Me And My Guitar interview with Status Quo's Francis Rossi and Rick Parfitt VIDEO
Bands Reunited ABC VIDEO
Little Mix's latest garb show they are freemason / illuminati molls / puppets
Three more molls dress to suit
AC/DC with Bon Scott - Touch Too Much VIDEO
HOWARD JONES - CITY SONG VIDEO
Beatles were into satanic hand signs way back
AC/DC - Let There Be Rock VIDEO
Manchester Terror Attack: Rallying the Youth Around the Occult Elite
The Manchester Terror Attack took place at a concert for Ariana Grande – an music industry superstar. It was a grand and horrifying clash of the worlds of entertainment and high-stakes terrorism.
The Manchester terror attack was sickening for several reasons. Its aftermath was also sickening, for a slew of other reasons. It was about forcing horror on children, killing dozens of them and shattering whatever wonder and innocence that was left in the survivors. It was about mixing the worlds of song, dance, and entertainment with fear, death, and horror.
On May 22, 2017, a suicide bombing occurred in the UK, immediately following a concert by Ariana Grande at Manchester Arena. Twenty-three adults and children were killed, and 119 were injured, 23 critically. ISIS claimed responsibility for the attack.
Before I go any further, it is necessary to explain the underlying nature of ISIS. Contrary to appearances, it is not an enemy of the world elite. In fact, the emergence of ISIS was “facilitated” by the powers that be.
In 2014, I published an article entitled ISIS: A CIA Creation to Justify War Abroad and Repression at Home; it is still relevant today. “ISIS” is continuously used to destabilize governments hostile to the elite, while facelessly causing fear, panic, and terror in major cities.
The elite agenda is rooted in fear, panic, and terror. Such emotion is a golden currency, an invaluable asset that can be used to shape and mold society with little to no resistance.
The number of terror attacks and deaths blamed on ISIS is staggering and is becoming, sadly, a “new normal”. Places of fun, leisure, tourism, and entertainment are being turned into sites of carnage. And, of course, after each event, no concrete plan or solution is ever proposed. It is almost as if they want modern society to accept the notion that it is “normal” for any person to be randomly killed at any time, for no particular reason.
Is there any mainstream discussion about the problems that are the root cause of ISIS and concrete ways to solve them? Rarely. However, a bunch of “satellite issues” are often brought up – ones that were clearly on the elite’s agenda for years, simply waiting for the next terror attack to bring them about.
Here’s what Theresa May had to say in the wake of the Manchester attack:
Apparently, terror needs to be contained through the regulation of the internet. May stated:
“We cannot allow this ideology the safe space it needs to breed – yet that is precisely what the internet, and the big companies that provide internet-based services provide,” Ms May said.
“We need to work with allied democratic governments to reach international agreements to regulate cyberspace to prevent the spread of extremist and terrorism planning.”
The response to each terror attack is one more incremental step towards an all-out, highly monitored police state that represses all of its citizens. The only response to terror society is capable of, it would seem, restricting the basic rights of privacy, free speech, and democracy of ALL citizens. It is never about understanding the root of it all … because then things get real. And the elite don’t like when people get real. They want people to be afraid while listening to Ariana Grande.
The Manchester bombing took place in a setting with heavy symbolic value. It occurred during a show by an industry superstar who is particularly loved by children: Ariana Grande. And, in case you haven’t read other articles on this site, she is a tool of the elite – not unlike ISIS. However, Grande works in the elite’s “entertainment” department. Through the handful of media conglomerates who sign and promote a select group of stars, the elite uses this system to shape and mold the masses – especially the youngest and most impressionable – to adopt specific ideas, values, and attitudes.
Ariana Grande has been part of the system since she was a young teenager who played the role of “Cat Valentine” in the Nickelodeon show Victorious. This role led her “teen idol” status, a platform that was then used to launch her singing career.
Not unlike other teen idols, Grande’s solo career coincided with a drastic image change. She quickly became a figurehead of the “Sex Kitten” agenda used to expose children to sexual imagery at a young age.
Indeed, “Cat Valentine” from Victorious turned into a singing Beta Kitten.
Throughout her career, Grande has been told to flash the one-eye sign in photoshoots, confirming that she’s part of the elite’s system.
In 2016, Grande released a new album and a new tour eerily called Dangerous Woman.
