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Via: https://www.botosaneanul.ro
Un escroc a păcălit preoți și enoriași cu povești false despre copii bolnavi. A primit o pedeapsă cu suspendare.
Via: https://www.lacucinaitaliana.it
Bruschette, pancake e panne cotte salati, uova farcite, insalate con la frutta: scoprite le nostre ricette per antipasti di Pasqua veloci ed economici
When mankind's savagery surpasses his fear of death, there is little hope for those who wish to live honest lives. Beneath a full moon, a young boy witnesses the murder of the bandits who had enslaved him, and is then christened with a new name by the man who rescued him. This boy is Shinta, now known as Kenshin Himura, and he is destined to become a swordsman. The softness of his heart does not befit the occupation, but his desire to protect the innocent is absolute. Rurouni Kenshin: Meiji Kenkaku Romantan - Tsuioku-hen details the origins of the man who would bear the name of Hitokiri Battousai long before he swore his oath not to kill and before he earned his reputation as an assassin. The young man's heart is divided between justice and corruption, while the fate of a nation rests on his actions. [Written by MAL Rewrite]
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Label and copyright: Multimedia Music & Pero Defformero Zabranjeno svako kopiranje video i/ili audio snimaka i postavljanje na druge kanale! Music: Fris Sasa lyrics: Fris Sasa Arr: Fris Sasa Video: GOTIČARKA II (with Žare/S.A.R.S.) KRAJ TEBE BUDAN LEŽIM, PITAM SE ŠTA SANJAŠ? DAL KROZ SNOVE SA MNOM, ĐAVOLE JOŠ GANJAŠ? ZBOG LEPOTE TVOJE DRAGA, JA SAM MENJ'O VERU PRODAO ĐAV'LU DUŠU I FOLK KARIJERU! GOVORILA SI: „SAMO GOTIK BUDI... ...I ZAUVEK ĆE MOJE SRCE, ZA TOBOM DA LUDI,, POČEO SAM DA SE PITAM, DAL TI SE JOŠ SVIĐAM JER SA NEKIM DROGERAŠOM, JOŠ UVEK TE VIĐAM A BILO NAM JE K'O U PAKLU LEPO VOLESMO SE KRATKO, ALI SLEPO A BILO NAM JE K'O U PAKLU LEPO "GOTIČARKO" -- TEBI JA SAM TEPO NAD'O SAM SE DUGO, DA ĆE SVADBE BITI TAMAN I SA SVOM RODBINOM, MOR'O KRVI PITI ZAKLEO BIH SE DA, MUŽ ĆU TI BITI DOBAR PRISTAO BIH DRAGA I DA NAS VENČA GROBAR A BILO NAM JE K'O U PAKLU LEPO VOLESMO SE KRATKO, ALI SLEPO A BILO NAM JE K'O U PAKLU LEPO "GOTIČARKO" -- TEBI JA SAM TEPO (SOLO) A BILO NAM JE K'O U PAKLU LEPO VOLESMO SE KRATKO, ALI SLEPO A BILO NAM JE K'O U PAKLU LEPO "GOTIČARKO" -- TEBI JA SAM TEPO A BILO NAM JE K'O U PAKLU LEPO VOLESMO SE KRATKO, ALI SLEPO BILO NAM JE ALI, VIŠE NIJE PRIJATELJU STARI POZDRAVI JE! SUDBINA JE TVOJA BRATE, ČISTA ZLA KOB JER U NJENOJ SOBI SVIRA, REGGE MARLI BOB NA GLAVI JOJ KAO LIGNJA, KOSA UĆEBANA I NA STOLU KANABE GRANA - KAO IKEBANA ZNAM DA BOLI, AL TU SU SVI ORTAĆI IZ KRAJA SEDI S NAMA, ISKULIRAJ, DONEĆU TI MALO ČAJA PUSTI BUKSNI I MAKIĆU, DA TI LICU VRATE SJAJ I ZAPEVAJ ONU S NAMA: NO WOMAN -- NO CRY! NO WOMAN NO CRY, NO WOMAN NO CRY...
