really," Frazetta said in 1994. "He'd come and see where I was working, and he might say, 'Very nice, very nice. But perhaps if you did this or that.' But that's about it. We never had any great conversations. He spoke very broken English. He kind of left you on your own. I learned more from my friends there." In 1944, at age 16, Frazetta, who had "always had this urge to be doing comic books", began working in comics artist Bernard Baily's studio doing pencil clean-ups. His first comic-book work was inking the eight-page story "Snowman", penciled by John Giunta, in the one-shot Tally-Ho Comics (Dec. 1944), published by Swappers Quarterly and Almanac/Baily Publishing Company. It was not standard practice in comic books during this period to provide complete credits, so a comprehensive listing of Frazetta's work is difficult to ascertain. His next confirmed comics works are two signed penciled-and-inked pieces in Prize Comics' Treasure Comics #7 (July 1946): the four-page "Know your America" is Frank Frazetta's first "solo" work, and the single page "Ahoy! Enemy Ship!", featuring his character Capt. Kidd Jr. In a 1991 interview in The Comics Journal, Frazetta credited Graham Ingels as the first one in the comic book industry to recognize his talent, and to give him jobs at Standard Comics in 1947. For Dell's subsidiary company, Famous Funnies, Frazetta did war and human interest stories for Heroic Comics, as well as one pagers extolling the virtues of prayer and the evils of drug abuse. In comics like Personal Love and Movie Love, he did romance and celebrity stories, including a biography of Burt Lancaster. He married Massachusetts native Eleanor Kelly in New York City in November 1956. The two had four children: Frank Jr., Billy, Holly, and Heidi. In 1961, after nine years with Al Capp, Frazetta returned to comic books. He also helped Harvey Kurtzman and Will Elder on three stories of the bawdy parody strip Little Annie Fanny in Playboy magazine. In 1964, Frazetta's painting of Beatle Ringo Starr for a Mad magazine ad parody caught the eye of United Artists studios. He was approached to do the film poster for What's New Pussycat?, and earned the equivalent of his yearly salary in one afternoon. He did several other film posters. Frazetta also produced paintings for mass market paperback editions of adventure books. His interpretation of Robert E. Howard's Conan the Barbarian visually redefined the genre of sword and sorcery, and had an enormous influence on succeeding generations of artists. His cover art only coincidentally matched the storylines inside the books, as Frazetta once explained: "I didn't read any of it... I drew him my way. It was really rugged. And it caught on. I didn't care about what people thought. People who bought the books never complained about it. They probably didn't read them." Primarily, these were in oil, but he also worked in watercolor, ink, and pencil alone. Frazetta's work in comics during this time were cover paintings and a few comic stories in black-and-white for the Warren Publishing horror and war magazines Creepy, Eerie, Blazing Combat, and Vampirella. An advertisement for Jōvan Musk, based on his work, was animated by Richard Williams in grease pencil and paint and shown in 1978. The realism of the animation and design replicated Frazetta's artwork. Frazetta and Ralph Bakshi were heavily involved in the production of the live-action sequences used for the film Fire and Ice's rotoscoped animation, from casting sessions to the final shoot. Following the release of the film, Frazetta returned to his roots in painting and pen-and-ink illustrations. Frazetta's paintings have been used by a number of recording artists as cover art for their albums. The U.S. Army III Corps adopted "The Death Dealer" as its mascot. In 2009 Kirk Hammett, the lead guitarist for Metallica, bought Frazetta's cover artwork for the paperback reissue of Robert E. Howard's "Conan the Conqueror" for $1 million. In the early 1980s, Frazetta created a gallery, Frazetta's Fantasy Corner, on the upper floors of a former Masonic building at the corner of South Courtland and Washington streets in East Stroudsburg, Pennsylvania. The building also housed a Frazetta art museum that displayed both his own work and, in a separate gallery, that of other artists. From 1998 to 1999, Quantum Cat Entertainment published the magazine Frank Frazetta Fantasy Illustrated, with cover art and some illustrations by Frazetta. In his later life, Frazetta was plagued by a variety of health problems, including a thyroid condition that went untreated for many years. A series of strokes left his right arm almost completely paralyzed. He taught himself to paint and draw with his left hand. He was the subject of the 2003 feature film documentary Frank Frazetta: Painting With Fire. By 2009, Frazetta was living on a 67-acre (0.27 km2; 0.105 sq mi) estate in the Pocono Mountains of Pennsylvania, with a small museum that is open to the public. On July 17, 2009, his wife and business partner, Eleanor "Ellie" Frazetta, died after a year-long battle with cancer. He then hired Rob Pistella and Steve Ferzoco to handle his business affairs. Shortly after Ellie Frazetta's death in December 2009, Frank Frazetta's eldest son Frank Jr. was arrested on charges of stealing $20 million in paintings from the family museum in a fight over the family fortune.[20] According to the police report, Frazetta Jr, with the help of two men, broke through the museum door using a backhoe and took about 90 paintings. According to the affidavit, Frank Jr. told the responding trooper he had permission from the owner, Frank Frazetta Sr....The trooper called the owner, who said he had not given his son permission to either be in the museum or remove paintings from it. At issue was whether Frank Jr. believed he had the authority to remove the paintings from the Frazetta museum. Frazetta Sr.'s youngest son Bill Frazetta testified that the paintings belonged to a corporation called Frazetta Properties LLC, of which he shared management duties with his sisters. "I am a manager of the LLC. The art was supposed to stay in the museum", Bill Frazetta said. Frank Jr. maintained that he was trying to prevent the paintings from being sold, per the wishes of his father, who he said had given him power of attorney over his estate. Frank Sr. said he did not understand his son's actions. The Frazetta family later issued a statement on April 23, 2010, that said, "all of the litigation surrounding his family and his art has been resolved. All of Frank's children will now be working together as a team to promote his ... collection of images....". Frank Frazetta died of a stroke on May 10, 2010, in a hospital near his residence in Florida. His painting Egyptian Queen sold for a world record $5.4 million (£4.2m) on May 16, 2019 at a public auction of vintage comic books and comic art held by Heritage Auctions in Chicago, Illinois.

