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Dead Kennedys - DK 40 () CD1: Live At Paradiso, Amsterdam, Netherlands, December 5, Moral Majority I Am The Owl Moon Over Marin. Dead Kennedys (ou ainda como é conhecida DK) é uma banda de punk rock fele.torrentinogum.fun Moon Over Marin.

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The dead kennedys moon over marin torrent

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While expertise isn't dead, however, it's in trouble. Something is put a man on the moon were probably right about most other impor- tant things. I was fourteen. A flier announcing British punk band the Adicts return from hiatus to play at the Showcase Theatre in Corona, California Courtesy of. Gigi Moon Over Marin - The Dead Kennedys Wolle + Jules Grass - Animal Collective Bode Merrill Prince Of The Rodeo - Turbonegro Credits Alpha Beta Gaga - AIR. NI NO KUNI FORMULA 51 TORRENT Have you found. With this knowledge, this here and click on. Cisco FindIT Manager area, click on a workbench like this, and many click on the the plans, but.

This Corona was redneck shit indeed, and my sheltered Mexican-mom-having adolescent self was about to get his first taste of it. It gave those hippies at school a run for their money. He said he lived around the corner. I asked if he came to all the punk shows. He said he came to the Showcase Theater every night, no matter who played, just to fuck around.

Everyone mostly complied. She sternly repeated herself and then gave a look to a Mexican goodfella in skate clothes standing by the door. He told me to empty my pockets, took my ticket, and sent me inside.

I felt like Bilbo Baggins entering the back door of the Lonely Mountain under moonlight. Cheese for punks. Traffic lights and an old bicycle hung from the ceiling. There was a small, round stage, no more than three and a half feet high, flanked by huge speakers, and a little cage next to it for the sound guy. The wooden dance floor in front of it was soaked in years of sweat, and framed by a squared, corral-like rail that separated the pit from the loading ramp, the entrance, and the snack bar with its Christmas lights.

Underneath the balcony was the chill out — or make out — area. The show started quickly. My pop and I went up the balcony to watch the opener, the Giggaloops. They were locals, mostly girls, four or five years older than me, and they were playing their last show ever.

First song and the kids were already pitting and singing along. I think one of their moms might have worked in the snack bar. The Adicts as I would find out, played the Showcase many times a year. It was where they had made their return from hiatus in , before they moved to California. These British legends made Corona their home base, and were huge in So Cal. The tight confines of the club capacity of , I think , gave the perfect conditions for the band to explode confetti and throw out beach balls to a swaying crowd of teenage heathens.

After that first show, I kept making the trip out to Corona any chance I got over the next two years, meeting new friends, eating the pizza next door, and pissing off the 99 Cent Store staff. Not only was it the spot to see Vice Squad or TSOL, but there were hordes of young people honing their chops on locals-only bills that were generously provided by Joe Case and Ezzat Soliman.

The stereotypical skeezy Inland Empire element was there. I remember a middle-aged, leather-faced crew called the Runt Punx. One of them slapped my best friend Garrett in the titty as we crossed paths in the doorway. Boy was he pissed. The Corona City Bootboys were a skinhead group that came out and busted up a D. My sister and I watched with bewilderment from the bushes. But I met a lot of artists and intellectual types there too: a family with a record label whose kids ran food drives and became train hoppers.

A guy from Temecula who printed Patti Smith and other poets on his shirts. All the photographers. Of course, there were all the politically-minded bands and fans spreading messages about police, war, and animal rights. Garrett came out from Rancho Cucamonga. Recently I learned that my cousins, who had moved from Alhambra to Ontario to Mira Loma, had gone to Showcase with their aunt and gotten drunk for the first time in the parking lot.

All the while, the IE felt like such a nebulous region to me. In , the Showcase shut down pretty quickly. I drank in some of the high brow, anti-hick, and apolitical sentiments that swirled around some of the more affluent garage rock and art punk shows.

More recently, I just about completely lost interest in the bulk of what goes on in the LA rock scene, as even the bands who are supposed to be super punk mostly just play in clubs with sideways fences that seem to have been built to serve as backdrops in commercials. In fact, geographically, I started to notice something funny. Maybe it was just nostalgia that caught my peripheral vision, but I started noticing that old school punk, with all of its trappings, still exists in the boonies like Corona.

A gigantic fair for punk street vendors was happening yearly in Upland, until Covid. Strange Records is still going strong 22 years later. It was a rowdy and emotional evening. The audience cheered younger versions of themselves jumping off the stage, as the Soliman family sat tearing up in the back row. Now, 12 years since the Showcase shut down, the Inland Empire has taken on a clearer identity in my head. The IE, and Corona, are punk. Listen to a radio version of this story here.

A few months after Who Are the People? He had just returned from touring with Zappa, I think it was the Billy the Mountain tour. But hey, it meant at least a couple bucks tip if you got the chicken there hot. We got to his tree-shrouded home, and surprisingly he answered the door himself. Sorry I never took you up on your offer to drop off some demos, but I went back to college. I wanna write music for films. We played the Legion once. Here we were, a couple of grown men tripping on old records like we were teenagers.

That was the beginning of our bond: our love of L. I saw it as Mexican American rock-theater, though in a very primitive form, which was cool with me. I took a copy of Billboard with me that had reviews of Who Are the People? Philharmonic at UCLA next to it.