Via: https://siviaggia.it
Itinerario alla scoperta di Valeggio sul Mincio, ecco cosa vedere tra ville palladiane, giardini incantati e mulini sull’acqua.
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Grim Reaper (Lee Dong-wook)) with Kim Shin (Gong Yoo) Underwear song scene.. Enjoy and Thanks for watching!... Don't forget to Subscribe and hit the Bell Icon for more videos.. No Copyright Intended. Entertainment Purposes Only.
Criminal prosecutors may soon get to see over 900 documents pertaining to the alleged theft of a diary belonging to Ashley Biden.
Via: https://www.lacucinaitaliana.it
Contorno ricco o secondo veg, l'umido di coste e patate al coriandolo è un piatto profumato e confortante, sano e saziante. Scoprite la nostra ricetta
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Bush released Letting The Cables Sleep in 1999. Thanks for watching! ???? If you liked this video don't forget to Like and Subscribe for more Lyric Videos! Lyrics: You in the dark You in the pain You on the run Living a hell Living your ghost Living your end Never seem to get in the place that I belong Don't wanna lose the time Lose the time to come Whatever you say it's alright Whatever you do it's all good Whatever you say it's alright Silence is not the way We need to talk about it If heaven is on the way If heaven is on the way You in the sea On a decline Breaking the waves Watching the lights go down Letting the cables sleep Whatever you say it's alright Whatever you do it's all good Whatever you say it's alright Silence is not the way We need to talk about it If heaven is on the way We'll wrap the world around it If heaven is on the way If heaven is on the way I'm a stranger in this town I'm a stranger in this town If heaven is on the way If heaven is on the way I'm a stranger in this town I'm a stranger in this town We do not own anything. All credits go the right owners. No copyright intended. If any producer or label has an issue with this picture or song, please get in contact with us and we will delete it immediately. #bush #lettingthecablessleep
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Massive Attack are an English trip hop group formed in 1988 in Bristol, consisting of Robert "3D" Del Naja, Grant "Daddy G" Marshall and formerly Andy "Mushroom" Vowles ("Mush"). Their debut album Blue Lines was released in 1991, with the single "Unfinished Sympathy" reaching the charts and later being voted the 63rd greatest song of all time in a poll by NME. 1998's Mezzanine, containing "Teardrop", and 2003's 100th Window charted in the UK at number one. Both Blue Lines and Mezzanine feature in Rolling Stone's list of the 500 Greatest Albums of All Time. The group has won numerous music awards throughout their career, including a Brit Award—winning Best British Dance Act, two MTV Europe Music Awards, and two Q Awards. They have released five studio albums that have sold over 11 million copies worldwide. DJs Daddy G and Andrew Vowles and graffiti artist-turned-rapper Robert Del Naja met as members of partying collective The Wild Bunch. One of the first homegrown soundsystems in the UK, The Wild Bunch became dominant on the Bristol club scene in the mid-1980s. Massive Attack started as a spin-off production trio in 1988, with the independently released song, "Any Love", sung by falsetto-voiced singer-songwriter Carlton McCarthy, and then, with considerable backing from Neneh Cherry, they signed to Circa Records in 1990 – committing to deliver six studio albums and a "best of" compilation. Circa became a subsidiary of, and was later subsumed into, Virgin Records, which in turn was acquired by EMI. Blue Lines (1991), was co-produced by Jonny Dollar and Cameron McVey, who also became their first manager. Geoff Barrow, who went on to form Portishead, was an intern and trainee tape operator at Bristol's Coach House studio when the album was recorded. McVey (credited at the time as 'Booga Bear') and his wife, Neneh Cherry, provided crucial financial support and in-kind assistance to the early careers of Massive Attack, Portishead and Tricky during this period, even paying regular wages to them through their Cherry Bear Organisation. Massive Attack used guest vocalists, interspersed with Del Naja and Marshall's (initially Tricky's) own sprechgesang stylings, on top of what became regarded as an essentially British creative sampling production; a trademark sound that fused down-tempo hip hop, soul, reggae and other eclectic references, musical and lyrical. In the nineties, the trio became known for often not being able to easily get along with one another and working increasingly separately. Andy Vowles (Mushroom), who had once thought of himself as the trio's musical director, acrimoniously left Massive Attack in late 1999, after an ultimatum from the other two members to end the group immediately if he did not. Despite having taken Del Naja's side in the effective firing of Vowles and then participating in a show-of-unity webcast as a duo the following year, Grant Marshall (G) had also effectively left by 2001 in that he abandoned the studio altogether. Marshall returned to a studio role in 2005, having joined the touring line-up in 2003 and 2004.
