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Formed in Brussels back in 1969, Doctor Downtrip were to debut with a single for the Vogue label. The outfit’s slightly “psychedelic” leanings (with regards to their use of saxophone on “gravitation” and flute on “music for your mind”), gained them quite some attention. Who exactly was in the band remains a mystery, although the Dutchman J. Van Wagensveld did compose both songs on this effort.
In june 1970 they played the “Puzzle P-festival”(a famous Brussels club in the Rue De Bouchers) with many Belgian hardrock bands as well as headliner Wallace Collection. But the first highlight of their relatively brief career was their appearance at the Bilzen Rock & Jazz festival in august 1970 along such acts as Badfinger and Screaming Lord Sutch. Both festivals also had another Brussels band, Burning Plague on the bill.
When by the end of 1970 Plague’s Michael Heslop (who was original from the USA) decided to put his band on hold, the announcement of his entry to Doctor Downtrip quickly followed.
After a while this new line-up (John Hastry on bass, Michael Heslop on guitar, Paul Van De Velden on drums, Michel Rorive on vocals and Sylvain Paul on organ) was really rocking as proven on the “summer festival Den Haan “ and the fondly-remembered Jemelle festival on august 8th,1971 where they supported Golden Earring and Genesis.(In april 1972 they supported Genesis a second time when they played in Arlon)
It took more than a year before the new five-piece had an impressive armoury of self-penned compositions at their disposal, and the first proof of it, came in 1972 when they released the single “take my place” backed with “depressed” on CBS records. Both songs showed the real potential of this hardrock band as their fine organ/guitar work was finally captured on vinyl. After healthy sales a second two-tracker was scheduled for release, but without haste, as it was already 1973 when “jumpin’ in the air / winter’s coming” saw the light of day.
The “A” side was a radio-friendly rock song (along with sing-along and handclaps) but it was the backside who made impression with yet another heavy song with great solo’s. An appearance as support act for Mark Bolan’s T-REX (on march 24th ,1973) at the big vorst/forest national hall also made impression.
Therefore it came as a surprise to hear the band was working on a full-lp with a new singer; Jean Paul Goossens (and Serge Paul on second guitar). This first lp (recorded with Jean Huysmans in five days!) was without any doubt a cracking way to make their mark on the Belgian scene, and capable numbers such as “free morning time”, ”lost city”, “wanted”(heavy!!!) and the uptempo “big blue train” all demonstrated an uncanny knack for creating great hardrock-music.
1974 saw the release of another 7” with two reworked songs from that first album but after this, there was only silence from the Doctor’s camp.
By the end of 1975 Doctor Downtrip had already undergone a few changes with Heslop & Paul leaving to be replaced by only a guitarplayer: José Cuisset who came from Lagger Blues Machine. But it wasn’t only the line-up who’s been changed, also the name was shortened to Downtrip.
After that, the band managed to record their second lp and for the first time produced it themselves (all other recordings were produced by Jean Huysmans).
“If You Don’t Rock Now” was released in 1976 on CBS/Epic. Excellent hard-rocking stuff throughout; highlights were “sweet lies” and the awesome “getting louder”. Although they were a regular attraction at nations rock clubs and festivals, from then on, they no longer seem to have been able to get invitations to play the bigger support slots
It took more than two years before another Downtrip album hit the shops, but “Downtown” was a fine third set. Especially the first side had storming numbers such as “scarecrow”, ”shout it out”, “dedicated to you” and the longer title song.
Despite this album things started falling apart and by the end of the decade, the Downtrip members concluded that they were fighting a losing battle and had called it a day without making much of a fuss about it.
Discography
Albums
- Doctor Down Trip (1973)
Singles & EPs
- Gravitation (1970)
- Take My Place / Depressed (1972)
- Jumpin' In The Air (1973)
- Anything Goes / Better Run Away (1974)
Doctor Down Trip (1973)
Tracklist
- A1. Nothing's The Same / Free Morning Time
- A2. Walking In The Desert
- A3. Wanted!