If one analyzes the grand scheme of things, what happened in Manchester is deeply disturbing. Thousands of young people, hooked by the intense marketing machine behind Ariana Grande, were lured into a packed arena. A bomb then exploded, killing and injuring children, violently colliding the worlds of elite entertainment with elite terrorism, forcing an entire generation to face unspeakable evil and horror.
If, in the past, the youngest members of Western society could avoid the constant flow of depressing, terror-related news by focusing on entertainment, that era is now clearly over.
In response to the attack, on June 4th, Ariana Grande headlined One Love Manchester, a benefit concert for the victims of the attack. The show also featured Miley Cyrus, Katy Perry and Justin Bieber. These artists each share at least two things in common. First, their target market is children and teens. Second, they’re all fully part of the occult elite industry and their entire catalogs are drenched in its symbolism. Everything about them refers to the dark side of mind control and cryptically refers to trauma, abuse, and occult rituals.
These were the stars chosen to “respond” to terror and to uplift the masses. On a wider scale, they represent the mainstream opposition to ISIS. If you don’t like ISIS and terror, you are told you need to embrace these pawns of the occult elite’s industry. They are the answer.
Appropriately enough, the concert finished with Ariana Grande singing Somewhere Over the Rainbow – the classic 1939 song written for the movie The Wizard of Oz.
In the world of Monarch Programming, “over the rainbow” is a code of dissociation. The movie The Wizard of Oz has been used as an MK ULTRA programming script for decades and the song is used to induce dissociation. The fact that this song is used at the end of a concert for children headlined by representatives of the MK system is rather telling.
“Over the rainbow in Oz is for the Monarch slave to be in a trance, and into a certain area of the programming. To be fluctuating at both ends as an observer and not a participant or to go to the other extreme and become a participant.
The theme song of the movie goes, “Somewhere over the Rainbow…there’s a land where the dreams that you dare to dream really come true.” These lyrics are a method to hypnotically confuse the brain to perceive that the “over the Rainbow experience” (which is usually horrible abuse) is a “dream”. The dissociative mind is only too happy to call the trauma a dream, which is lived as a reality for a moment, but is nevertheless recorded by the mind as a fantasy.
The term for this is cryptoamnesia, which means the process where the proper functioning of memory is hypnotically messed up. The slave’s internal world becomes “reality” and the external real world becomes the Land of Oz which is perceived as make-believe.”
– Fritz Springmeier, The Formula to Create an Undetectable Mind Control Slave
The same way that mind-control slaves are exposed to intense trauma to induce dissociation, the masses are exposed to trauma through terror to the point of numbness … and then are told to “go over the rainbow”. The fear of “terror” is its own black magic, and it can be used to contaminate minds, debase the soul, and, as we continue to see, to disrupt society. The waves of shock and grief it generates quickly become part of the “psychosphere” and end up defining an entire generation. They feed off of death, despair, and distress, and they seek to poison all aspects of society with it. Do not let them contaminate your mind and don’t be fooled by their “dangerous” men or women.
THE NEIGHBOURHOOD a new illuminati influenced band?
Beatles producer George Martin dies aged 90 VIDEO
The Beatles - Love me Do
Coldplay: Illuminati Magicians of the 2016 Super Bowl Halftime Show VIDEO
Super Bowl 50: Illuminati Ritual of Alchemy, HELTER SKELTER, and the Rosy Cross VIDEO
Beyonce, The Super Bowl, Sasha and Satan VIDEO
OK Go, Upside down & Inside Out VIDEO
Wonderful Life singer Colin Vearncombe dies after car crash VIDEO
Wonderful Life video (One of the greatest songs ever written)
Mini Documentary about Colin Vearncombe
Singer-songwriter Colin Vearncombe, who performed under the name Black, has died at the age of 53, two weeks after being injured in a car crash.
The Liverpool singer, whose 1987 single Wonderful Life was a top 10 hit around the world, suffered head injuries in the crash in Ireland on 10 January, and was placed in an induced coma.
He died on Tuesday surrounded by his family in hospital, his publicist said.
His wife Camilla said she was "deeply grateful" to staff who cared for him.
The father-of-three, who was in intensive care at Cork University Hospital, "died peacefully" with his family at his side "who were singing him on his way", a statement said.
Although he is best known for the 1980s singles Sweetest Smile and Wonderful Life, Vearncombe released 15 albums under his own name.
Last year, he returned to his original stage name for a crowd-funded album, Blind Faith, which received positive reviews.
