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Via: https://www.lewrockwell.com
After listening to President Trump ignominious, incoherent, and depraved address about the Iran War, I racked my brain to think of other leaders in history who combined mendacity, stupidity, and arrogance in such equal measures. I couldn’t think of any other foreign policy utterance in history that matched the lowness of Trump’s. However, as an […]
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Provided to YouTube by Columbia Too Many Women · Julio Iglesias Non Stop ℗ 1988 Sony Music Entertainment (Holland) B.V. Released on: 1988-04-23 Arranger, Composer, Mixing Engineer, Producer: Ramón Arcusa Background Vocal: Janey Clewer Composer: M. Panzer Background Vocal: Julia Waters Arranger: R. Ferro Background Vocal: Maxine Waters Arranger: T. Devine Background Vocal: Susan Boyd Keyboards, Arranger: Rafael Ferro Guitar: Tony DeCorral Guitar: Bruce Gaitsch Keyboards, Arranger: Tim Devine Guitar: Michael Landau Percussion: James Theobald Percussion: Michael Fisher Drums: John Robinson Drums: David Accorso Keyboards: Benjamin Torrijos Bass: Vicente Tarazona Trumpet: Gary Grant Trumpet: Chuck Findley Trumpet: Charlie David A& R Coordinator: DIANTE Assistant Engineer, Mixing Engineer, Recording Engineer: Laura Livingston Assistant Engineer, Recording Engineer: Ray Pyle Assistant Engineer: Karen Siegal Assistant Engineer: Steve Holroyd Assistant Engineer: Steven Shelton Assistant Engineer, Recording Engineer: Carlos Nieto Assistant Engineer, Recording Engineer: Benji Armbraster Assistant Engineer: Karl Lever Assistant Engineer: Matt Howe Assistant Engineer: Clark Germain Assistant Engineer: Robert Loftus Assistant Engineer: Mike Ross Assistant Engineer: Joe Schiff Assistant Engineer: Rhett Lawrence Assistant Engineer, Recording Engineer: Claudio Ordenes Mixing Engineer: Tom Fouce Mixing Engineer: Karen Siegel Mastering Engineer: George Marino Recording Engineer: Angus Davidson Recording Engineer: Carlos Álvarez Recording Engineer: Tom Fouce Recording Engineer: Terry Christian Recording Engineer: Jeffrey Woodruff Recording Engineer: Erick Shilling Auto-generated by YouTube.
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Melania's trailer received a 11 minute standing ovation from the audience at the White house East room Be sure to go this Friday January 30, 2026 in theaters and see the new documentary about Melania Trump's life
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The Fix’s Aaron Blake analyzes what President Trump has allegedly said about fallen troops and how those statements echo previous comments by the president. Read more: https://wapo.st/2GpIdBa. Subscribe to The Washington Post on YouTube: https://wapo.st/2QOdcqK Follow us: Twitter: https://twitter.com/washingtonpost Instagram: https://www.instagram.com/washingtonpost/ Facebook: https://www.facebook.com/washingtonpost/
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1 Paranoia Key Of E (4:28) 0:00 2 Mystic Child (5:02) 4:28 3 Mad (4:29) 9:30 4 Ecstasy (4:25) 13:59 5 Modern Dance (4:10) 18:24 6 Tatters (5:56) 22:34 7 Future Farmers Of America (3:02) 28:30 8 Turning Time Around (4:22) 31:32 9 White Prism (4:00) 35:54 10 Rock Minuet (6:57) 39:54 11 Baton Rouge (4:55) 46:51 12 Like A Possum (18:03) 51:46 13 Rouge (1:01) 1:09:49 14 Big Sky (6:31) 1:10:50 I do not own the rights of this album. Lou Reed - vocals, guitar, percussion on "White Prism" Mike Rathke - guitar Fernando Saunders - bass, background vocals Tony "Thunder" Smith - drums, percussion, background vocals Don Alias - percussion on "Ecstasy" Laurie Anderson - electric violin on "White Prism", "Rouge", and "Rock Minuet" Steven Bernstein - trumpet, horn arrangements Doug Wieselman - baritone & tenor saxophone Paul Shapiro - tenor saxophone Jane Scarpantoni - cello All songs written by Lou Reed.
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La IAGS evalúa abusos contra la población gazatí y las amenazas de ministros del gabinete de Netanyahu. Crece el rechazo a la ofensiva israelí, incluso de partea de Donald Trump. Bélgica también reconocerá al Estado de Palestina.