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Eddie Vedder with C Average June 13th 1999 Tibetan Freedom Concert Alpine Valley Music Theatre East Troy, Wisconsin A benefit show for the Milarepa Fund which promotes awareness of the Tibetan independence movement. Eddie and his bandmates who were from the band C Average - and with whom he'd been practicing and would play 3 additional shows on the west coast in the subsequent weeks - perform a pair of radio hits followed by a collection of covers by the Mono Men, the Police, Dead Moon, Talking Heads, and Little Steven. I successfully snuck my Sony D8 camcorder into Alpine Valley but was spotted midway through he set and had to abort taping. While this cut version was traded on VHS back in 1999, today on the 23rd anniversary is the first time the digital transfer of my video has been mixed with the superior audio audience recording and patched with the second video recording for the remainder of the 35min set. Last Kiss 1:10 (EV picks guys out of crowd to play bass and drums) 4:40 Better Man 7:10 Watch Outside 12:30 Driven to Tears 15:10 Running Out of Time 20:05 Diamonds in the Rough 23:33 Love + Building on Fire 26:40 I Am a Patriot 30:50 Video 1 taken by buckswope82 using Sony D8 camcorder Video 2 source unknown, uploaded by pjvideoguy Audio remixed using audience recording Shure SM98 - 94A1670 - Sony TCD-D8 (35th row, center)
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Via: https://www.odmp.org
Agent Aníbal Morales Aponte succumbed to injuries he received when his patrol motorcycle was struck by a driver who ran a red light at Rafael Cordero Avenue in Caguas.
Salaryman Rokurou Okajima spends his days trying to climb his company's corporate ladder, until one day when a business negotiation in Thailand goes awry. During the botched deal, he falls hostage to the Lagoon Company—a band of ruthless pirate mercenaries. Left to the whims of his captors after his managers refuse to pay his ransom, Rokurou does the unthinkable: instead of begging for his life, he joins the very crew who kidnapped him. Now a member of the group, Rokurou must adjust to his new residence in the dissolute hellscape known as Roanapur, a city where corruption and crime run rampant, and even the smallest slipup could cost him his life. If not for one of the many crime syndicates on the island, Rokurou also constantly finds himself at odds with his brash, gunslinging colleague, Revy. As Rokurou struggles to abandon his past—and with more than just the profits from the Lagoon Company's illegal trading on the line—he must quickly find the resolve to make tough decisions in high-stress situations while keeping his humanity intact. [Written by MAL Rewrite]
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From the award wiining 2010 album The Gathering Light Copyright 2010 L Fury & I Jones.
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An Italian-American neighborhood in Louisiana is disturbed when truck driver Rosario Delle Rose is killed by police while smuggling. His buxom widow Serafina miscarries, then over a period of years draws more and more into herself, trying to force her lovely teenaged daughter Rosa to do likewise. On one eventful day, Rose finally breaks away; Serafina learns of Rosario's affair with another woman; and a new carefree, handsome Italian truck driver enters her life.
Via: https://www.nzonscreen.com
The Power of Music (Te Kaha o Te Waiata) - Auckland band Herbs could have released their new album in the comfortable confines of an Auckland nightclub. Instead, they travelled to Ruatoria — a troubled and divided East Coast town where turmoil surrounding a Rastafarian sect had resulted in assaults, kidnappings and firebombed churches. Lee Tamahori and John Day's documentary captures an emotional experience for band and locals as they meet at Mangahanea Marae, in an attempt to shift the focus from disunity to harmony. This footage also yielded the award-winning Sensitive to a Smile music video.