All Images from my pinterest account from this folder https://www.pinterest.com/aboxoffrogs/fantasy-art/ Les Edwards (born 7 September 1949) is a British illustrator known for his work in the horror, science fiction and fantasy genres, and has provided numerous illustrations for book jackets, posters, magazines, record covers and games during his career. In addition to working under his actual name, he also uses the pseudonym Edward Miller to paint in a different style and to overcome restrictions placed on him by his association with horror. He has won the British Fantasy Society award for Best Artist seven times, and was awarded the World Fantasy Award in 2008. Edwards studied at Hornsey College of Art between 1968 and 1972, where he says he was "firmly advised that he would never be an illustrator" due to a general perception in the department that the job was too difficult, and later claiming that the experience failed to provide much of use in later years. After graduating, Edwards was taken on by the Young Artists agency in London, and began working as a freelance illustrator. Over the course of his prolific career Edward's work has included advertising campaigns, graphic novels and film design, but he is perhaps best known for his book jacket illustrations spanning the horror, fantasy and science fiction genres. Over the years he has provided many illustrations for genre titles, including numerous pieces for Robert E. Howard's Conan stories and Pratchett's Discworld setting, and books by authors such as Anne McCaffrey, Frank Herbert, Jack Vance, and many others. Edwards is also known for his numerous covers for books in the Fighting Fantasy series, including Caverns of the Snow Witch, Demons of the Deep, and Crypt of the Sorcerer, and many of the more recent re-issues. Many of Edward's paintings appeared as covers for Games Workshop's White Dwarf magazine during the 1980s, and he was featured, along with other illustrators from Young Artists, in an Illuminations exposé in White Dwarf 105. He also provided the covers for the Warhammer Fantasy Battle and Warhammer Fantasy Roleplay supplements Power Behind the Throne and Realm of Chaos: The Lost and the Damned, and a series of illustrations for the Dark Future game. In 1989 Games Workshop published an anthology of Edward's work entitled Blood and Iron. He has also provided several pieces of work for Milton Bradley's HeroQuest, and covers for books for FASA's Shadowrun and Earthdawn RPGs. Edwards has also provided illustrations for British science fiction periodicals Interzone and Postscripts. as well as the now-defunct AD&D fantasy publication IMAGINE Magazine. Edwards has illustrated two graphic novels, both adapted by Steve Niles from short stories in Clive Barker's Books of Blood. Having met at the World Fantasy Convention in London, Barker later recalled Edwards and recommended him to Eclipse Books for the first, Son of Celluloid; after its success Rawhead Rex followed. Edwards also created the UK publicity posters for the films The Thing, Graveyard Shift and Nightbreed, the latter a commission he received as a result of Clive Barker's influence. Edwards has also provided a number of record covers during his career. A portion of one of his illustrations, originally created for The Devils of D-Day by Graham Masterton was also used as cover art for Metallica's early single, "Jump in the Fire", whilst his painting The Croglin Vampire appeared as the cover of the album "Alive and Screamin' by Swiss band Krokus. More recently he produced the inner artwork for the album Music for the Jilted Generation by The Prodigy. In recent years, Edwards has also begun working under the pseudonym "Edward Miller", a move designed to allow him to pursue a more diverse range of commissions without any assumptions on the part of publishers based on his prior work, particularly any restrictive association with the horror genre. Edwards has won the British Fantasy Award for Best Artist seven times. He has been nominated three times for a World Fantasy Award and won, as Edward Miller, in 2008. Edwards acted as a judge for the awards in 2003, and was the artist guest of honour at the 1995 World Science Fiction Convention. Edwards is now represented by his wife, Val Edwards, with whom he lives in Brighton, England. When not painting, his pastimes include model kit building, playing the guitar and fencing.