He has also published poetry and staged exhibitions of his paintings in south-west Ireland, where he lived in later life.
Hundreds of fans wrote messages of support on the musician's Facebook page following the crash.
His publicist said there would be a private funeral, as well as a memorial service for him in Liverpool "as we know there are many, many people who will want to celebrate Colin's life and work".
Singer Black, Colin Vearncombe, critically ill in a coma after car crash VIDEO
Wonderful Life video (One of the greatest songs ever written)
Let Me Watch You Make Love
The Wonderful Life star is in intensive car as his family remain at his bedside following the accident
Singer Colin Vearncombe , known as Black, is in a coma in hospital following a car accident in Ireland at the weekend.
The Liverpudlian star - who had a global hit in 1987 with Wonderful Life - is said to be critically ill after suffering a serious head injury in the crash on Sunday.
The 53-year-old has sustained swelling on his brain and is in intensive care, with his spokeswoman saying: "It's a waiting game."
Black's management paid tribute to all those who have expressed concern and sent get-well messages.
"Thank you to everyone who has posted, messaged, emailed and texted. Please keep doing it as his family are deeply moved and helped by your support and love," they said.
Black's wife Camilla and three sons have been at his bedside since.
He was due to become a grandfather on St Patrick's Day with the expected birth of his eldest son's child.
The crash occurred as he drove on his own from his home in Schull, west Cork, to catch a flight from Cork Airport to Edinburgh for a songwriting trip.
The management team added: "He is surrounded by warmth, love and the best possible care."
Hundreds of fans have written messages of support on the musician's website.
Best known for the 1980s singles Sweetest Smile and Wonderful Life, Black has released 15 albums under his own name and also published poetry and staged exhibitions of his paintings in Ireland, where he has lived for more than 10 years.
Former Eagles band member Glenn Frey dies At 67 VIDEO
David Bowie dies aged 69 VIDEO
David Bowie - Where Are We Now?
LIFE ON MARS
Singer David Bowie has died at the age of 69 following a battle with cancer.
His son director Duncan Jones confirmed the news and a statement was released on his official social media accounts.
"David Bowie died peacefully today surrounded by his family after a courageous 18-month battle with cancer," it said.
"While many of you will share in this loss, we ask that you respect the family's privacy during their time of grief."
The singer only released his latest album Blackstar on his birthday on Friday.
There had been rumours about Bowie's health for years.
His last live performance was at a New York charity concert in 2006.
Sixty-six facts about David Bowie
Blackstar, which includes just seven songs, has been well received by critics.
Bowie's breakthrough came with 1972's The Rise and Fall of Ziggy Stardust and the Spiders From Mars.
His hits include Let's Dance, Space Oddity, Heroes, Under Pressure, Rebel, Rebel, Life on Mars and Suffragette City.
He was also well known for creating his flamboyant alter ego Ziggy Stardust.
He also carved out an acting career including his role as an alien seeking help for his dying planet in Nicolas Roeg's The Man Who Fell to Earth in 1976.
He did a three-month stint as The Elephant Man on Broadway in the 1980s.
Bowie also starred in Marlene Dietrich's last film, Just a Gigolo (1978), and played Pontius Pilate in Martin Scorsese's The Last Temptation of Christ (1988).
Bowie was born David Jones in London on 8 January in 1947 but Bowie changed his name in 1966 after The Monkees' Davy Jones achieved stardom.
He was in several bands before he signed with Mercury Records, which released his album Man of Words, Man of Music in 1969, which included Space Oddity, his first UK number one.
Michael Jackson's homopaedo ranch “Neverland” up for Sale VIDEO
Subliminal illuminati messages in Rihanna's S&M video
Ian McNabb: Icicle Works - As The Dragonfly Flies VIDEO
Ian McNabb became the lead vocalist and songwriter for the band, which was founded in 1980 and named "The Icicle Works". The band's other members were Chris Sharrock on Drums and Chris Layhe on Bass guitar and backing vocals.
During 1981, McNabb auditioned for the role of Barry Grant in Brookside but was unsuccessful. He also played extra's in many television dramas at this time.
The Icicle Works had success in the UK with the top 20 single "Love Is A Wonderful Colour" in 1983. They also hit the top 40 in North America with the single "Whisper to a Scream (Birds Fly)" in 1984.
