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Photo credit: Singleline / Shutterstock.com _____ During Donald Trump’s racially charged 2016 presidential campaign, many people started wondering to what...Read More

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Greetings fellow sonic explorers. Today I have something special. A viewer who only identified themself as "Ben" contacted me asking if I take requests. They sent me a copy of LUIE LUIE - Creator of "Touchy". Join me as we unravel the myth, magic, and music of LUIE LUIE, the enigmatic artist behind the album "Touchy." Despite extensive research, real details about its creation or its creator remain elusive. LUIE LUIE's biography reads like a Chuck Norris-style saga filled with incredible feats and accomplishments. Self-taught and undisturbed by other musicians, LUIE LUIE showcases his talent through creative numbers, effortlessly switching styles with a distinguished manner. His performances blend song and dance with a jolly trumpet, captivating audiences and winning hearts. LUIE LUIE is a mesmerizing performer, able to connect with his audience and leave a lasting impact. His drum solos and trumpet performances command respect and admiration, drawing from a myriad of cultural influences. His music transcends time, creating enormous fabrics of sound for the giant screen. Beyond his music, LUIE LUIE is portrayed as a champion of peace and love, guiding listeners to a more memorable life. His achievements span various realms, including martial arts and musical endeavors, yet many claims remain unverified. In 1974, LUIE LUIE released "Touchy," an eclectic mix of Latin, Funk, Soul, Psychedelic, Lounge, and Spoken Word genres. Despite its limited commercial success, the album remains a testament to his creative genius. Songs like "El Touchy," "Tastee Touchy," and "Touch of the Pharaohs" showcase his innovative style and enduring appeal. Adding to the enigma is Penstar Productions, the record label behind "Touchy." Despite thorough searches, no information about Penstar Productions could be found, deepening the mystery surrounding LUIE LUIE and his works. LUIE LUIE's story blends the boundaries between reality and fantasy, continuing to inspire and intrigue. Whether or not all his accomplishments are verifiable, his narrative remains captivating. Join me, Finnley the Dolphin, as we celebrate the joy, creativity, and love that LUIE LUIE passionately shared with the world. Thank you for joining me on this unforgettable adventure. Don't forget to subscribe to Finnley's Audio Adventures and hit the notification bell to stay updated with our latest explorations. Until next time, keep your ears open and your hearts full of music! Read more about this album at https://finnleysaudioadventures.com

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Provided to YouTube by P.I.R. Theme from the Planets · Dexter Wansel Life on Mars ℗ 1976 Sony Music Entertainment Released on: 1976-07-01 Drums, Percussion: Darryl Brown Bass: Derrick Graves Guitar: Calvin Harris Flute, Saxophone: Bob Malach Fluegelhorn, Trumpet: Al Harrison Percussion: Joe Johnson Percussion: Charles Collins Horn, Strings: MFSB Engineer: Jim Gallagher Engineer: Jay Mark Assistant Engineer: Peter Humphreys Assistant Engineer: Jeffrey Stewart Assistant Engineer: Mike Hutchinson Auto-generated by YouTube.