Maximum Overdrive is a 1986 American science fiction comedy horror film written and directed by Stephen King. The film stars Emilio Estevez, Pat Hingle, Laura Harrington, and Yeardley Smith. The screenplay was inspired by and loosely based on King's short story "Trucks", which was included in the author's first collection of short stories, Night Shift, and follows the events after all machines (including trucks, radios, drones, arcades, vending machines, etc.) become sentient when Earth crosses the tail of a comet, initiating a world-wide killing spree. The film is King's only directorial effort, though dozens of films have been based on his novels or short stories. It contained black humor elements and a generally campy tone, which contrasts with King's somber subject matter in books. The film has a mid-1980s hard rock soundtrack composed entirely by the group AC/DC (King's favorite band), whose album Who Made Who was released as the Maximum Overdrive soundtrack. It includes the best-selling singles "Who Made Who", "You Shook Me All Night Long", and "Hells Bells". Maximum Overdrive was theatrically released on July 25, 1986, to generally negative reviews from critics. It was nominated for two Golden Raspberry Awards including Worst Director for King and Worst Actor for Estevez in 1987, but both lost to Prince for Under the Cherry Moon. In 1988, Maximum Overdrive was nominated for "Best Film" at the International Fantasy Film Awards. King disowned the film, describing it as a "moron movie", and considered the process a learning experience, after which he intended never to direct again. Who Made Who is a soundtrack album by Australian hard rock band AC/DC. Released on 26 May 1986, the album is the soundtrack to the Stephen King film Maximum Overdrive. The album was re-released in 2003 as part of the AC/DC Remasters series. "Who Made Who" is a song and a single, taken from their 1986 album, Who Made Who. The song was written for the Stephen King movie Maximum Overdrive, whose theme was machines that came alive and began killing people. The lyrics explore the idea of the gadgets and devices created by mankind coming to rule over human beings instead of the other way around, the irony where humans become subservient to the technology they created. It was one of only three new tracks on Who Made Who, because the album is not only a soundtrack to Stephen King's Maximum Overdrive, but a compilation album featuring tracks from previous albums. The other two new tracks were instrumentals. "Who Made Who" peaked at #23 on the Billboard Mainstream Rock Chart on 19 July 1986, and stayed on the chart for 12 weeks. This is a version of a copy of a copy pealed from the internet and repackaged as something familiar but perhaps missed. Who Made Who AC/DC Written by: Brian Johnson, Angus Young, Malcolm Young Album: Who Made Who Released: 1986 The video games say play me Face it on a level but it take you every time On a one on one Feeling running down your spine Nothing gonna save your one last dime 'cause it own you Through and through The databank know my number Says I gotta pay 'cause I made the grade last year Feel it when I turn the screw Kick you 'round the world, there ain't a thing that it can't do Do to you, yeah Who made who? Who made you? Who made who? Ain't nobody told you? Who made who? Who made you? If you made them and they made you Who picked up the bill and who made who? Yeah Who made who? Who turned the screw? Yeah Yeah, satellites send me picture Get it in the aisle, take it to the world Spinning like a dynamo Feel it goin' 'round and 'round Running out of chips, you got no line in an 8-bit town So don't look down, no Who made who? Who made you? Who made who? Ain't nobody told you? Who made who? Who made you? If you made them and they made you Who picked up the bill, and who made who? Ain't nobody told you? Oh, who made who? Who made you? Who made who? (Who made who?) And who made you (Who made who?) Yeah Nobody told you

I am testing out this audio editor, and as a guy who's listened to the hum of electrical gear all his life I always seek more dynamic range in things and in my opinion, this was the WORST audio of an otherwise great song that I have in my collection. Did I make it better or worse? I guess it sounds better to me so that is what really matters. I tried to spread things out and take it just barely over the clipping line... with free software. Psychedelic Pill is the 32nd studio album by Canadian / American musician Neil Young, released on October 30, 2012. It is the second collaboration between Young and Crazy Horse released in 2012 (the first being Americana) and their first original work together since the Greendale album and tour in 2003 and 2004. The album was streamed on Young's website on October 24, 2012, and leaked onto the Internet the same day. A High Fidelity Pure Audio Blu-ray Disc version of the album, with 24-bit/192kHz resolution and two bonus tracks, was released November 19, 2012. A vinyl version is also available. At 87 minutes in length, Psychedelic Pill is Neil Young's longest studio album and the only one to span two discs. Many of the songs on the album came out of extended jam sessions with Crazy Horse while recording Americana, released earlier in 2012. Three of Psychedelic Pill's nine tracks are more than 15 minutes in length. The album was recorded at Young's ranch near Redwood City, California. The opening track "Driftin' Back" makes references to Young's new memoir Waging Heavy Peace and his disdain for MP3s in between segments of extended jamming. Another of the album's extended tracks, "Walk like a Giant", laments the failure of his generation to change the world for the better ("We were ready to save the world / But then the weather changed"). Elsewhere on the album Young recalls listening to Bob Dylan's "Like a Rolling Stone" and The Grateful Dead on the radio ("Twisted Road"), and his Canadian roots ("Born in Ontario"). A review of the album for Rolling Stone noted that the riff and lyrics of the title track share similarities with Young's previous work such as "Cinnamon Girl". The main riff is borrowed from Young's "Sign of Love". That track also features the recording filtered with a phaser effect, giving it a "psychedelic" feel (although the alternate mix removes the effect). The 3-LP vinyl version contains the same tracks as the 2-CD set, though in a slightly different order, and with "Driftin' Back" split into two parts over sides A and B. The Blu-ray version contains two bonus tracks: the 37-minute "Horse Back", and a second alternate mix of the song "Psychedelic Pill". Disk 2 track 4 Walk like a Giant Written by: Neil Young Album: Psychedelic Pill Released: 2012 Neil Young & Crazy Horse I used to walk like a giant on the land Now I feel like a leaf floating in a stream I wanna walk like a giant I wanna walk like a giant on the land Me and some of my friends We were gonna save the world We were trying to make it better We were ready to save the world But then the weather changed And the white got stained And it fell apart And it breaks my heart But think about how close we came I wanna walk like a giant on the land I wanna walk like a giant on the land Tried to head the long and straight We were riding on the desert wind We were pulling in the spiritual Riding on the desert wind We could see it in the distance Getting closer every minute We saw the lights and spiritual shining Getting closer every minute Then we skipped the rails And we started to fail And we folded up And it's not enough Think about how close we came I wanna walk like a giant on the land I wanna walk like a giant on the land Whenever I see the big fire coming Coming to burn down all my ideas I try to hold on to my thinking And remember how it feels When I'm looking right in your eyes And hearing your happy laughter When I'm seeing your blue eyes shining And hear your happy laughter So the moment came And the big sky rained And it put out the fire Except in my desire When I think about how good it feels I wanna walk like a giant on the land I wanna walk like a giant on the land I used to walk like a giant on the land Now I feel like a leaf floating in a stream I wanna walk like a giant I wanna walk like a giant on the land