- A4. Lost City
- B1. Anything Goes
- B2. Better Run Away
- B3. Everything Around
- B4. Big Blue Train
- B5. Feeling Good Again
Credits
- Bass – John Hastry
- Design – J. Hastry, P. V.D. Velden
- Drums – Paul Van Der Velden
- Engineer – Willy Paques
- Guitar – Serge Paul
- Guitar, Vocals – Michael Heslop
- Lead Vocals – Jean-Paul Goosens
- Producer – Jean Huysmans
This video didnt upload for monetization. If you think this video violates the law of copyright please contact with me through email instead of contact with YouTube.
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Barbra Streisand - On A Clear Day - He Isn't You
On a Clear Day You Can See Forever is a 1970 American musical comedy-drama fantasy film starring Barbra Streisand and directed by Vincente Minnelli. The screenplay by Alan Jay Lerner is adapted from his book for the 1965 stage production of the same name. The songs feature lyrics by Lerner and music by Burton Lane.
At the behest of her mainstream conservative fiancé Warren, scatterbrained five-pack-a-day chain smoker and clairvoyant Daisy Gamble attends a class taught by psychiatrist Marc Chabot for help in kicking her habit. She becomes unintentionally hypnotized and manages to convince Chabot to attempt to cure her nicotine addiction with hypnotherapy. While undergoing hypnosis, it is discovered she is the reincarnation of Lady Melinda Winifred Waine Tentrees, a seductive 19th century coquette who was born the illegitimate daughter of a kitchen maid. She acquired the paternity records of the children housed in the orphanage where her mother had to send her and used the information to blackmail their wealthy fathers. She eventually married nobleman Robert Tentrees during the period of the English Regency, then was tried for espionage and treason after he abandoned her.
As their sessions progress, complications arise when Chabot begins to fall in love with Daisy's exotic former self and Daisy begins to fall for him, and his university colleagues demand he either give up his reincarnation research or resign his position with the school. While waiting for Chabot in his office, Daisy accidentally hears a tape recording of one of her sessions and when she discovers Chabot's interest is limited to Melinda, she storms out of the office. When she returns for a final meeting with him, she mentions fourteen additional lives, including her forthcoming birth as Laura and subsequent marriage to the therapist in the year 2038.
Cast
Barbra Streisand as Daisy Gamble (Melinda, Lady Tentrees)
Yves Montand as Marc Chabot
Larry Blyden as Warren Pratt
Bob Newhart as Dr. Mason Hume
Simon Oakland as Dr. Conrad Fuller
John Richardson as Sir Robert Tentrees
Jack Nicholson as Tad Pringle
Mabel Albertson as Mrs. Hatch
Roy Kinnear as The Prince Regent, later King George IV
Irene Handl as Winnie Wainwhisle, Melinda's mother (a kitchen maid in the household of the Prince Regent)
Pamela Brown as Mrs Maria Fitzherbert
Musical numbers
"Hurry! It's Lovely Up Here" – Daisy
"On a Clear Day" – Orchestra and Chorus
"Love with All the Trimmings" – Daisy
"Wait Till We're 65" - Warren and Daisy (cut before the film's release)
"Melinda" – Marc
"Go to Sleep" – Daisy
"He Isn't You" – Daisy
"What Did I Have That I Don't Have?" – Daisy
"Who Is There Among Us Who Knows" – Tad with Daisy (cut before the film's release)
"Come Back to Me" – Marc
"On a Clear Day" – Marc
"On a Clear Day" (Reprise) – Daisy
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Laughing Song · The Residents
Duck Stab
℗ 2012 Copyright
Auto-generated by YouTube.
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A white supermajority of the Mississippi House voted after an intense, four-plus hour debate to create a separate court system and expanded police force within the city of Jackson — the Blackest city in America — that would be appointed completely by white state officials.
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1h 38m | TV-PG
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Two days before his wedding, Doug (JUSTIN BARTHA) and his three friends (BRADLEY COOPER, ED HELMS and ZACH GALIFIANAKIS) drive to Las Vegas for a blow-out bachelor party theyll never forget. But, in fact, when the three groomsmen wake up the next morning, they cant remember a thing.