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St Petersburg State Symphony Orchestra & Glinka Choral College Boys’ Choir conducted by Vladimir Lande I - Adagio sostenuto: 0:00 II - Allegretto: 14:48 III - Allegro molto: 22:20 IV - Largo: 29:49 V - Andantino: 37:32 Weinberg's Sixth Symphony was completed in 1963 and was premiered on November 12 of the same year, performed by the Moscow Philharmonic Orchestra and the Moscow Choral School children's choir conducted by Kiril Kondrachin. It is the first of a set of six symphonies that use voices. It is dedicated to his daughter Victoria, using a children's choir in the second, fourth and fifth movements. It is a very expressive and intimate work dedicated to children. Weinberg was no doubt influenced in his approach to the "Jewish Question" by Shostakovich's Thirteenth Symphony ("Babi Yar"), given its controversial première at the end of 1962. The second movement is a setting of Lev Kvitko, while the fourth and fifth movements set texts by Samuil Galkin and Mikhail Lukonin respectively. Traditional formal archetypes, both in individual movements and over the symphony as a whole, are treated with notable freedom, yet the sense of music that charts a course from innocence to experience can be perceived at both a symphonic and an emotional level: which aspect no doubt impressed Shostakovich, who used the work as teaching material in his own classes. The first movement is an introduction. It begins with a pensive melody presented by the horns, answered by a hesitant theme of the strings supported by pizzicatos. The theme intensifies, finally passing to the cellos which continue it in a somber way. Wood and metal enter, elevating the music to its climax. The theme continues on the strings accompanied by timpani hits. A flute solo performing whimsical arabesques interrupts the action. Then the motif goes to the horn and then to the clarinet. The recapitulation is started by the low strings, leading to a polyphony, ending with an unresolved dissonance of the flute and strings. The second movement sets a Kvitko poem which epitomizes care-free youth: a boy making a violin from scraps upon which he plays to an audience of animals and birds. It opens with a whimsical idea shared between the woodwind and strings, which serves as a basis for the nonchalant theme that the choir now takes up against a sparse, yet telling instrumental backdrop. Woodwind and percussion add a vital rhythmic injection that gradually plays itself out, leaving solo oboe then violin to muse uncertainly over timpani before the choir resumes with more fragmentary phrases. Solo violin fleetingly reappears prior to a reveille on trumpet and percussion, with an unexpectedly forceful conclusion. The third movement begins with a rhythmically trenchant theme on brass and percussion, strings joining them in a hectic dance that soon draws in the whole orchestra for almost the first time in the work. This continues as a series of energetic exchanges, timpani at length initiating a quirkily sardonic theme for upper woodwind and strings, with just the occasional interjection on xylophone, before the earlier theme is intently resumed by woodwind and strings, the music once again involving the full forces on its way to an aggressive close. The fourth movement (a subtle reworking of the fifth number from Weinberg’s Jewish Songs of 1944) sets a Galkin poem to evoke an image of graphic reflection, where the home once stood is now a graveyard for the murdered children, and will one day serve as a memorial to future generations. It starts with violent fanfares on brass and percussion, subsiding to reveal the choir in a plaintive mood which soon becomes more anguished as the expression intensifies. From here the movement dies down for an evocative passage featuring celesta and woodwind, building to a baleful climax on brass and timpani that collapses into a more consolatory passage with the main theme now on woodwind as the music leads directly into the next movement. The fifth movement sets a Lukonin poem as a lullaby in which the children of the present and the future, from the Mississippi to the Mekong, are bid sleep in the confidence of a bright and productive tomorrow. It opens with a ruminative idea high in violins and offset by pert woodwind gestures. From here the choir enters with a theme whose wistful manner is enhanced by the woodwind and given further gravitas with its spare accompaniment on lower strings. Elements that were heard earlier tentatively reappear as the choir falls silent and the music loses any remaining impetus, with solo violin rhapsodizing over lower strings and timpani as a virtual stasis is reached. Horn and strings return to their melody from the very beginning, the work ending with a soft dissonance on woodwind and strings that now provides a sense of closure. Picture: "The Vision to the Youth Bartholomew" (1889-90) by the Russian-Soviet painter Mikhail Nesterov. Sources: https://bit.ly/2SqWbpm

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The Subcommittee on Oversight and Investigations of the Committee on Energy and Commerce will hold a hearing on Wednesday, October 23, 2019, at 10 a.m. in the John D. Dingell Room, 2123 of the Rayburn House Office Building. https://energycommerce.house.gov/committee-activity/hearings/hearing-on-sabotage-the-trump-administrations-attack-on-health-care

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.@realDonaldTrump Your Iran strategy has been ill-advised and short-sighted. Change course now. Return to the Iran nuclear agreement before it’s too late. Put aside your pride and political calculations for the good of our country. Do the right thing. https://t.co/WBog6kPLE6 https://t.co/030ei0tR7u

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Biden is on the same fascist path as Trump … he is just nicer about it!Before you get too committed to Biden, read these articles and follow *all* the links: and the best video compilation of…