Simon Stålenhag (born 20 January 1984) is a Swedish artist, musician, and designer specialising in retro-futuristic digital images focused on nostalgic Swedish countryside alternate history environments. The settings of his artwork have formed the basis for the 2020 Amazon television drama series Tales from the Loop as well as the upcoming film The Electric State. Most of Stålenhag's artwork was initially available online, before later being released for sale as prints. Since then, it has been turned into two narrative art books: Tales from the Loop (Swedish Ur Varselklotet) in 2014 and Things from the Flood (Swedish Flodskörden) in 2016. Both focus on the construction of a supermassive particle accelerator called the Loop. Stålenhag grew up in a rural environment near Stockholm, and began illustrating local landscapes at a young age. He was inspired by different artists, including Lars Jonsson. Stålenhag experimented with science fiction artwork after discovering concept artists such as Ralph McQuarrie and Syd Mead; initially, this body of work was done as a side project, without any planning behind it. Thematically, his work often combines his childhood with themes from sci-fi movies, resulting in a stereotypical Swedish landscape with a neofuturistic bent. According to Stålenhag, this focus originates from his perceived lack of connection with adulthood, with the science fiction elements being added in part to draw audience attention and partly to influence the work's mood. These ideas result in a body of work that can feature giant robots and megastructures alongside regular Swedish items like Volvo and Saab cars. As his work has evolved, Stålenhag has created a backstory for it, focused around a governmental underground facility. In parallel with the real-life decline of the Swedish welfare state, large machines slowly fail, and the eventual result of this remains a mystery. In a 2013 interview with The Verge, Stålenhag said, "The only difference in the world of my art and our world is that ... ever since the early 20th century, attitudes and budgets were much more in favour of science and technology." Outside of his usual canon, Stålenhag also drew 28 pictures of dinosaurs for the Swedish Museum of Natural History's prehistoric exhibits after he rediscovered his childhood interest in the creatures, and contacted the museum to see if he could do anything. In 2016, he followed this with pictures of hypothetical results of a rising ocean under climate change for Stockholm University's Resilience Centre. He also did some promotional artwork for the sci-fi video game No Man's Sky. Stålenhag uses a Wacom tablet and computer for his work, which is designed to resemble oil painting. Initially, he attempted to use various physical media to mimic a more traditional style, including gouache. Even after switching to digital methods, he has stated that he puts "a lot of effort into making the digital brushes behave naturally and preserve a certain amount of 'handwriting' in the brush strokes." The majority of his work is based on pre-existing photographs that he takes; these are then used as a starting point for a number of rough sketches before the final work is completed. "Welcome to My Nightmare" is the title track to Alice Cooper's eighth studio album. The song is written by Cooper, Dick Wagner and Bob Ezrin. It peaked at 45 on the Billboard Hot 100. The song itself mixes elements from disco, jazz, hard rock, and keeps a "heavy-yet-funky beat". Cooper would later perform the song on The Muppet Show. Acoustic guitar is played by Dick Wagner, bass by Tony Levin, clarinet by Jozef Chirowski, drums by Johnny "Bee" Badanjek, and electric guitar by Steve Hunter. Public Animal #9 Written by: Alice Cooper, Michael O. Bruce Album: School's Out Released: 1972 Alma Mater Written by: Neal A. Smith Album: School's Out Released: 1972 Grande Finale Album: School's Out Released: 1972

BEYONCE KNOWLES the Ticket Master Research courtesy of MAG. Please support the ORIGINAL content provider https://www.bitchute.com/channel/Ma107tEUNW7q/

various artists with chemtrails Baltimore 2019

Magical Doge says Hocus Pocus! credit to shakingmyheadproductions.com who is OP of a much lonnnnnnnggggggeeeeerrrrrr version... ... https://www.youtube.com/watch?v=8CxtEbxrarY