For some reason, they find a tiger in the bathroom and a six-month-old baby in the closet of their suite at Caesars Palace. The one thing they cant find is Doug.
With no clue as to what transpired and little time to spare, the trio must retrace their hazy steps and all their bad decisions in order to figure out where things went wrong and hopefully get Doug back to L.A. in time to walk down the aisle.
The Hangover, a comedy directed by Todd Phillips (Old School, Starsky & Hutch), from a screenplay by Jon Lucas & Scott Moore. Todd Phillips and Dan Goldberg produce, with executive producers Chris Bender, J.C. Spink, Thomas Tull, Jon Jashni, William Fay and Scott Budnick.
The film stars starring Bradley Cooper (Hes Just Not That Into You, Yes Man), Ed Helms (TVs The Office, Semi-Pro), Zach Galifianakis (What Happens in Vegas, Into the Wild), Heather Graham (Bobby, Boogie Nights), Justin Bartha (the National Treasure films, Failure to Launch) and Jeffrey Tambor (Hellboy II, TVs Arrested Development).
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Twin Earth · Monster Magnet
Superjudge
℗ A&M Records Inc.
Released on: 1993-01-01
Mixing Engineer: Steve Rosenthal
Producer: Dave Wyndorf
Composer: Dave Wyndorf
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Great Plains was a band from Columbus, Ohio active during the 1980s. Its vocalist and songwriter, Ron House, later went on to found Thomas Jefferson Slave Apartments. This is their second album and i believe is an excellent indie/alternative album. I really love it, so here it is !
Band: Great Plains
Album: Naked At The Buy, Sell and Trade
Year: 1985
Country: US
01. Dick Clark 00:00
02. Last Chance To Be Free 03:00
03. Letter To a Fanzine 06:06
04. Chuck Berry's Orphan 09:34
05. Hall Of Shame 17:22
06. Hamburger Boy 19:11
07. Origin Of My Silly Grin 21:33
08. Fool That Set It Off 25:03
09. Animated Innocence 28:22
10. Time To Name The Dog 30:30
11. Fertile Crescent 33:25
12. Duet Between Buyer And Seller 37:34
13. Real Bad 39:12
Disclaimer: I do not own any media in this video, no copyright infringement is intended. If someone has anything against this upload, please mail me and I'll delete the clip.
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[Timestamped list of films below]
Bette Davis was a tireless, fiery force on the big screen. She was in total control of her delivery, capable of great subtlety, but always at her best when the volcano erupted, and she unleashed her fury on the world. In this collection of clips she demonstrates astounding range in the way she handles the intense emotions in similar themes throughout her career.
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 favor of fair use.
Movies in order of appearance:
Bordertown (1935)
In This Our Life (1942)
The Letter (1940)
The Star (1952)
All About Eve (1950)
Old Acquaintance (1943)
00:01:01
Marked Woman (1937)
What Ever Happened to Baby Jane? (1962)
Old Acquaintance (1943)
Bordertown (1935)
The Star (1952)
Hush…Hush Sweet Charlotte (1964)
00:02:04
The Little Foxes (1941)
The Letter (1940)
Deception (1946)
Hush…Hush Sweet Charlotte (1964)
Of Human Bondage (1934)
In This Our Life (1942)
Of Human Bondage (1934)
00:03:11
Bordertown (1935)
Of Human Bondage (1934)
What Ever Happened to Baby Jane? (1962)
Marked Woman (1937) (x4)
00:04:26
All About Eve (1950) (x2)
The Star (1952) (x2)
00:05:00
Hush…Hush Sweet Charlotte (1964)
What Ever Happened to Baby Jane? (1962)
Hush…Hush Sweet Charlotte (1964)
In This Our Life (1942)
Marked Woman (1937)
In This Our Life (1942)
00:06:00
Beyond the Forest (1949)
Bordertown (1935)
The Star (1952)
The Little Foxes (1941)
Marked Woman (1937)
In This Our Life (1942)
00:07:07
All About Eve (1950)
The Star (1952) (x2)
In This Our Life (1942)
Hush…Hush Sweet Charlotte (1964)
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Knowledge of the spreading mechanisms of contagions is important for understanding a range of epidemiological and social problems. A study now shows that so-called simple and complex contagions cannot be told apart if there is more than one simple contagion traversing the population at the same time.