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CHARLESTON – Gov. Patrick Morrisey and other West Virginia leaders praised President Donald Trump Thursday for approximately $700 million in federal investment in coal-fired power generation, including in West Virginia. Trump held a ceremony at the White House Thursday afternoon, attended by Morrisey and 2nd District Congressman Riley Moore, to announce he was using the […]

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Provided to YouTube by Columbia/Legacy Blue 'N Boogie (Live at Birdland, NYC - March 31, 1951) · Charlie Parker & His All-Stars Summit Meeting at Birdland ℗ 1977 Columbia Records, a division of Sony Music Entertainment Released on: 1977-11-01 Associated Performer: Charlie Parker & His All-Stars Alto Saxophone: Charlie Parker Bass: Tommy Potter Drums: Roy Haynes Piano: Bud Powell Trumpet: Dizzy Gillespie Composer: John Gillespie Composer: Frank Paparelli Auto-generated by YouTube.

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Provided to YouTube by Columbia Baby Let Me Kiss You · Mike Bloomfield · John Paul Hammond · Dr. John Triumvirate ℗ 1973 Sony Music Entertainment Inc. Released on: 1989-10-24 Background Vocal, Guitar, Producer: Thomas Jefferson Kaye Composer, Lyricist: K. Floyd Guitar, Harmonica, Vocal: John Hammond Engineer: Pete Weiss Background Vocal: Robbie Montgomery Engineer: Roger Nichols Background Vocal: Jessie Smith Engineer: Tony Reale Background Vocal: Lorraine Rebennack Percussion: John Bourdreaux Percussion: Bennie Parks Drums: Fred Staehle Bass: Chris Ethridge Alto Saxophone, Tenor Saxophone: Jerome Jumonville Baritone Saxophone: James Gordon Trumpet: Richard Mitchell Trombone: George Bohanon Auto-generated by YouTube.

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Provided to YouTube by Columbia/Legacy Bitches Brew (Live at Fillmore East, New York, NY - June 17, 1970) · Miles Davis Miles at The Fillmore: Miles Davis 1970: The Bootleg Series, Vol. 3 ℗ Originally recorded 1970 & released 2014. All rights reserved by Columbia Records, a division of Sony Music Entertainment Released on: 2014-03-21 Tenor Saxophone, Soprano Saxophone: Steve Grossman Composer, Associated Performer, Trumpet: Miles Davis Keyboards: Chick Corea Tambourine, Organ: Keith Jarrett Bass: Dave Holland Drums: Jack DeJohnette Percussion, Flute, Vocal: Airto Moreira Producer: Teo Macero Recording Engineer: Stan Tonkel Mixing Engineer: Dave Darlington Auto-generated by YouTube.

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One of the foremost broadcast journalists in the country said this week that President Donald Trump admitted to her that his relentless attacks on the press was a strategy to discredit reporters and …

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The Dwight Dickerson Quintet playing live at The American University of Sharjah, on October 19th, 2011. Piano: Dwight Dickerson Drums: Mike Pigneguy Double Bass: Nabil Amarshi Saxophone: Jino Kim Trumpet: Chris Cooll http://www.dwightdickerson.com Video by Kamal Musallam

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On Monday, Iowa Attorney General Brenna Bird announced her endorsement of President Donald J. Trump.  Attorney General Bird released the following the statement: “I am proud to announce my endorsement of President Trump because Iowans know he is the only candidate who can defeat Joe Biden and bring prosperity back to America. We have seen […]