The Icicle Works continued recording through the 1980s with limited success. In the UK, several of the band's follow-up singles charted, although none reached higher than No. 52. In the US, they briefly made the Modern Rock charts in 1988, but achieved no further mainstream recognition and were regarded in North America as a one-hit wonder.
The original line-up of The Icicle Works broke up in 1988. McNabb put together a new "second generation" Icicle Works line-up in 1989, which released one album in 1990. However, the album was commercially unsuccessful and the band broke up the following year.
In October 2006, after 15 years as a solo artist, McNabb unexpectedly revived the name "The Icicle Works" for a series of UK concerts. However, this new version of McNabb's old band did not feature any original Icicle Works members other than McNabb himself. In essence, McNabb seemed to be re-branding himself, using a somewhat more successful trade name in order to give his work increased exposure. Throughout 2007 and into early 2008, McNabb played dates as both a solo artist and with The Icicle Works. He then retired the name for a few years, before playing a handful of "30th Anniversary" shows as The Icicle Works in 2011.
Singer Bill Withers: Hall of Fame induction was fun VIDEO
Bill Withers - Lovely Day
Bill Withers - Ain't No Sunshine
Billy MacKenzie: Associates VIDEO
Club Country an awesome track from 1982
Party Fears Two
Skipping unique and one of the best songs ever composed
THE ASSOCIATES -The Glamour Chase (Full Documentary)
Billy Mackenzie was born and grew up in Dundee. As a youngster, he lived in Park Avenue in the Stobswell area and attended St Mary's Forebank Primary School and St Michael's Secondary School. He led a peripatetic lifestyle, decamping to New Zealand at the age of 16, and travelling across America aged 17. Here he married Chloe Dummar, the sister-in-law of his Aunt Veronica. While Mackenzie was quoted as saying the marriage was made to stave off deportation so that he could sing with the New Orleans Gospel Choir – calling his wife a 'Dolly Parton type' – Dummar still believes the pair were in love. He left her after three months of marriage and returned to Dundee, and the two never had contact again. Chloe Dummar filed for divorce in 1980, and Mackenzie did not contest the filing. Chloe's brother, Melvin Dummar, claimed to be the "one sixteenth" beneficiary of the estate of Howard Hughes, until the case was thrown out in 1978.
He returned to Scotland where he met Alan Rankine and in 1976 formed the Ascorbic Ones. They changed the name to Mental Torture and finally Associates in 1979. Rankine left Associates in 1982, but Mackenzie continued to work under the name for several years until he began releasing material under his own name in the 1990s. Mackenzie also collaborated with many other artists during his career. In 1987, he wrote lyrics for two tracks on Yello's album One Second: "Moon on Ice", which he sang himself, and "The Rhythm Divine", which was sung by Shirley Bassey and was released as a single. A version sung by Mackenzie was released on the tape and CD versions of Associates' Popera compilation). Mackenzie also collaborated with B.E.F. (British Electric Foundation) for their two albums Music of Quality and Distinction Volume I (1982) & Volume II (1991).
Morrissey of The Smiths was said by Craig Gannon of The Smiths to have written the song "William, It Was Really Nothing" about Mackenzie, after a brief friendship together.
On 22 January 1997, depression and the death of his mother are believed to have contributed to Mackenzie's suicide.He overdosed on a combination of paracetamol and prescription medication in the garden shed of his father's house in Auchterhouse. He was 39 years old. He is now a significant cult figure, with much of his musical legacy having been released in the past few years. He was the subject of a biography by Tom Doyle, The Glamour Chase, in 1998.
The Cure song "Cut Here" written by Robert Smith, a friend of Mackenzie, is about the regret Robert felt about seeing Mackenzie a few weeks before his death backstage at a Cure concert. and not giving him any of his 'precious time' and fobbing him off. Siouxsie Sioux wrote the song "Say", revealing in the lyrics that they were going to meet just before his death. The song was released as The Creatures' single in 1999 and reached No. 72 the UK Singles Chart. For her Medúlla album, Björk considered singing a beyond the grave duet with Mackenzie using recordings given to her by his father, but eventually decided against it.
Between 9–27 June 2009, a play entitled Balgay Hill about the story of Mackenzie's life was showing at Dundee Repertory Theatre, in Mackenzie's home town. It tells the story of his life through the eyes of four fictional characters, and the title of the play derives from the name of the Dundee cemetery where the singer was buried.
The novel "Spying On Strange Men" by Carole Morin, contains the following section:
"I checked my face in the mirror, opened the book about Billy Mackenzie.