Tusk is the twelfth studio album by British-American rock band Fleetwood Mac, released as a double album on 12 October 1979 by Warner Bros. Records. It is considered more experimental than their previous albums, partly as a consequence of Lindsey Buckingham's sparser songwriting arrangements and the influence of post-punk. The production costs were initially estimated to be about $1 million but many years later were revealed to be about $1.4 million (equivalent to $5.23 million in 2021), making it the most expensive rock album recorded to that date. The band embarked on a nine-month tour to promote Tusk. They travelled extensively across the world, including the U.S., Australia, New Zealand, Japan, France, Belgium, Germany, the Netherlands, and the UK. In Germany, they shared the bill with Bob Marley. On this world tour, the band recorded music for the Fleetwood Mac Live album, released in 1980. Side 4 Track 5 (last song) Never Forget sung by: Christie McVie Written by: Vincent Herring Album: Tusk released 1979 Never Forget Fleetwood Mac Come on baby, could you ever be Just a little close to me? Ooh ooh ooh Could we ever forget tonight? Come on baby, let's take a stroll You're feelin' warm so don't be cold Ooh ooh ooh We will never forget tonight What a wonderful night to be (ooh) The stars must be my friends To shine for me Come on baby, now don't you be cold Just remember that love is gold Ooh ooh ooh And we'd never forget tonight Oh what a wonderful night to be (ooh) The stars must be my friends To shine for me Come on baby, let's take a stroll You're feelin' warm so don't be cold Ooh ooh ooh But could we ever forget tonight? We'll never forget tonight Oh it'll be alright But we will never forget tonight Oh it'll be alright We'll never forget tonight Oh it'll be alright We'll never forget tonight Oh it'll be alright We'll never forget tonight Oh it'll be alright We'll never forget tonight We'll never forget tonight

Fly by Night is the second studio album by the Canadian rock band, Rush, released on Feb. 15, 1975 on Mercury Records. It was the first Rush album to showcase elements of progressive rock for which the band has become known. It was also the first to feature lyricist and drummer Neil Peart, who replaced original drummer John Rutsey the previous summer just prior to the band's first North American tour. Peart took over as Rush's primary lyricist, and the abundance of fantastical and philosophical themes in his compositions contrasted greatly with the simpler hard rock of the band's debut album. In March 1974, the second Rush line-up, consisting of guitarist Alex Lifeson, drummer John Rutsey, and singer and bassist Geddy Lee, released their self-titled debut album. In the following four months, however, Rutsey fell ill following complications with diabetes and had to sit out while the group continued with a replacement, Jerry Fielding. Rutsey rejoined the group for a month of club dates before Lifeson and Lee decided it was best for Rutsey to leave due to the difficulty in managing his health on tour and musical differences between them. Lee recalled: "We were guilt-ridden at first, but we realised that it's just the way it had to be. He wasn't happy and we weren't happy". Rush auditioned five drummers, the fourth of which was Neil Peart of a local band named J.R. Flood. The three played along to "Anthem," a song mostly written while Rutsey was in the group that Rush later recorded for Fly by Night. Lifeson and Lee were so impressed with Peart's style they felt embarrassed for the fifth drummer who had prepared by writing charts to their songs to follow. Peart joined on July 29, 1974, Lee's 21st birthday, two weeks before the band's first U.S. tour kicked off on Aug. 14 at the Civic Arena in Pittsburgh, Pennsylvania, opening for Uriah Heep and Manfred Mann. By the end of the year the group had written new material for a follow-up album. Fly By Night Rush Written by: Geddy Lee, Neil Peart Album: Fly By Night Released: 1975 Why try? I know why This feeling inside me says it's time I was gone Clear head, new life ahead It's time I was king now, not just one more pawn Fly by night, away from here Change my life again Fly by night, goodbye, my dear My ship isn't coming and I just can't pretend Moon rise, thoughtful eyes Staring back at me from the window beside No fright or hindsight Leaving behind that empty feeling inside Fly by night, away from here Change my life again Fly by night, goodbye, my dear My ship isn't coming and I just can't pretend, whoa Fly by night, away from here Change my life again Fly by night, goodbye, my dear My ship isn't coming and I just can't pretend Start a new chapter, I find what I'm after It's changing every day The change of a season's enough of a reason To want to get away Quiet and pensive, my thoughts apprehensive The hours drift away Leaving my homeland, playing a lone hand My life begins today Fly by night, away from here Change my life again Fly by night, goodbye, my dear My ship isn't coming and I just can't pretend My ship isn't coming and I just can't pretend Fly by night, away from here Change my life again Fly by night, goodbye, my dear My ship isn't coming and I just can't pretend My ship isn't coming and I just can't pretend My ship isn't coming and I just can't pretend

I was a Death Star Contractor

The Messages are from my voicemail... a true story. Johns Hopkins plays on the voicemail. Am I doing a Fight Club?

Three Mile Island TMI Too Much Information

Melania the Trump Handler research courtesy of MAG. Please support the ORIGINAL content provider https://www.bitchute.com/channel/Ma107tEUNW7q/

Master of Tickets Taylor Swift and the punch line you may have missed at the end research courtesy of MAG. Please support the ORIGINAL content provider https://www.bitchute.com/channel/Ma107tEUNW7q/

Kerry Mullis interviewed by Gary Null Full repost. all credit to the above

Compilation of the acts of the wizard... Content and Research Provided by: Wim/ https://www.youtube.com/@UC6lgiL6jwAy.. . Synchromysticism. The greatest Hollywood theory ever told. Home of Apophenia Productions. https://www.youtube.com/@UCJ-GqOVcDG0.. . Shaking My Head Productions @shakingmyheadproductions and random mixology and secret recipe additions by me Franklyn Jones, The Prince of Pensacola & The Lord of LeJeune. Head Nigger in Charge of the Crescent.