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'LAST NERVE' Out Now ON ALL MUSIC PLATFORMS - https://gyro.lnk.to/LastNerve FOLLOW ASPY JONES YOUTUBE - https://www.youtube.com/channel/UCfEz... FACEBOOK - https://www.facebook.com/aspyjones/ INSTAGRAM - https://www.instagram.com/aspyjones/ TWITTER - https://twitter.com/AspyJones WEBSITE - https://www.aspyjones.com/ CREDITS RECORDING - James North Productions MIXING - Benny D Williams MASTERING - Paul Blakey VOCALS AND ACOUSTIC GUITAR - Aspy Jones TRUMPET - Andy Martin BACKING VOCALS - Jaimie Roberts EVERYTHING ELSE - James North VIDEO - Sir Media VOCALS AND GUITAR - Aspy Jones DRUMS - Caleb Wilson BASS - Saul Roberts LYRICS Last Nerve by Aspy Jones Got shot in the foot, from my own damn gun But I wasn’t the one who was pulling the trigger If you see these eyes, they’ve witnessed a million tries And from the falls of grace from all who have judged them But I lost my nerve when I lost my mind Retracing my steps gets me every time To that same black place when you left me out in the cold What a weight to hold, what a weight to hold I’ve always rolled disadvantage, a fraction thought I could manage When it was all laid out, I was everything but stable Wait too long and it’ll go, were the words from the back of my throat But I had no problem with the speed I was at But I lost my nerve when I lost my mind Retracing my steps gets me every time That same black place when you left me out in the cold It’s nothing to brag when you walk out with nothing but a scratch Just means that you took way more than you gave If you wanna be equals there’s some baggage you can have Just know you’ll be sifting right through it for days I lost my nerve when I lost my mind Retracing my steps gets me every time I lost my nerve when I lost my mind Retracing my steps gets me every time That same black place when you left me out in the cold What a weight to hold, what a weight to hold

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Trump Accounts give newborns born 2025–2028 a $1,000 government seed plus tax-deferred growth. Learn how they compare to 529 plans and what families should do.

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"Do they not realize there's video of this stuff?"

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Provided to YouTube by i am OTHER/Columbia Launch · Hans Zimmer · Pharrell Williams · Benjamin Wallfisch Hidden Figures - Original Score ℗ 2016 Columbia Records, a division of Sony Music Entertainment Released on: 2017-01-06 Associated Performer: Hans Zimmer, Pharrell Williams & Benjamin Wallfisch Piano: Herbie Hancock Composer: Pharell Williams Vocal: Kim Burrell Vocal: Clydene Jackson Trumpet: Johnny Britt Conductor, Orchestra: Timothy Williams Violin: Tereza Stanislav Violin: Julie Ann Gigante Violin: Crystal Alforque Violin: Lauren Baba Violin: Dale Briedenthal Violin: Roberto Cani Violin: Mark K. Cargill Violin: Susan Chatman Violin: Ron Clark Violin: Jessica Guideri Violin: Tamara Hatwan Violin: Amy Hershberger Violin: Luanne Homzy Violin: Sharon Jackson Violin: Maia Jasper-White Violin: Kevin Kumar Violin: Ana Landauer Violin: Songa Lee Violin: Phillip Levy Violin: Lisa Liu Violin: Shigeru Logan Violin: Maya Magub Violin: Serena McKinney Violin: Bianca McClure Violin: Lucia Micarelli Violin: Helen Nightengale Violin: Grace Oh Violin: Alyssa Park Violin: Sara Parkins Violin: Neil Samples Violin: Nadira Scruggs Violin: Sarah Thornblade Violin: Josefina Vergara Violin: Shalini Vijayan Violin: Irina Voloshina Violin: Melissa White Violin: Chris Woods Viola: Robert A. Brophy Viola: Meredith Crawford Viola: John Zach Dellinger Viola: Brian Dembow Viola: Andrew Duckles Viola: Alma Fernandez Viola: Matthew Funes Viola: Shawn Mann Viola: Laura Pearson Viola: Sharon Ray Viola: Lynne Richburg Viola: Robin Ross Viola: Nikki Shorts Viola: Dale Hikawa Silverman Viola: David Walther Cello: Steve Erdody Cello: Xiaodan Helen Altenbach Cello: Jacob Braun Cello: Giovanna Clayton Cello: Michelle Elliott Cello: Vanessa Freebairn-Smith Cello: Paula Hochhalter Cello: Armen Ksajikian Cello: Cecilia Tsan Cello: Adrienne Woods Contrabass: Nico Carmine Abondolo Contrabass: Drew Dembowski Contrabass: Stephen Dress Contrabass: Oscar Hidalgo Contrabass: Edward Meares Contrabass: Michael Valerio Contrabass: Karl Vincent-Wickliff Saxophone: Daniel Higgins Saxophone: Bob Sheppard Horn: Andrew Bain Horn: Steven Becknell Horn: Dylan Hart Trumpet: Wayne Bergeron Trumpet: Thomas Hooten Trumpet: Daniel Fornero Trumpet: Barry Perkins Trombone: Alexander Iles Trombone: Andrew Martin Trombone: John Lofton Vocal, Producer: Edie Lehmann Boddicker Vocal: Denise Carite Vocal: Charlean Carmon Vocal: Carmen Carter Vocal: Alfie Silas Durio Vocal: Carmel Echols Vocal: Linda Fisher Vocal: Shelea Frazier Vocal: Jim Gilstrap Vocal: Bobette Harrison Vocal: Dorian Holley Vocal: Nayanna Holley Vocal: Briana Lee Vocal: Stevie Mackey Vocal: James McCrary Vocal: Josef Powell Vocal: Louis Price Vocal: Carmen Twillie Vocal: Oren Waters Vocal: Brandon Winbush Vocal: Faith Anderson Vocal: Sobya Ball Vocal: Eric Birdine Vocal: Myron Butler Vocal: Deonis Cook Vocal: Niya Cotton Vocal: Debette Draper Vocal: KieAndria Ellis Vocal: Eternia Garrett Vocal: Elgin A. Johnson Vocal: Nathan Myers Vocal: Angel Robinson Vocal: Tameka Sanford Vocal: Taylor Walton Vocal: Tyler Walton Vocal: Caltomeesh West Vocal: Darian Yancey Additional Studio Producer: Richard Ford Additional Studio Producer: Catherine Wilson Additional Studio Producer: Steven Kofsky Recording Engineer: Alan Meyerson Mixing Engineer: John Witt Chapman Mixing Engineer: Mick Guzauski Recording Engineer: Mike Larson Recording Engineer: Seth Waldmann Recording Engineer: Alfredo Pasquel Additional Studio Producer: David Krystal Additional Studio Producer: Edward Trybek Additional Studio Producer: Henri Wilkinson Additional Studio Producer: Kory Mcmaster Additional Studio Producer: Sean Barrett Additional Studio Producer: Booker White Additional Studio Producer: Peter Rotter Additional Studio Producer: Kirk Franklin Engineer: Chuck Choi Engineer: Stephanie McNally Additional Studio Producer: Max Sandler Additional Studio Producer: Shalini Singh Producer: Cynthia Park Recording Engineer: Kevin Globerman Additional Studio Producer: Denis St. Amand Producer: Tom Steel Producer: Christine Sirois Mastering Engineer: Pat Sullivan Auto-generated by YouTube.