One day at Billy's house his dad brought in a cake and Billy said, 'That cake is like your aunty's hat.'
"'That image kept replaying in my mind, another memory of something I didn't witness, as James came out of the bathroom.
"'What are you reading?' he asked.
"'A book,' I said, flicking to the end where Billy kills himself and goes to sleep for ever in the dog basket."
Morin said in an interview: "I was devastated by his death which is odd because I didn’t know him. My husband did. Mackenzie’s death affected me in a way that Ian Curtis’ didn’t. Curtis seemed born to die. Mackenzie should have outgrown his gloom and become an eccentric old man. I think our work is similar. It’s the duality of glamour and spirituality in his voice that attracts me. His toughness and fragility; darkness and laughter. He could be a character from one of my books. I always meant to send him a copy of Dead Glamorous."
Gary Clark of Danny Wilson and the writing of Mary's Prayer VIDEO
VIVID Sydney presents the debut APRA|AMCOS event: Song Summit Presents ""In Conversation"". Six world-class producers and songwriters will discuss the key ingredients of a hit pop song, providing festival goers with a true insight into the collaborative process behind the hits of our time.
In this discussion Gary Clark talks about his band 'Danny Wilson' and how they got signed. He also treats us to a rendition of 'Mary's Prayer' - one of the bands biggest hits.
Davy Graham - Cry Me A River 1959 VIDEO
Quentin Callewart plays Anji by Davy Graham (Arr. by Harry Sacksioni) VIDEO
Kurt Cobain 21 year anniversary of his death VIDEO
A great band when Doug Hopkins was writing the songs
Douglas Owen "Doug" Hopkins (April 11, 1961 – December 5, 1993) was an American musician and songwriter. He co-founded the Gin Blossoms, a popular modern rock band of the early 1990s, with Richard Taylor. He was the band's lead guitarist and a principal songwriter.
Hopkins' writing credits included the hits "Hey Jealousy", "Found Out About You", "Hold Me Down," and "Lost Horizons". His penchant for somber lyrics, matched with catchy guitar hooks and notable melodies, underscored his memorable style. He committed suicide, shooting himself while in the early stages of mental health treatment for alcoholism, which occurred shortly after getting a gold disc for "Hey Jealousy".
Hopkins was born in Seattle, Washington, and raised in Tempe, Arizona. He graduated from Tempe's McClintock High School in 1979, and two years later, while attending Arizona State University, he formed his first rock band with Bill Leen. Hopkins was the guitarist and Leen the bassist, although neither knew how to play the instruments. He graduated from Arizona State in 1985 with a degree in sociology. By 1987, the two played well enough to start the Gin Blossoms, and in 1988, Jesse Valenzuela (Hopkins' skateboarding friend) and Phillip Rhodes signed on as the band's second guitarist and drummer, respectively.
Hopkins had suffered from chronic depression since childhood and had been battling alcoholism for several years. However, in 1990, the Gin Blossoms were one of the hottest local bands in Tempe and the surrounding areas, and they signed a contract with A&M Records. He was resistant to signing to a major label, feeling like its property, and reacted with stubbornness and more drinking. When the band recorded its debut album New Miserable Experience in February 1992, it was reported that Hopkins was unable to stand during his recording sessions. Faced with the prospect of firing Hopkins or being dropped by A&M, the band terminated Hopkins.
Doused in aftershave and mouthwash to cover the effects of his days-long drinking binge, he was flown back to Arizona. He was replaced by Scott Johnson. As a result, the band withheld $15,000 owed to Hopkins until he agreed to sign over half of his publishing royalties. Hopkins also had to relinquish his mechanical royalties to Johnson, his replacement. Hopkins reluctantly agreed to these demands because of his dire financial situation. While New Miserable Experience did not make a strong debut, it went on to become a multi-platinum album.
After he returned to Tempe, Hopkins started another band, The Chimeras, with brothers Lawrence and Mark Zubia. Hopkins' role in the band came to an abrupt end during a show one night, when, after a less-than-fantastic solo, he quit. It would be the last band he ever played with in public as a member, though he appeared on stage with Dead Hot Workshop and Hans Olson in Tucson shortly before his death. The Chimeras later changed their name to The Pistoleros, upon signing a short-lived recording contract. The first several singles released by the Gin Blossoms, and the only mainstream hit released by the Pistoleros prior to being dropped by their label, were penned by Hopkins.