Via: https://www.hulu.com
Gerard Butler stars in this white-knuckle action movie as a pilot who must team with an accused murderer (Mike Colter) to save his passengers from rebels on a war-torn island.
Via: https://www.documentary.org
Roadrunner, Oscar-winner Morgan Neville’s documentary film about chef and cultural icon Anthony Bourdain, sparked a heated debate last summer when the filmmaker revealed to The New Yorker that three lines in the film—that sounded like they were being spoken by Bourdain, who died in 2018—were generated using AI technology. Neville explained to the magazine’s Helen Rosner that the three quotes, which were Bourdain’s written words, were spoken by an AI model of his voice created using roughly a dozen hours of recordings of Bourdain. Of his decision to employ this "modern storytelling technique," Neville reportedly said, "We can have a documentary-ethics panel about it later." But many in the documentary film and journalism communities immediately questioned whether the film’s use of an AI-generated voice of the deceased Bourdain, and the disclosure (or lack thereof) of it to the audience, was ethical—even though Neville, as he later told Variety, had the blessing of Bourdain’s estate and literary agent.Roadrunner is not the first high-profile example of the use of new technology to seemingly bring a deceased celebrity or cultural figure back to life. Hologram technology has been used to create lifelike "live" performances from dead celebrities, including Michael Jackson. And, in 2019, reports that a CGI-created, digitally resurrected James Dean—who died in a car crash in 1955—had been cast in a new Vietnam-era film, Finding Jack, were greeted by some in Hollywood (and beyond) with horror. While it was reported that the filmmakers obtained permission to use Dean’s image from the iconic actor’s family, many were highly critical of the choice.Setting aside the thorny ethical issues it can present, digitally recreating the voice, image, or likeness of a dead celebrity or public figure can also have potential legal implications. New York recently became the first state to enact a law recognizing a post-mortem right of publicity applicable to "digital replicas" of dead performers. And, while the First Amendment’s broad protection for expressive works, including documentary films, limits the reach of the rights of publicity for both the living and the dead, understanding the scope of post-mortem rights of publicity can be beneficial for filmmakers considering resurrecting a deceased subject for a project.In general, whether a deceased person’s estate has a post-mortem right of publicity—essentially a right to profit from and control commercial use of the deceased’s name, voice, signature, photograph or likeness—is primarily a question of state law. Twenty-four states—including California, New York, Florida, Hawaii, Nevada and Texas—recognize a post-mortem right of publicity under state common law or statute. Generally speaking, these laws grant a transferable property right in aspects of the deceased’s persona to the deceased’s heirs, requiring consent from the holder of those rights before they can be used in commercial ways. These laws vary significantly, however. The duration of the right—i.e., how long it lasts after a person’s death—varies under different state laws. Under California’s statute, for example, post-mortem publicity rights survive for 70 years after the death of the deceased personality, while under New York law, the right survives for 40 years. And, some state laws, like California’s, reach backwards, applying retroactively to individuals who died before the laws were enacted. The laws of other states, like Illinois, on the other hand, apply only to individuals who died on or after the date of their enactment, or the effective date of the law. Further, some state laws, like New York’s and Ohio’s, make expressly clear that the deceased individual must have been domiciled in the state at death or, at a minimum, have resided there at death, for the post-mortem publicity rights afforded under that state’s law to apply. And some states, including California, New York and Texas require that the deceased’s persona have commercial value, thereby sharply limiting the ability of individuals who are not public figures or professional performers to invoke it..New York recently became the first (and is currently the only) state to enact a law that expressly addresses the use of digital replicas of certain deceased individuals. The New York statute, which went into effect on May 29, 2021, recognizes a post-mortem right of publicity for two categories of deceased individuals—"deceased personalities" and "deceased performers"—who die on or after the effective date of the law, and who are domiciled in New York at death. Uniquely, for a "deceased performer"—defined as a person who "for gain or livelihood was regularly engaged in acting, singing, dancing, or playing a musical instrument"—New York’s new law recognizes a post-mortem right of publicity that extends, in certain circumstances, to a "digital replica," which the law defines as a new "computer-generated, electronic performance by an individual in a separate and newly created, original expressive sound recording or audiovisual work in which the individual did not actually perform, that is so realistic that a reasonable observer would believe it is a performance by the individual . . . ." Specifically, the law creates a right of action for damages for use of a deceased performer’s digital replica without consent in either a "scripted audiovisual work as a fictional character" or in the "live performance of a musical work" when the use "is likely to deceive the public into thinking it was authorized." The law expressly provides that a use will not be considered "likely to deceive," however, if