Now with 119% MORE Elon Memes. Happy African-American Day from the richest nigger there is! Southern Rock Opera is the third studio album by the American rock band Drive-By Truckers, released in 2001. A double album covering an ambitious range of subject matter from the politics of race to 1970s stadium rock, Southern Rock Opera either imagines, or filters, every topic through the context of legendary Southern band Lynyrd Skynyrd. The record was originally self-released on Soul Dump Records. The album was re-released on July 16, 2002 by Lost Highway Records. The album was financed by issuing promissory notes in exchange for loans from fans, family and friends of the band. The album's artwork was done by Richmond, Virginia artist Wes Freed. The idea for Southern Rock Opera pre-dates the band's formation in 1996. Southern Rock Opera began in a long discussion between Drive-By Truckers' frontman Patterson Hood and former Truckers bassist and producer Earl Hicks, during a road trip. The pair discussed writing a semi-autobiographical screenplay about growing up in the South and about the plane crash that almost ended the career of the rock band Lynyrd Skynyrd, taking singer Ronnie Van Zant, guitarist Steve Gaines, and Gaines' back-up-singer sister Cassie Gaines. Soon after this discussion, Hood formed Drive-By Truckers. The Truckers recorded two studio albums and one live album during the four years between their formation and the actual recording of Southern Rock Opera. During these years, Drive-By's principal songwriters Hood, Mike Cooley, and Rob Malone continued to contribute songs to "The Rock Opera", as they had come to call it. After the release of their live album Alabama Ass Whuppin', Drive-By Truckers began recording what they hoped would be their magnum opus: Southern Rock Opera. According to Patterson Hood, "(the album) was recorded in Birmingham, upstairs in a uniform shop during an early September heat wave, with no air-conditioning. We had to turn the fans off when we were recording, and we worked from 6 p.m. to 6 a.m. So Southern Rock Opera was fun to write, but we had a miserable time making it." After the album was finished, however, the troubles continued for The Truckers when they ran out of funding for the immense project. To resolve the problem, and to avoid "any fine print crap", as Hood put it, the band took a non-traditional approach. The Truckers made a prospectus and solicited investors, with a promise of 15% interest, to pay for the manufacturing and distribution of Southern Rock Opera. The approach worked. Through their fan-based online news group and by sheer word of mouth, The Truckers were able to raise $23,000. This allowed them to print about 5,000 copies of the album, and buy a "new" used van for touring. Notably included in the group, dubbed "The DBT Investors", was Widespread Panic bassist and fellow Athenian Dave Schools. Southern Rock Opera was finally released on September 12, 2001 on Soul Dump Records. One day after September 11 attacks. September 12, 2001. Disc one: Act one: Betamax Guillotine "Days of Graduation" Hood 0:01 "Ronnie and Neil" Hood 2:36 "72 (This Highway's Mean)" Cooley 7:29 "Dead, Drunk, and Naked" Hood 12:53 "Guitar Man Upstairs" Cooley 17:46 "Birmingham" Hood 21:01 "The Southern Thing" Hood 26:05 "The Three Great Alabama Icons" Hood 31:10 "Wallace" Hood 38:04 "Zip City" Cooley 41:27 "Moved" Malone 46:39 Disc two: Act two "Let There Be Rock" Hood 51:01 "Road Cases" Hood 55:19 "Women Without Whiskey" Cooley 58:03 "Plastic Flowers on the Highway" Hood 62:20 1:02:20 "Cassie's Brother" Malone 67:25 1:07:25 "Life in the Factory" Hood 72:22 1:12:22 "Shut Up and Get on the Plane" Cooley 77:50 1:17:50 "Greenville to Baton Rouge" Hood 81:28 1:21:28 "Angels and Fuselage" Hood 85:35 1:25:25 Personnel Band Mike Cooley – lyrics, guitar, ambience, vocals Earl Hicks – bass Patterson Hood – lyrics, guitar, ambience, vocals, storytelling Rob Malone – lyrics, guitar, ambience, vocals Brad Morgan – drums Guest performers Kelly Hogan – backing vocals on "Cassie's Brother" and "Angels And Fuselage" (as Cassie Gaines) Anne Richmond Boston – 1st group vocal Jyl Freed – 2nd group vocal Amy Pike – 3rd group vocal

Wrong 'Em Boyo The Clash Written by: Clive Alphanso Album: London Calling Released: 1979 Stagger Lee met Billy And they got down to gambling Stagger Lee throwed seven Billy said that he throwed eight So Billy said, "Hey Stagger I'm gonna make my big attack I'm gonna have to leave my knife In your back" Why do you try to cheat, and trample people under your feet? Don't you know it is wrong to cheat a trying man? Don't you know it is wrong to cheat the trying man? So you better stop, it is the wrong 'em boyo You lie, steal, cheat and deceit in such a small, small game Don't you know it is wrong to cheat a trying man? Don't you know it is wrong to cheat a trying man? You better stop, it is the wrong 'em boyo Billy boy has been shot and Stagger Lee's come out on top Don't you know it is wrong to cheat a trying man? Don't you know it is wrong to cheat Stagger, man? You better stop, it is the wrong 'em boyo So you must start all over again, all over again Don't you know it is wrong, play it Billy, play Don't you know it is wrong, play it Billy, play And you will find it is the right 'em boyo But if you must lie and deceit and trample people under your feet Don't you know it is wrong to cheat a trying man? Don't you know it is wrong to cheat a trying man? You better stop, it is the wrong 'em boyo It is the wrong 'em boyo