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Several lines of evidence indicate that aberrations in immune-inflammatory pathways may contribute to the pathophysiology of schizophrenia spectrum disorders. Here, we propose a novel theoretical framework that was previously developed for major depression and bipolar disorder, namely, the compensatory immune-regulatory reflex system (CIRS), as applied to the neuro-immune pathophysiology of schizophrenia and its phenotypes, including first-episode psychosis (FEP), acute relapses, chronic and treatment-resistant schizophrenia (TRS), comorbid depression, and deficit schizophrenia. These schizophrenia phenotypes and manifestations are accompanied by increased production of positive acute-phase proteins, including haptoglobin and α2-macroglobulin, complement factors, and macrophagic M1 (IL-1β, IL-6, and TNF-α), T helper (Th)-1 (interferon-γ and IL-2R), Th-2 (IL-4, IL-5), Th-17 (IL-17), and T regulatory (Treg; IL-10 and transforming growth factor (TGF)-β1) cytokines, cytokine-induced activation of the tryptophan catabolite (TRYCAT) pathway, and chemokines, including CCL-11 (eotaxin), CCL-2, CCL-3, and CXCL-8. While the immune profiles in the different schizophrenia phenotypes indicate the activation of the immune-inflammatory response system (IRS), there are simultaneous signs of CIRS activation, including increased levels of the IL-1 receptor antagonist (sIL-1RA), sIL-2R and tumor necrosis factor-α receptors, Th-2 and Treg phenotypes with increased IL-4 and IL-10 production, and increased levels of TRYCATs and haptoglobin, α2-macroglobulin, and other acute-phase reactants, which have immune-regulatory and anti-inflammatory effects. Signs of activated IRS and CIRS pathways are also detected in TRS, chronic, and deficit schizophrenia, indicating that these conditions are accompanied by a new homeostatic setpoint between upregulated IRS and CIRS components. In FEP, increased baseline CIRS activity is a protective factor that may predict favorable clinical outcomes. Moreover, impairments in the CIRS are associated with deficit schizophrenia and greater impairments in semantic and episodic memory. It is concluded that CIRS plays a key role in the pathophysiology of schizophrenia by negatively regulating the primary IRS and contributing to recovery from the acute phase of illness. Therefore, components of the CIRS may offer promising therapeutic targets for schizophrenia.
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To De-Thrown The Witch Queen Of Mytos K'Unn · Bal-Sagoth
Starfire Burning Upon The Ice Veiled Throne Of Ultima Thule
℗ 2016 Cacophonous
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Space I'm In · The Candy Skins
Space I'm In
℗ 1991 Geffen Records
Released on: 1991-05-01
Producer: Pat Collier
Engineer, Studio Personnel: Jess Corcoran
Engineer, Studio Personnel: Steve Nunn
Vocals, Associated Performer, Acoustic Guitar, Composer Lyricist: Nick Cope
Composer Lyricist, Associated Performer, Vocals: Nick Burton
Vocals, Associated Performer, Composer Lyricist: Mark Cope
Drums, Associated Performer, Unknown, Other: John Halliday
Bass Guitar, Associated Performer: Bob Prowse
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G.F. Handel: Ad te clamamus – Eia, ergo, advocata nostra
(Salve Regina, HWV 241)
Julia Lezhneva, soprano
Helsinki Baroque Orchestra
dir. Aapo Häkkinen
23 January 2015
Herkulessaal der Residenz München
LIVE PERFORMANCE not subject to copyright
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The Signature Sound Of Lakeside!! 1980.. :p
NO COPYRIGHT INFRINGEMENT INTENDED
- - - - - - - - - - COPYRIGHT - - - - - - - - - -
I own nothing used in this video and do not claim it as my own
This video is purely for entertainment purposes and should be used for private entertainment only
- - - - - - - - - - COPYRIGHT - - - - - - - - - -
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 Fair use.