there is a "conspicuous disclaimer in the credits of the scripted audiovisual work" stating that it has not been authorized. As is clear from the statutory language, New York’s new law gives rise to a claim for damages from the unauthorized use of a deceased performer’s digital replica only in narrow circumstances.It is important to emphasize that the First Amendment provides robust protection for expressive works, including documentary films, that limits the application of right of publicity laws—both in the case of living and dead individuals. Indeed, many states with post-mortem right of publicity statutes provide express exceptions for creative and expressive works. California’s statute, for example, makes clear that it applies to the unauthorized use of a deceased personality’s name, voice, signature, photograph, or likeness "on or in products, merchandise, or goods, or for purposes of advertising or selling, or soliciting purchases of, products, merchandise, goods, or services," and that "a play, book, magazine, newspaper, musical composition, audiovisual work, radio or television program, single and original work of art, work of political or newsworthy value . . . shall not be considered a product, article of merchandise, good, or service if it is fictional or nonfictional entertainment, or a dramatic, literary, or musical work. " New York’s new law is even more detailed. For example, it expressly exempts from its scope the use of digital replicas of deceased performers in among other things, works of "parody, satire, commentary, or criticism; works of political or newsworthy value, or similar works, such as documentaries, docudramas, or historical or biographical works, regardless of the degree of fictionalization; [and] a representation of a deceased performer as himself or herself, regardless of the degree of fictionalization . . . " To determine whether the First Amendment forecloses right of publicity liability for a given, unauthorized use of a living or deceased personality’s name, voice, signature, photograph or likeness, the California Supreme Court has devised the "transformative" test, which looks to "whether a product containing a celebrity’s likeness is so transformed that it has become primarily the defendant’s own expression, rather than the celebrity’s likeness." A recent 2018 California Court of Appeal decision in a case involving a then-living celebrity—actress Olivia de Havilland, who died in 2020, at the age of 104—helps illustrate how the transformative test is applied. The legendary actress, known for her roles in Gone with the Wind and The Adventures of Robin Hood, sued over Catherine Zeta-Jones’ portrayal of her in the FX docudrama series Feud: Bette and Joan, about the relationship between Bette Davis and Joan Crawford. It was undisputed that de Havilland did not consent to her portrayal in the series; among the causes of action de Havilland alleged in the lawsuit were violations of California’s statutory right of publicity law and common law misappropriation of her name and likeness. Though the trial court denied a motion to strike de Havilland’s lawsuit under California’s anti-SLAPP law—finding the actress had met her burden on her right of publicity claims "because no compensation was given despite using her name and likeness" and there was "nothing transformative" about the series, which had strived to make its portrayal of de Havilland realistic—the California Court of Appeal reversed. "Assuming for argument’s sake" that Feud was a "product, merchandise or good," and that Zeta-Jones’ portrayal of de Havilland was a "use" of de Havilland’s name or likeness, the appellate court held that the series was an expressive work fully protected by the First Amendment, "which safeguards the storytellers and artists who take the raw materials of life—including the stories of real individuals, ordinary or extraordinary—and transform them into art, be it articles, books, movies, or plays." The appellate court held that the series’ portrayal of de Havilland was not actionable as a violation of her rights of publicity, and the fact that "Feud’s creators did not purchase or otherwise procure de Havilland’s ‘rights’ to her name or likeness does not change this analysis." Following the decision in FX’s favor, de Havilland sought further review in both the California Supreme Court and the United States Supreme Court; both declined to hear the case.In sum, the First Amendment provides important protection for the use of a deceased celebrity’s name, voice or likeness in an expressive work, without the consent of the deceased’s heirs or estate. And, indeed, the use of a digital replica that appears to resurrect a dead performer or other individual for a documentary film may, in any event, simply fall outside the scope of existing, narrowly crafted state laws recognizing post-mortem rights of publicity in certain circumstances. Yet, even if permission is not legally required, there may be good reasons to obtain it anyway. including access to material filmmakers might not otherwise have. In addition, as one California court has noted, and the de Havilland litigation underscores, "Many filmmakers may deem it wise to pay a small sum up front for a written consent to avoid later having to spend a small fortune to defend unmeritorious lawsuits. . . " While this article is intended to help you better understand the legal landscape governing post-mortem rights of publicity, it is not intended to take the place of specific legal advice from a licensed attorney in your jurisdiction. If you are an independent filmmaker who needs assistance finding an attorney, you can contact the Reporters Committee for Freedom of the Press Legal Defense Hotline at www.rcfp.org/hotline.Katie Townsend is Legal Director at Reporters Committee for Freedom of the Press.