Bat Out of Hell is the 1977 debut album by American rock singer Meat Loaf and composer Jim Steinman. It is one of the best-selling albums in history. The album was developed from a musical, Neverland, a futuristic rock version of Peter Pan, which Steinman wrote for a workshop in 1974. It was recorded during 1975–1976 at various studios, including Bearsville Studios in Woodstock, New York, produced by Todd Rundgren, and released in October 1977 by Cleveland International/Epic Records. Bat Out of Hell spawned two Meat Loaf sequel albums: Bat Out of Hell II: Back into Hell (1993) and Bat Out of Hell III: The Monster Is Loose (2006). Written by: Jim Steinman Album: Bat Out Of Hell Released: 1977 Bat Out of Hell Meat Loaf The sirens are screaming and the fires are howling Way down in the valley tonight There's a man in the shadows with a gun in his eye And a blade shining, oh, so bright There's evil in the air and there's thunder in the sky And a killer's on the bloodshot streets Oh, and down in the tunnel where the deadly are rising Oh, I swear I saw a young boy down in the gutter He was starting to foam in the heat Oh, baby, you're the only thing in this whole world That's pure and good and right And wherever you are and wherever you go There's always gonna be some light But I gotta get out, I gotta break it out now Before the final crack of dawn So we gotta make the most of our one night together When it's over you know we'll both be so alone Like a bat out of hell, I'll be gone when the morning comes Oh, when the night is over, like a bat out of hell I'll be gone, gone, gone Like a bat out of hell, I'll be gone when the morning comes But when the day is done and the sun goes down And the moonlight's shinin' through Then like a sinner before the gates of Heaven I'll come crawlin' on back to you I'm gonna hit the highway like a battering ram On a silver black Phantom bike Oh, when the metal is hot and the engine is hungry And we're all about to see the light Nothing ever grows in this rotting old hole And everything is stunted and lost And nothing really rocks and nothing really rolls And nothing's ever worth the cost And I know that I'm damned if I never get out And baby, I'm damned if I do But with every other beat I got left in my heart You know I'd rather be damned with you Well if I gotta be damned, you know I wanna be damned Dancing through the night with you Well if I gotta be damned, you know I wanna be damned Gotta be damned, you know I wanna be damned Gotta be damned, you know I wanna be damned Dancing through the night, dancing through the night Dancing through the night with you Oh baby, you're the only thing in this whole world That's pure and good and right And wherever you are and wherever you go There's always gonna be some light But I gotta get out, I gotta break it out now Before the final crack of dawn So we gotta make the most of our one night together When it's over you know we'll both be so alone Like a bat out of hell, I'll be gone when the morning comes Oh, when the night is over, like a bat out of hell I'll be gone, gone, gone Like a bat out of hell, I'll be gone when the morning comes But when the day is done and the sun goes down And the moonlight's shining through Then like a sinner before the gates of heaven I'll come crawling on back to you Then like a sinner before the gates of heaven I'll come crawling on back to you Oh, I can see myself tearing up the road Faster than any other boy has ever gone Oh, and my skin is raw but my soul is ripe And no one's gonna stop me now, I'm gonna make my escape But I can't stop thinking of you And I never see the sudden curve 'til it's way too late And I never see the sudden curve 'til it's way too late Then I'm dying at the bottom of a pit in the blazing sun Torn and twisted at the foot of a burning bike And I think somebody somewhere must be tolling a bell And the last thing I see is my heart still beating Breaking out of my body and flying away Like a bat out of hell Then I'm dying at the bottom of a pit in the blazing sun All torn and twisted at the foot of a burning bike And I think somebody somewhere must be tolling a bell And the last thing I see is my heart still beating Still beating Oh, breakin' out of my body and flyin' away Like a bat out of hell Oh, like a bat out of hell Oh, like a bat out of hell Oh, like a bat out of hell (I'll be gone when the morning comes) Oh, like a bat out of hell (I'll be gone when the morning comes) Oh, like a bat out of hell