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From the makers of the 2012 Game of the Year: The Walking Dead, comes a thriller based on the award-winning Fables comic books. As Bigby Wolf you will discover that a brutal, bloody murder is just a taste of things to come in a game series where your every decision can have enormous consequences.
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This hard-hitting commercial from 1970 tugs on the heartstrings while encouraging parents to prevent their children from having bathroom glass accidents by replacing their breakable rinse glass with safer, germ-free Dixie Cups. "Today, more and more families are putting self-adhesive Dixie Cup dispensers in their bathrooms, and that's no accident."
Copyright Georgia-Pacific Consumer Products LP, all rights reserved.
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Shepard was a gay college student whose murder in Wyoming in 1998 captured national attention. His parents donated some of their son’s belongings to the Smithsonian in hopes to remind the world of his legacy.
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Personnel:Ray Copeland, Leon Merian (tp), Jimmy Cleveland, Jimmie Dahl (tb), George Dorsey (fl,as), Sahib Shihab (as,bs), Aaron Sachs (ts,cl), Pritchard Cheeseman (bs), Hank Jones, Nat Pierce (p), Clyde Lombardi (b), Specs Powell (ds)
Album:" Specs Powell / Movin' In "
Recorded:February, 1957
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At least 13 sightings of so-called "big cats" have been reported across Devon and Cornwall in the past five years, according to official police logs released under a Freedom of Information request.
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Jacques Urlus (1867-1935) was one of the greatest dramatic tenors of his generation. Although born to Dutch parents, Urlus’ birthplace was actually in Germany. His parents moved back to Holland when Urlus was a baby and he was raised in Tilburg and Utrecht. As a youth, he worked in a steel mill but also sang in his local church choir. It was during his military service in the mid-1880s that the captain of his regiment noticed the young man’s singing voice. Although the officer was impressed with Urlus’ voice and even offered to pay for his singing lessons, nothing came of this opportunity. However, Urlus was encouraged by his captain’s reaction and decided to pursue singing as a hobby. After a number of local concerts and recitals, the young singer was heard by an artist from the Dutch National Opera, who recommended Urlus for an audition. Impressed by what they heard, the administration offered the young tenor a contract.
Urlus made his debut on September 20, 1894 as Beppe in Leoncavallo’s Pagliacci. He remained in Amsterdam as part of Dutch National Opera’s repertory company for the next six seasons, gradually working his way up to leading roles. During his tenure with the company, Urlus performed throughout Holland, building an impressive and varied repertoire. His first appearances outside the Netherlands occurred in 1898 when he was invited to sing Tannhäuser and Lohengrin in Hannover. This led to an audition with Cosima Wagner at the Bayreuth Festival, for which Urlus prepared fastidiously. He took the time to relearn all of his existing Wagnerian repertoire in German (he had initially learned most of it in Dutch) and spent the entire summer working with Bayreuth’s coaches. Instead of receiving an offer for the upcoming season, Urlus was given the opportunity for further coaching. Feeling slighted, the tenor left Bayreuth and didn’t return for another 13 years.
In the meantime, Urlus accepted an offer as principal tenor in Leipzig, a position he held until 1914. He also made regular appearances in Munich, Berlin, Dresden, Frankfurt, Stuttgart, Vienna, Antwerp, Prague and London. During the 1911-12 season, Urlus was finally given the opportunity to appear at Bayrueth as Siegmund in Die Walküre. The Metropolitan Opera in New York also offered the tenor a contract and he made his debut there as Tristan on February 8, 1913. It was not, however, a performance for the ages. Urlus, suffering from a bad cold, lost his voice during the first act, but was compelled to continue the opera, as there was no substitute to spell him. Reviews were mixed but understanding of the singer’s plight. Urlus acquitted himself admirably in subsequent performances and was secured as THE Heldentenor of the Met’s Wagner wing. He remained with the company for five seasons, singing over 120 performances of Tristan und Isolde, Parsifal, Lohengrin, Die Walküre, Götterdämmerung, Tannhäuser, Die Meistersinger, Siegfried, Fidelio and Die Zauberflöte. Unfortunately, when the U.S. entered WWI, the company suspended its Wagner productions and Urlus found himself out of a job.