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Trump tweeted that Mueller’s appointment is “totally UNCONSTITUTIONAL!” and asserted that he has the “absolute right to PARDON [himself]”; Trump’s lawyers claimed that Trump cannot be compelled to tes

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The effects of the Trump era ripple into our present day in ideology and policy, though a new proposal from the Biden administration would work to mend LGBTQ healthcare restrictions from the previous administration. The proposed rule from the Department of Health and Human Services (HHS) would reverse Trump-era limits on healthcare protections against LGBTQ

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Exciting performance from the incredibly talented "Piano Guys" at the Trump Inauguration Concert!

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The people of Maine have long prided themselves on electing independent, principled leaders to represent their interests in Washington, D.C.

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Wisconsin charged three people involved in the “fake elector” scheme to overturn the results of the 2020 election to keep now-convicted felon Trump in office; Speaker Mike Johnson floated a “three-pro

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The Trump administration is denying reports of incoming oil price spikes, even as the White House has been warned by multiple executives in the region. Pol

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Remember when American presidents didn’t want to coddle, cuddle and spoon dictators? Donate to MeidasTouch: https://secure.actblue.com/donate/meidastouch Buy MeidasTouch Merch: https://store.meidastouch.com Follow MeidasTouch on Twitter: https://twitter.com/meidastouch Follow MeidasTouch on Facebook: https://facebook.com/meidastouch Follow MeidasTouch on Instagram: https://instagram.com/meidastouch #MeidasTouch #VoteBlue