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A very successful collab here between Vintage Culture and Rooftime, delivering this melodic piece of deep house 'I Will Find'. Sign up to the Spinnin' Records Community: https://drop.cobrand.com/d/SpinninRecords/Official Vintage Culture, Rooftime - I Will Find is OUT NOW! Like this track? Download on Beatport or add it to your favourite Spotify/Apple Music playlist by clicking HERE: https://spinninrecords.release.link/i-will-find!YT Make sure to subscribe to Spinnin' Records: http://bit.do/spinnintv ..and turn on notifications to stay updated with all new uploads!???? Join our Spinnin' Records Top 100 Playlist ► https://spinninrecords.lnk.to/top100!YT --- The Spinnin’ Records YouTube channel is the home for all music videos of the world’s leading dance record label! We feature the latest music videos by Spinnin’ artists like Oliver Heldens, Sam Feldt, KSHMR, Ummet Ozcan, Blasterjaxx, Merk & Kremont, Timmy Trumpet, Tujamo, Alok, Curbi, Mike Williams, Lucas & Steve, Throttle and many, many more! Expect daily uploads of official music videos, lyric videos and official audio across genres like dance, house, electro house, future house, deep house, big room and trap. Follow Spinnin’ Records: https://open.spotify.com/user/spinninrecordsofficial https://soundcloud.com/spinninrecords https://facebook.com/SpinninRecords https://instagram.com/spinninrecords https://twitter.com/SpinninRecords https://spinninrecords.com #VintageCulture #Rooftime #Spinnin #SpinninRecords
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If there were to be a real-life example of TwoSet Violin’s semi-mythical Ling Ling, it would be Niccolò Paganini, the OG superstar virtuoso and the first to make a following out of his stage persona instead of his repertoire. Paganini’s father had recognised his son’s natural talent early, and made him practise all day long, even withholding meals if he thought the results were not good enough. NICCOLÒ PAGANINI (1782–1840) Violin Concerto No. 1 in D major, Op. 6 (1815) I. Allegro maestoso 0:00 Cadenza: Émile Sauret 18:23 II. Adagio 24:10 III. Rondo. Allegro spiritoso 29:29 Applause 39:36 Chloe Chua, violin/Artist-In-Residence Singapore Symphony Orchestra Mario Venzago, conductor Recorded live at the Esplanade Concert Hall, Singapore, 2 Sep 2023. Chloe is aged 16 at the time of the performance. @ChloeChuaviolinist Video & Audio: msm-productions (Singapore) Photo: Chris P. Lim --------------------------------------- With such strict guidance and all that practice, Paganini rapidly exhausted all the virtuoso works in the violin repertoire. Finding them insufficiently virtuosic, he decided to start writing his own, incorporating new techniques and tricks he had come up with. Part of Paganini’s success was his own carefully curated image, and the mystery he shrouded himself with. He never let anyone hear him practise, always performed in all black with dishevelled hair and a gaunt appearance. He neither confirmed nor denied claims that he sold his soul to the devil in exchange for his skills, earning him his nickname, the Devil’s Violinist. For all that he was, he lived up to his own hype, with seemingly nothing he could not do. Where others played harmonics, he played double-stopped harmonics; where others wrote octave double-stops, he wrote tenths. He invented a technique of plucking notes with the left hand and became known for the ricochet technique – where the bow would bounce quickly across the strings: all of which can be found in this first concerto that he wrote. Taking a leaf out of Rossini’s book, Paganini’s concerto is written in a bel canto style and features all the theatricality of an opera. Its outer movements are grand, comical and lively, allowing the violin to display both its singing quality and virtuosic fireworks. The cadenza performed in this recording is the famous version by French violinist and composer Émile Sauret (1852-1920). The middle movement is an expressive aria, accompanied by pizzicato strings imitating the sound of the guitar, another instrument that Paganini played. The finale brings back all the tricks in Paganini’s book, as though a parade of all the different characters. In this recording, Paganini’s original instrumentation is used. This calls for 1 flute, 2 oboes, 2 clarinets, 1 bassoon, 2 horns, 2 trumpets, 1 trombone, and strings. In the years following the original publication of the work, Paganini intermittently expanded his orchestration, writing additional parts for performance. These included a 2nd flute, contrabassoon, double the number of horns, new trombone 1 and trombone 2 parts, with the pre-existing trombone role becoming a (bass) trombone 3 part. Percussion parts were also added for timpani and banda turca (bass drum, crash cymbals, and suspended cymbal). His one and only surviving manuscript score does not contain these parts. (Natalie Ng, with additional notes by Leon Chia)
Via: https://omny.fm
The 2024 GOP primary is heating up. Attacks — and spending — are on the rise. Is this worth it? Charlie weighs in on the party's current situation, asking whether it is even necessary to have a primary when Trump’s aggressive campaign has him so far up in the polls. Charlie also unpacks how conservatives can come back from several disappointing election cycles to see victory once again.