Returning to Europe, Urlus found himself more in demand than ever. Throughout the 1920s, the busy tenor appeared in Copenhagen, Stockholm, Rotterdam, Brussels and Paris. He also returned to London and New York and made his first appearance at the Liceo in Barcelona as Tristan in 1930. Following a Tristan in Amsterdam in November of 1931, Urlus bid farewell to the operatic stage. Despite his advancing age, the tenor was still in remarkable voice and continued to perform in concert throughout Holland. His final public appearance took place in Amsterdam in the spring of 1934, when he sang Mahler’s “Lied von der Erde”. His health now in decline, the 67-year-old tenor retired to his home in Noordwijk, where he passed away on July 6, 1935.
Jacques Urlus was an amazingly versatile tenor with a repertoire that encompassed over 40 roles. Although largely self-taught, Urlus had no difficulty navigating the most treacherous roles in the repertoire and kept his voice completely intact during a 40-year career. His recorded legacy, consisting of around 150 sides made for G&T, Pathé, Edison, The Gramophone Company and Odeon between 1903 and 1927, reveal a tone that was not, perhaps, what we think of as the typical Heldentenor instrument. The voice was dark and baritonal in the lower and middle registers, but with an easy top. All in all, Urlus was a most lyrical and expressive singer and his recordings provide a pleasant contrast to the shouting and declamation of many Wagnerian tenors. In this recording, Urlus sings "Winterstürme wichen dem Wonnemond" from Act I of Wagner's Die Walküre. This was recorded in New York for the Edison label on March 1, 1915.
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00:02 Héroe del Whisky.
03:59 Rock para los Dientes.
07:48 La Parabellum del Buen Psicopata.
13:41 Un Pacman en el Savoy.
17:22 Nadie es perfecto
19:51 Esa Estrella era mi Lujo
22:50 Maldición, Va a Ser un Dia Hermoso
25:03 Blue's del Noticiero
28:50 Ropa Sucia
33:26 Nuestro Amo Juega al Esclavo
BONUS TRACK
37:11 Rodando
41:50 Que Mal Celo!
44:42 Nene-Nena
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Happy Valentine's Day 2024, everyone, and welcome to my 3rd dramatic film short, Nightmare in Black & White, a trek into both the subconscious, and unconscious mind where the endless avenues often contain the darkest shadows waiting to be released.
In this film short, I once again visit my love of modelling, acting, and telling a dramatic story as I portray myself lost in a nightmare that I cannot wake from. I'm sure many of you have experienced these horrid "dreams" where reality has no bounds, no reason, and you are left to ponder whether it actually happened, as you awaken in a pool of cold sweat, fighting for your breath, and questioning your sanity -- even reality itself.
Many of these well-photographed stills were both creatively and exceptionally shot by my wonderfully talented, dear, late friend, and photographer, Salvatore (Sammy) Restivo, whose talents knew no bounds within the Arts. He knew me exceptionally well, knew my ability, and never settled for "that's okay", "not bad", or "we can do better". It was stellar perfection, and nothing less. He would be having a blast both directing and shooting these dramatic film shorts, and it warms me to know that he no doubt loves every part of it. I miss him greatly, not only his exceptional talent behind the lens, his imaginative sets, as well as his direction, but his solid, stellar friendship.
* Please refer to this dialogue chart below explaining the images as they tell the story.
Image 1: The phone rings, engaging Rusty the model for a photo shoot that sounds questionable, as she asks as to why she must come alone.
#2 The shoot has begun, with the photog directing, "Show me more innocence."
#3 "Keep it sweet for the camera, darling, trust me," he encourages while winking his eye suggestively.