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High on Fire, "Speak in Tongues" 2010. I don't own anything of this song. All rights go to the creators. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.
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Track 6 from their second album released in 1975 copyright Mercury Records and recorded at Toronto Sound Studios. After drummer John Rutsey RIP left the band for health reasons, the band held local auditions and invited five drummers to show their chops. Neil Peart was the fourth to perform and was hired that day. In addition to being their new drummer, he also became the band’s chief lyricist. A philosophical thinker, the best songs he would write dealt with profound concepts that he’d been inspired by through his love of literature and the inevitable reflections on his own life experiences. The band had found their sound and it was borne from a love of progressive rock that was shared by all the members from their beginnings. In 2017, Rush would be given the honour of inducting Yes, a band they idolized, into the Rock and Roll Hall of Fame. This album received average reviews and reached No. 9 in Canada and No. 113 on the Billboard chart, later achieving Platinum status in both countries. Recorded from the original vinyl. Written by Neil Peart, Geddy Lee & Alex Lifeson and produced by Rush & Terry Brown. RIP Neil Peart. Featuring: Geddy Lee – Lead vocals & bass, classical guitar on “Rivendell” Alex Lifeson– Lead, rhythm, six & twelve-string acoustic guitars Neil Peart – Drums & percussion Well, there's a time for feelin' as good as we can The time is now and there's no stoppin' us There's a time for livin' as high as we can Behind us you will only see our dust So we just keep smilin', move onward every day And try to keep our thoughts away from home We're travelin' all around, no time to settle down And satisfy our wanderlust to roam, hey You know we're havin' good days and we hope they're gonna last Our future still looks brighter than our past We feel no need to worry, no reason to be sad Our memories remind us maybe road life's not so bad Well, from sea to shinin' sea and a hundred points between Still we go on diggin' every show The cities in the land all extend a welcome hand Till the mornin' when it's time for us to go Well, you know we're havin' good days and we hope they're gonna last Our future still looks brighter than our past We feel no need to worry, no reason to be sad Our memories remind us maybe road life's not so bad Whoa, yeah, yeah, yeah, yeah Maybe road life's not so bad Road life's not so bad Oh yeah, yeah Oh, yeah, yeah, yeah, yeah, yeah, yeah
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Police - Every Breath You Take (1983) 1982년, 스팅은 첫 번째 부인과의 이혼 직후 제임스 본드 작가 이안 플레밍이 살던 자메이카 저택에 머물렀다. 한밤중에 깨어난 그는 "Every breath you take, I'll be watching you"라는 가사를 떠올리고 피아노 앞에 앉아 30분 만에 곡을 완성했다. "사랑 노래를 쓰려 했지만, 내 안의 어두운 면도 함께 담겼다. 질투와 감시, 소유욕에 관한 노래다"라고 훗날 스팅은 고백했다. 1983년 발매 직후 미국 빌보드 8주 연속 1위, 전 세계 25개국 차트 1위를 석권했지만, 많은 사람들이 이 곡을 결혼식 축가로 사용하는 걸 보며 스팅은 당황했다. "스토킹에 관한 노래인데..." #ThePolice #폴리스 #에브리브레스유테이크 #명곡추천 #추억의노래 #80년대음악 #세계명곡 #스팅 #EveryBreathYouTake #명곡
Via: https://www.dunedinfringe.nz
Double feature: A murder mystery with a twist and the greatest play Shakespeare NEVER wrote all in one night.