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Donald Trump a annoncé qu'il donnera "par curiosité" une interview au rédacteur en chef de The Atlantic, quelques semaines après les révélations de ce dernier sur une faille de sécurité du gouvernement, dénoncées par le président américain comme une "chasse aux sorcières". Le locataire
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For all of the Fake News Reporters that don’t have a clue as to what the law is relative to Presidential powers, China, etc., try looking at the Emergency Economic Powers Act of 1977. Case closed!
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In order to pose as morally superior, American elites are ripping down everything that has made America and the West great: Not just our schools and our laws, but also our literature, our music, and our art. Heather Mac Donald joins Charlie to discuss her new book, When Race Trumps Merit, and how the obsession with "anti-racism" fuels a wider embrace of ugliness and the rejection of all objective beliefs about beauty and artistic expression.
You were there for No Kings 3! We're not stopping now! Join the Neptune Beach Coalition, Beaches Activists Movement & 50501NEFL as we push back against the MAGA takeover of our country every Saturday from 10 am - 11:30 am in front of the Beaches Library! Bring a sign and speakout on the issue most infuriates you this week. ICE, Venezuela, cuts to Obamacare and other services people depend on, voter suppression, Trump's bullying, billionaire tax cuts, rollback of clean energy initiatives, inflation, tariffs, DOGE --- the list is long! Drop by for 20 minutes or stay for the duration. Your voice is critical! *A core principle behind all Indivisible events is a commitment to nonviolent action. We expect all participants to seek to de-escalate any potential confrontation with those who disagree with our values.*
Dal nazionalismo al sovranismo La travolgente vittoria di Donald Trump nelle elezioni americane smentendo i sondaggi, che lo davano testa a testa con la sua rivale, ha colto molti di sorpresa. In realtà essa non fa che confermare e portare a compimento una tendenza, ormai da alcuni anni dilagante in tutto […]
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You've heard of Tucker Carlson, Sean Hannity, and Rupert Murdoch. But the most powerful person inside Fox News may not be someone you've never heard of: The company's communications chief Irena Briganti. Breitbart Washington bureau chief Matt Boyle joins Charlie to explain who Briganti is, how she is changing Fox, and why even her bosses live in fear of her. Plus, Rasmussen chief pollster Mark Mitchell joins to discuss recent polls indicating that both Trump and DeSantis are well-positioned to beat Biden and Kamala in 2024.
On Monday morning, NBC’s Today show and CBS This Morning read from the same liberal script as reporters on both networks hyped exaggerated predictions in a new government climate change study. Amid all the fearmongering, correspondents hammered “deniers” like President Trump for not forcing dramatic reductions in fossil fuel emissions.
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El presidente de Estados Unidos, Donald Trump, ha decidido congelar la concesión de miles de millones de dólares destinados a proyectos de ayuda en todo el
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WASHINGTON/CAIRO, April 4 - Iran's forces were hunting on Saturday for a missing U.S. pilot from one of two warplanes downed over Iran and the Gulf, officials from both sides said, while two airmen were rescued. Read more at straitstimes.com. Read more at straitstimes.com.
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“Can't We Be Friends” was recorded by Ella Fitzgerald & Louis Armstrong at the brand-new Capitol Studios Tower, Hollywood, on August 16, 1956. It was released on October 6, 1956 on the album ‘Ella and Louis” [MG V-4003] in mono on Verve Records. Enjoy my DES [Digitally Extracted STEREO] conversion of this historic jazz recording. “Ella and Louis” is a studio album by Ella Fitzgerald and Louis Armstrong, accompanied by the Oscar Peterson Quartet, released in October 1956. Having previously collaborated in the late 1940s for the Decca label, this was the first of three albums that Fitzgerald and Armstrong were to record together for Verve Records, later followed by 1957's Ella and Louis Again and 1959's Porgy and Bess. Norman Granz, the founder of the Verve label, selected eleven ballads for Fitzgerald and Armstrong, mainly played in a slow or moderate tempo. Recording began August 16, 1956, at the new Capitol Studios in Hollywood. Though Granz produced the album, Armstrong was given final say over songs and keys. The success of Ella and Louis was replicated by Ella and Louis Again and Porgy and Bess. All three were released as The Complete Ella Fitzgerald & Louis Armstrong on Verve. Verve also released the album as one of the first ones in SACD. Personnel on this recording: • Ella Fitzgerald – Vocals • Louis Armstrong – Vocals, Trumpet • Oscar Peterson – Piano • Herb Ellis – Guitar • Ray Brown – Bass • Buddy Rich – Drums About the MONO mix: This track is from the 1999 CD mastering of “Ella and Louis”. The original track was recorded on the finest equipment that ever existed, at the brand-new Capitol Records Tower, Studio A. About my DES mix: For the Vocals, I removed the original natural reverb and replaced it with a crisp, short stereo reverb to give continuity to the stereo image. Ella’s vocal was fine, but I had to run a medium DeESSer on Louis’s portions. I panned the Piano and Guitar Left with opposing reverb on the Right. I centered the trumpet and added a slight stereo reverb. For the Drums, I panned them Right using with opposing reverb into the left. I kept the Bass centered and untouched. Technical Information: I used DeMIX PRO to isolate the Vocals, Instruments, Drums and Bass into 4 separate tracks. I used SpectraLayers PRO-7 to isolate the Trumpet as the 5th track so I could keep it centered. Adobe Audition 2020 was used for Dynamic Range recovery, Reverb, Delay, EQ, and final mixdown. Sonic Studio’s Amarra Luxe Sound Processor was used for post EQ and upsampling. NERO 2019 Platinum used to generate the final video. For more information on spectral editing and sound source separation, visit https://www.monotostereo.info/ Enjoy my MONO-to-STEREO conversion of this historic jazz recording from 1956. This video is strictly for entertainment purposes only. No copyright infringement is intended.