As the Gin Blossoms experienced mounting success performing songs he had written, Hopkins became increasingly despondent. Though he had always dreamed of having a gold record, when he received one (for the song "Hey Jealousy"), he hung it up for two weeks before taking it down and then destroying it. Nine days later, during an intake consultation in the detox unit of Phoenix's St. Luke's Hospital, Hopkins snuck out and bought a .38 caliber pistol. The next day, December 5, 1993, Hopkins committed suicide. At his memorial service, bandmate Robin Wilson recalls, a woman approached his former band members with a message from Hopkins upon his death: he was the one who had poured sugar in the gas tank of their tour van in 1992.
In 1994, Larry Rudolph of the New York firm of Rudolph & Beer, which represented the Hopkins estate, announced that 18 of his songs were found and were open for a recording deal. Around 2000, award-winning documentarian Mark Stanoch secured the rights to Hopkins’ music and story for a biopic potentially starring Ethan Hawke, but plans stalled.
"I understand why they fired me, but did they have to get so fucking cold and ruthless about it?"
Madonna falls onto her little satanic helpers at the Brits 2015 VIDEO
Just as she sings the old freemason chant 'Makes me feel like I was born again'
Mansun - Wide Open Space VIDEO
Mansun were an English alternative rock band formed in Chester in 1995. The band comprised vocalist/rhythm guitarist Paul Draper, bassist Stove King, lead guitarist/backing vocalist Dominic Chad, and drummer Andie Rathbone.
The band broke up in early 2003 whilst in the process of recording their fourth album. The break-up was announced by Dominic Chad in May 2003.
Just as well they have the same record label VIDEO
Bloodhound Gang - The Bad Touch
OneRepublic - Counting Stars
Talk Talk - It's My life VIDEO
Mark Hollis from Talk Talk amazing underrated musician and vocalist
The younger brother of Ed Hollis, a disc jockey and producer who went on to manage bands such as Eddie and the Hot Rods, Hollis originally planned to become a child psychologist but in 1975 left university to relocate to London, where he eventually formed a band called The Reaction. In 1977, The Reaction recorded a demo for Island Records; among the tracks was a Hollis original titled "Talk Talk" which later surfaced on the Beggars Banquet punk compilation Streets. After just one single, 1978's "I Can't Resist," The Reaction disbanded, and through his brother, Hollis was first introduced to musicians Paul Webb, Lee Harris and Simon Brenner, with whom he formed Talk Talk in 1981, soon signing to the EMI label.
Hollis is most famous as the lead singer of the band Talk Talk, and was praised for his "always remarkable voice." It was he, along with unofficial Talk Talk member Tim Friese-Greene, who took the lead in evolving the band's style from New Romantic into what would later become known as post-rock.
In 1998, he released an eponymous solo debut album, Mark Hollis, and participated in occasional musical projects, including playing on and producing Anja Garbarek's 2001 album Smiling & Waving. He has now retired from the music business. He has stated about his decision to retire from performing, "I choose for my family. Maybe others are capable of doing it, but I can't go on tour and be a good dad at the same time." Despite Hollis's absence from the public eye, he (as well as Talk Talk) continue to be mentioned in the press, inside Britain and outside, often as an example of an artist who refused to sacrifice his artistic ambition to commercial success and as a yardstick for current artists.
In 2004, Hollis resurfaced briefly to receive a Broadcast Music Inc. award for having written "It's My Life." His withdrawal from the public continues to fascinate music critics By the time his solo album was released Hollis had moved back from the countryside to London, in order to provide his two sons with a more cosmopolitan environment.
In 2012, a previously unreleased instrumental track, ARB Section 1, was used in the Kelsey Grammer-starring series Boss.
On July 12, 2013 Max Marshall released her debut single "Don't Trip". On October 4, 2013 she released her
debut EP Pressure. In December 2013 she featured on Matrix & Futurebound's single "Control", on January
5, 2014 the song entered the UK Singles Chart at number 18. The song has also peaked to number 4 on the UK Dance
Chart and number 17 on the Scottish Singles Chart.
Coolest guitarist on the planet Geordie Walker of Killing Joke
Killing Joke - Love Like Blood
When he was fourteen, Walker's family moved south from Newcastle to Milton Keynes in Buckinghamshire, 45 miles northwest of London. It was here that he acquired his nickname due to his northeastern "Geordie" accent (which he has subsequently lost).