#4 Wondering at his wording, Rusty questions, "What do you mean, you'd like me to trust you?"
#5 Suddenly, a loud, ominous noise sounds above the studio ceiling. "What's that odd noise, " Rusty asks, totally startled.
#6 "Now, show me your eyes, sweetheart," the photog encourages, watching intently for signs of a coming collapse following a few glasses of wine.
#7 Not believing what he's looking at, he exclaims, "Wow, Rusty, your pupils have totally dilated! Best take it easy!"
#8 In a soothing tone, he continues, "I believe you're losing it, so let me help you change your outfit before you lie down."
#9 With pride in his voice, he says, "There now, you're perfectly positioned for the revealing lens."
#10 The sequence suddenly takes an odd, eerie turn with an ear-piercing howl, as the photog bellows, "Scream as loud as you want, babe! No one will hear you, and in a moment you won't feel a damn thing!"
#11 Rusty begins to feel a cold existence within a stark, white room. Not a sound is heard, until a deep voice announces, "The autopsy is complete, and I've repaired her as good as I can. In a moment she will be readied for her final performance. Has the crew arrived?"
#12 The air has warmed, yet Rusty cannot move. A voice is heard somewhere above her, stating, "You have been beautifully arranged upon a pedestal, perfectly styled for your public viewing soon to begin. One would never know what happened to you. Great job, peeps!"
#13 Rusty struggles to free herself from the immense web that is holding her prisoner. She fights to awaken, begging this horrid nightmare to release her, as she silently screams, "This can't be happening! I can't be dead!!" Trembling, she silently cries, "It didn't happen ... It couldn't have ... Oooh, it had to have been a nightmare, just had to be..." Suddenly, the alarm clock resting on the nightable sounds, signalling a new day.
***
I will return soon with a new video; in the meantime, please Like, Share, Comment, and Subscribe to my YouTube Channel.
I look forward to your comments, and I thank you for watching.
Rusty.
Copyright © 2024 Rusty Blackwood
All Rights Reserved by Author
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Scheda film John Wick - Capitolo 2 (2017): leggi recensione, trama, cast, guarda il trailer e scopri il rating del film diretto da Chad Stahelski.
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This new NASA/ESA Hubble Space Telescope image shows the center of the Lagoon Nebula, an object with a deceptively tranquil name, in the constellation of Sagittarius. The region is filled with intense winds from hot stars, churning funnels of gas, and energetic star formation, all embedded within an intricate haze of gas and pitch-dark dust.
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Two brothers acquitted of involuntary manslaughter charges but found guilty of assault connected to the death of 17-year-old Ethan Liming last year faced sentencing on Thursday.
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The original Kingston Trio of Dave Guard, Bob Shane, and Nick Reynolds perform a rousing spiritual from their ninth album, 1961's "Goin' Places" - the last one to feature Guard, who was to leave the group in the middle of that year, replaced by John Stewart.
The origins of "You Don't Knock" are unclear. It was brought to widespread attention by a mid-1950s recording by The Staple Singers, credited to Roebucks "Pop" Staples, though earlier versions are attributed as traditional and/or to Ceder Walton and Wesley Westbrooks. This arrangement is credited as "Arranged By Dave Guard." In all likelihood, the song is traditional, and the multiple copyrights reflect different versions that were copyrighted for publishing royalties, a common practice with public domain songs at the time.
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La Pequeña Mamba · Indio Solari · Los Fundamentalistas del Aire Acondicionado
El Ruiseñor, el Amor y la Muerte
℗ 2023 Luzbola
Released on: 2018-07-27
Music Publisher: Copyright Control
Composer: Carlos Alberto Solari
Auto-generated by YouTube.
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Pabellón Séptimo (Relato de Horacio) · Indio Solari · Los Fundamentalistas del Aire Acondicionado
El Tesoro de los Inocentes (Bingo Fuel)
℗ 2023 Luzbola
Released on: 2004-06-12
Music Publisher: Copyright Control
Composer: Carlos Alberto Solari
Auto-generated by YouTube.