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Track 10 from their third album “In Search of the Lost Chord” released in 1968 copyright Deram Records. It was again recorded at Decca Studios in London and its songs were written around the concept of quest and discovery. It reached No. 5 in the U.K. and No. 23 on the Billboard chart. It achieved Gold status in 1970. Recorded from an original vinyl copy of “This Is the Moody Blues” released in 1974.Written by Justin Hayward and produced by Tony Clarke. RIP Tony Clarke, Ray Thomas, Graeme Edge & Mike Pinder. Featuring: Justin Hayward - Lead vocals, lead, rhythm & acoustic guitars, sitar, harpsichord, bass, percussion, Mellotron, piano & background vocals Mike Pinder – Mellotron, piano, harpsichord, acoustic guitar, bass, cello, autoharp, tambura, spoken word & background vocals Ray Thomas - Flute, alto flute, soprano sax, oboe, French horn, tambourine & background vocals John Lodge – Bass, acoustic guitar, cello, snare drum, tambourine & background vocals Graeme Edge – Drums, tympani, tambourine, piano, percussion, table, spoken word & background vocals The curtain rises on the scene with someone shouting to be free The play unfolds before my eyes, there stands the actor who is me The sleeping hours take this part from traffic, telephones and fear Put out your problems with the cat, escape until the bell you hear Our reasons are the same but there's no one we can blame For there's nowhere we need go and the only truth we know Comes so easily The sound I have heard in your hello Oh, darlin', you're almost part of me Oh, darlin', you're all I'll ever see (Ah, ah, ah) It's such a rainy afternoon, no point in going anywhere The sounds just drift across my room, I wish this feeling I could share It's such a rainy afternoon, she sits and gazes from her window Her mind tries to recall his face, the feeling deep inside her grows Our reasons are the same but there's no one we can blame For there's nowhere we need go and the only truth we know Comes so easily The sound I have heard in your hello Oh, darling, you're all I'll ever see Oh, oh-oh-oh-oh, darling, you're almost part of me (Ah, ah, ah)
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You Hate Me And I Hate You Gimme Some Head Drink, Fight And Fuck New York City Tonite No Rules Don't Talk To Me I Wanna Rape You Interview
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A trailer for the Action International Pictures movie Lust for Freedom (1987) Starring: Melanie Coll, William J. Kulzer, Judy Trevor and Howard Knight. Directed by Eric Louzil Plot: A former female cop is framed by corrupt police, acting in collusion with the local judge, and has to fight her way out of the pen, alone, against tough inmates, and the people in charge.
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Track 6 from their second album “High Class In Borrowed Shoes” released in 1977, copyright Anthem Records. In my opinion, this is their best album. It achieved Gold status in Canada. Recorded from the original vinyl. Written by Kim Mitchell & Pye Dubois and produced by Max Webster & Terry Brown. RIP Terry Watkinson. Featuring: Kim Mitchell – Lead vocals & lead guitars Terry Watkinson – Keyboards & background vocals. Lead vocals on “Rain Child” Mike Tilka – Bass, ARP bass & background vocals Gary McCracken – Drums & percussion Oh war, it's been done before That's what they say I wasn't there, they say there's one today I don't care, I'm not there today 'Cause I'd say fuck you 'stead of thank you Your choice under your breath Oh, say go to Hell I'll go American Express Oh war, history says you're in it Your sister's boyfriend's in it So, so long soldier, wash your socks and guns And just remember If you don't see a profit, sell your stocks and run 'Cause I'd say fuck you 'stead of thank you Your choice under your breath Oh, say go to Hell, I'll go American Express Oh, say go to Hell, I'll go American Express Oh, say go to Hell, I'll go American Express Oh, express
Via: https://siviaggia.it
Wilbur Smith, il noto scrittore da poco deceduto, aveva un forte legame con l’Africa, scopriamolo insieme.
Via: https://youtube.com
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