Walker moved to London to study architecture and became a founding member of Killing Joke in 1979 when he responded to an advertisement placed by the singer Jaz Coleman. He had never played in a band before. Walker and Coleman have been the only constant members of the group since.
Walker has also been a member of industrial metal supergroups Murder, Inc. and The Damage Manual.
Although most known for playing electric guitar, he has also used acoustic guitars; sparingly on the albums Outside the Gate (1988) and Pandemonium (1994), and more liberally on Democracy (1996).
Like Velvet Revolver's Slash, Walker is known for smoking cigarettes on stage, even in United States venues where smoking is prohibited.
Walker now lives in Royal Oak, Michigan, a suburb of Detroit with his wife and son, Lloyd (Atticus). During his recent work with Killing Joke, Hosannas from the Basements of Hell (2006), he was based in Prague where he has been involved in various other projects too, including overseeing the work of UK girl punk rock act Mary-Jane at Faust Studios.
Gaga's crazy illuminati garb
Jagger's daughter goes for the ''ALL SEEING EYE' look
Al Jarreau - Raging waters - 1984 VIDEO
David Bowie Tour 2013 - Where Are We Now Rehearsal NYC 2013 VIDEO
Lou Reed just one more zionist who was provided with a world platform
Despite the gushing accolades in the zionist run media for Lou Reed the sad fact is that many more talented musicians have been overlooked
so that the zionist run media and record labels can promote their own kind just like they do in Hollywood.
But what can you expect from the scum and filth who run the whole show?
We could provide the endless lists of jewish actors, musicians and writers that take priority when it comes to getting
a global platform. Even with the internet talent still struggles to shine through as long as the mass media have a
stranglehold over the minds of the brainwashed sheeple who only really give anything a second glance if they see ads
on tv, newspapers and billboards as their psyche has been programmed to BELIEVE that zionist scumbags like Simon Cowell
and the other nonetities running the music business are the only fuckwits able to sort out the wheat from the chaff.
As long as its jewish wheat
no other wheat has a hope in hell of breaking through the glass ceiling of bullshit that masquerades as some sort of
machine that supposedly goes out of its way to find real TALENT instead it ensures ALL doors are closed to anyone
not part of their zionist controlled system.
Lou Reed only prospered in the music business because he was ONE OF THEM while the world still fails to access far more
deserving musicians who end up frustrated at banging on those permanently closed record company doors. If it wasn't for
a zionist homosexual Brian Epstein, wanting to get into John Lennons' pants, we would NEVER have heard of the Beatles
as they required the approval of the zionist empire and their many lackeys to ensure total control of anything
that can be used as mind control , music a major way zionists can promote their own along with the message that we are all
lesser mortals next to the shit they pass as supposedly the best in the business . That is the biggest lie of all.
As the sun sets on Glastonbury 2013's pyramid and the compliant media, especially the BBC, rant endlessly
about all the amazing acts that supposedly appeared you have to ask the question did they have their deaf aids
switched off during the whole event? Music or the pap that the major record labels pump out as the latest craze is
anything but musical and the whole staged event stinks of illuminati hysteria while the second rate acts who have
signed their souls away to the devil masquerade as street cred musicians when most just happen to be public school
twats with establishment parents who will ensure their children will carry on kissing the royal arse. Our own
view of the event was amateurish bordering on utter boredom trying to find ONE act that really knew about songwriting.
In the end they had to rely on the wrinkly rockers the Stones to pull out some half decent yet dated songs.
They will all ultimately have to kiss that arse if they achieve any level of success and few decent bands will get that platform
purely because they wont play the major label game and only those prepared to sell out to the system will get any level
of recognition because they OWN all the outlets that will ensure exposure of a band to international success who comes
under that control. There are a few
who achieve decent recognition through their own brilliance but that was sadly lacking at Glastonbury. Most of the sheeple
don't realise they were being instigated into the satanic games the freemasons perpetrate and who control the whole show
with all their symbolism plastered across the Glastonbury arena. The musicians we get forced on us are just like the
political numbnuts who are only in power thanks to their friends in the media giving them that platform.
Eavis has lost the point of what a music festival is ALL about and not filled to the gunnels with
corporate sponsors and acts. Take a look back at old Woodstock clips, when even with antiquated equipment music
was relevant and not full of the bland arty farty shit presently being pumped out by the London sanctioned major labels.
What was Royal arse kissing Bruce Forsyth doing on stage??????????????