The Sting is a 1973 American caper film set in September 1936, involving a complicated plot by two professional grifters (Paul Newman and Robert Redford) to con a mob boss (Robert Shaw). The film was directed by George Roy Hill, who had directed Newman and Redford in the western Butch Cassidy and the Sundance Kid. Created by screenwriter David S. Ward, the story was inspired by real-life cons perpetrated by brothers Fred and Charley Gondorff and documented by David Maurer in his 1940 book The Big Con: The Story of the Confidence Man. The title phrase refers to the moment when a con artist finishes the "play" and takes the mark's money. If a con is successful, the mark does not realize he has been cheated until the con men are long gone, if at all. The film is played out in distinct sections with old-fashioned title cards drawn by artist Jaroslav "Jerry" Gebr, the lettering and illustrations rendered in a style reminiscent of the Saturday Evening Post. The film is noted for its anachronistic use of ragtime, particularly the melody "The Entertainer" by Scott Joplin, which was adapted (along with others by Joplin) for the film by Marvin Hamlisch (and a top-ten chart single for Hamlisch when released as a single from the film's soundtrack). The film's success created a resurgence of interest in Joplin's work. Released on Christmas Day of 1973, The Sting was a massive critical and commercial success and was hugely successful at the 46th Academy Awards, being nominated for ten Oscars and winning seven, including Best Picture, Best Director, Best Film Editing and Best Writing (Original Screenplay); Redford was also nominated for Best Actor. The film also rekindled Newman's career after a series of big screen flops. Regarded as having one of the best screenplays ever written, in 2005, The Sting was selected for preservation in the U.S. National Film Registry of the Library of Congress as being "culturally, historically, or aesthetically significant". In 1936, during the Great Depression, Johnny Hooker, a grifter in Joliet, Illinois, cons $11,000 in cash in a pigeon drop from an unsuspecting victim with the aid of his partners Luther Coleman and Joe Erie. Buoyed by the windfall, Luther announces his retirement and advises Hooker to seek out an old friend, Henry Gondorff, in Chicago to learn "the big con". Unfortunately, the reason their victim had so much cash was that he was a numbers racket courier for vicious crime boss Doyle Lonnegan. Corrupt Joliet police Lieutenant William Snyder confronts Hooker, revealing Lonnegan's involvement and demanding part of Hooker's cut. Having already blown his share on a single roulette spin, Hooker pays Snyder in counterfeit bills. Lonnegan's men murder both the courier and Luther, and Hooker flees for his life to Chicago. Hooker finds Gondorff, a once-great con-man now hiding from the FBI, and asks for his help in taking on the dangerous Lonnegan. Gondorff is initially reluctant, but he relents and recruits a core team of experienced con men to dupe Lonnegan. They decide to resurrect an elaborate obsolete scam known as "the wire", using a larger crew of con artists to create a phony off-track betting parlor. Aboard the opulent 20th Century Limited, Gondorff, posing as boorish Chicago bookie Shaw, buys into Lonnegan's private, high-stakes poker game. He infuriates Lonnegan with obnoxious behavior, then out-cheats him to win $15,000. Hooker, posing as Shaw's disgruntled employee Kelly, is sent to collect the winnings and instead convinces Lonnegan that he wants to take over Shaw's operation. Kelly reveals that he has a partner named Les Harmon (actually con man Kid Twist) in the Chicago Western Union office, who will allow them to win bets on horse races by past-posting.

The Low Spark of High Heeled Boys is the fifth studio album by English rock band Traffic, released in 1971. The album was Traffic's most successful in the United States, reaching number 7 on the Billboard 200 and becoming their only platinum-certified album there. It was Traffic's first studio album to feature percussionist Rebop Kwaku Baah, and the only studio appearance of drummer Jim Gordon and bassist Ric Grech. Grech had previously worked with Traffic singer/multi-instrumentalist Steve Winwood in the short-lived supergroup Blind Faith. This is the only Traffic album to feature two lead vocals by Jim Capaldi ("Light Up or Leave Me Alone" and "Rock & Roll Stew"). His only other lead vocal on a Traffic album was "Dealer" from Mr. Fantasy (1967). As with other Traffic albums, The Low Spark of High Heeled Boys featured varied influences, including jazz, folk music and Classical. The name of the album's title track was suggested by the actor Michael J. Pollard. The LP's front cover is notable for its top right and bottom left corners being clipped, giving the illusion of a three-dimensional cube. This effect would repeated on their next album, Shoot Out at the Fantasy Factory. On original pressings of the UK and some European versions, the title of both the album and song are shown as 'The Low Spark of High-Heeled Boys' (with a hyphen) on the record labels. Written by: Steve Winwood, Jim Capaldi Album: The Low Spark of High Heeled Boys (Bonus Track) Released: 1971 Rainmaker Traffic Rainmaker, rainmaker Rainmaker, rainmaker Rainmaker, rainmaker The sky is gray just by the touch of your hand Rainmaker, rainmaker Rainmaker, rainmaker Rainmaker, rainmaker Make me some rain, make all my crops grow tall Rainmaker, rainmaker Rainmaker, rainmaker Rainmaker, rainmaker The sky is gray, the ground is so hard It's been cracked by the sun Rainmaker, you know my work's never done

Audio Buff and minor additions and subtractions Research and content provided in part by the following: The Little Albert Experiment https://www.youtube.com/@Johncheezy/ an EJ Production Neil Young talkin 440-432 Hz Gary Lite https://garylite.com/ https://www.youtube.com/@GaryLite godgevlamste https://www.youtube.com/@godgevlamste The Autotune Ascension Synchromysticism. The greatest Hollywood theory ever told. Home of Apophenia Productions. https://www.youtube.com/@barelyHuman11 KALIYUGADAYS DeathCafe.com on Bitchute and Franklyn Jones The Lord of Lejeune and The Prince of Pensacola for notes, timing and splicing...

Joe Satriani Surfing With The Alien to my original 2019 Twitter Account suspension for connecting CBS, South African Sugar, Trevor Noah and a few others to human trafficking in South Africa.