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Via: https://www.lewrockwell.com
Trump’s speech on Wednesday night did not offer anything new. But taken together with his threats to bomb Iran back to stone age, points to the further escalation of the war. Trump and some around him still do not ‘get’ Iran. They never in their own life held any principle they would not deviated from if money was to […]
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"You'll Never Know", sometimes referred to as "You'll Never Know (Just How Much I Love You)" in later years, is a popular song with music written by Harry Warren and the lyrics by Mack Gordon. The song is based on a poem written by a young Oklahoma war bride named Dorothy Fern Norris. The song was introduced in the 1943 movie Hello, Frisco, Hello where it was sung by Alice Faye. The song won the 1943 Academy Award for Best Original Song, one of nine nominated songs that year. It was also performed by Faye in the 1944 film Four Jills in a Jeep. The song is often credited as Faye's signature song. However, Faye never released a record of the ballad, and frequent later recordings of the song by other singers diminished her association with it. Renée Fleming recorded a version of "You'll Never Know" for the film The Shape of Water. The song was introduced in the 1943 movie Hello, Frisco, Hello where it was sung by Alice Faye. The song won the 1943 Academy Award for Best Original Song, one of nine nominated songs that year. It was also performed by Faye in the 1944 film Four Jills in a Jeep. The song is often credited as Faye's signature song. However, Faye never released a record of the ballad, and frequent later recordings of the song by other singers diminished her association with it. Dame Vera Lynn, DBE (born Vera Margaret Welch on 20 March 1917), widely known as "The Forces' Sweetheart" is an English singer, songwriter and actress whose musical recordings and performances were enormously popular during the Second World War. During the war she toured Egypt, India and Burma, giving outdoor concerts for the troops. The songs most associated with her are "We'll Meet Again", "The White Cliffs of Dover", "A Nightingale Sang in Berkeley Square" and "There'll Always Be an England". She remained popular after the war, appearing on radio and television in the UK and the United States and recording such hits as "Auf Wiederseh'n Sweetheart" and her UK Number one single "My Son, My Son". In 2009 she became the oldest living artist to make it to No. 1 on the British album chart, at the age of 92. She has devoted much time and energy to charity work connected with ex-servicemen, disabled children and breast cancer. She is still held in great affection by veterans of the Second World War and in 2000 was named the Briton who best exemplified the spirit of the twentieth century. In September 2009 Lynn became the oldest living artist to make it into No. 1 in the British album chart, at the age of 92, passing such veterans of music as American jazz trumpeter Louis Armstrong and French singer Charles Aznavour. Her collection We'll Meet Again: The Very Best of Vera Lynn entered the chart at number 20 on 30 August, and then climbed to number 2 the following week, before reaching the top position, outselling both the Arctic Monkeys and the Beatles.[46] In its third week the album went gold with sales of over 100,000. On 20 March 2014, her 97th birthday, Lynn announced that she was releasing a new album Vera Lynn: National Treasure – The Ultimate Collection. The album was released on 2 June, to mark the 70th anniversary of the D-Day landings, which occurred four days later. In August 2014, Lynn was one of 200 public figures who were signatories to a letter to The Guardian opposing Scottish independence in the run-up to September's referendum on that issue. You'll never know just how much I miss you You'll never know just how much I care And if I tried, I still couldn't hide my love for you You ought to know, for haven't I told you so A million or more times? You went away and my heart went with you I speak your name in my every prayer If there is some other way to prove that I love you I swear I don't know how You'll never know if you don't know now (You went away and my heart went with you I speak your name in my every prayer) If there is some other way to prove that I love you I swear I don't know how You'll never know if you don't know now You'll never know if you don't know now