That got his attention. It sounded cool, but still, the question kept coming up: could I trust rock musicians to pull off this great opportunity? Could I even work with flaky rockers again after working with serious classical cats? To have an album produced by him and a spot on a tour sounded too good to resist. Was I keeping my word to create art as a spiritually educating experience? Could I use it as a launching pad that would take me closer to my promises?

My conclusion: Fuck, yeah! Give it a try. The session with Frank started out a little bumpy. That time, we got into it and nailed it. Frank smiled, nodding his head up and down. He asked me to put a band together. I was reluctant to hire him, what with his history of drugs and booze, but he could play a funky bass and had a soulful voice that I needed for the harmonies.

Clarence had been playing with a band from East L. I was impressed and invited them to come to the audition. They included vocalist and Hammond B-3 player John Martinez, probably the best all-around singer ever to come out of East L.

Not only could he sing bass and falsetto parts, but he was also a killer lead singer. Drummer Bobby Zamora was called in at the last minute. The band sounded great, and Frank dug it. Zappa was in a wheelchair during this time with a broken leg and other injuries from being pushed off the stage at a concert in London by a jealous fan.

This gave him plenty of time to work with the band. The band members could be replaced at my discretion. It was also agreed that the project would be a collaboration between Frank and me that would feature original L. My recent composition experience writing gospel parts for Who Are the People? Since there were songwriters and great singers in the band, I decided to utilize their talents as much as possible, as both a democratic and a practical musical move.

My plan was to create a buzz in East L. This is an open-access article distributed under the terms of the Creative Commons Attribution 4. In the middle of a series of fascinating interviews with Latin American Los Angeles session musicians, the editor of this volume, Josh Kun, puts a series of questions to the great Brazilian percussionist Paulinho da Costa.

In the midst of these, he lets his thesis slip. How does that change musical history? Suddenly Brazilian music is no longer this marginal exotic sound but at the center of virtually everything people are listening to. Finding a new center, or a new listening point, for the history of popular music is at the heart of The Tide Was Always High.

In order to make the argument, he is willing to rethink how hierarchies of taste and value are established and revised. In arguing for the pervasiveness of the Latin influence on American music, he is less interested in pitting genres against one another, or even determining critical value within a genre, than he is in showing connections among them all.

In doing so, Kun argues, they essentially are remaking American cultural expression with a Latin American cast. John Koegel takes a deep dive into the history of Mexican musical theater in pre Los Angeles. Garcia on the Paramount Ballroom in Boyle Heights. The question of what is real and what is not is, of course, fundamental to modern entertainment, from Barnum and coon shows to lip-synched pop concerts.

What might be considered the ersatz seems to matter as much as the real thing, if for no other reason than that such categories are made moot by the eclecticism of the musicians themselves, with bandleader and composer-for-all-seasons Esquivel! Kun and his talented colleagues—poets, musicians, and journalists are every bit as welcome as scholars here—document a time of racial segregation when musical borrowings and syntheses seemed to be less problematic.

The boundaries of cultural territory seem to have been less closely policed in the twentieth-century decades covered by this volume, even as reckonings with racism kept getting pushed into the future. Years ago, Eric Lott published Love and Theft , a book on minstrelsy. The catholicity expressed by Kun, the seeming lack of interest in aesthetic judgment that has, for better or worse, determined the character of popular music history, is perhaps appropriate in uncovering a Latin American Los Angeles not dominated by blues-based African American styles.

That model, whatever its merits and shortcomings, is a suit that does not fit well on Los Angeles, and Kun is an open enough thinker to find a new way of examining ethnicity in popular music made in Los Angeles by editing a volume where jazz and rock orthodoxies are absent and Los Lobos, perhaps pointedly, is not mentioned. Befitting a companion volume to an exhibition, Kun provides numerous album covers and other vibrant visual ephemera that are still stirring up curiosity about the sounds under discussion.

There is probably more to say about the imagery associated with Latin American recorded music, but that could easily become another project entirely. He teaches cultural, public, and visual history and has written on Duke Ellington and Miles Davis. Food and Ethnicity: A Conversation about L. Tuesday, September 5th p. Dinner p. Program Begins. Join us in L. RSVPs are required and space is limited, so please reserve your spot and receive additional details by e-mailing Belinda Nakasato Suarez at bnakasato theautry.

Tijuana by Mark via Flickr. The Beatles? The Rolling Stones? The Supremes or another Motown act? Bob Dylan? Johnny Cash? The Beach Boys? No, no, and no. Anyone who has rifled through old records at thrift stores and rummage sales has seen his albums. Most famously, Whipped Cream and Other Delights featured a young woman covered in apparently nothing but whip cream. No musician sold more records in than this pop trumpeter. His first ten albums, all released in the s, reached the Top Even more impressive, in Alpert had five albums in the Billboard Top 20 simultaneously, a Guinness World Record never since repeated.

Alpert combined surf rock, West Coast cool jazz, and Mexican mariachi to create a new pop sound. Cool jazz, especially its West Coast variant, also influenced Alpert. Miles Davis defined the sound on albums like Kind of Blue A growing Los Angeles-based jazz scene, including Stan Getz and Gerry Mulligan , adapted cool just as Alpert started playing professionally. However, those Mexican horns, so distinctive and, at that time, so unusual for non-Mexicans to hear, probably were what listeners heard first.

In Alpert visited Tijuana where he attended a bullfight and heard a mariachi band. Inspired, he took that sound back to the studio. After achieving some success and tour requests, he hired musicians to populate his band. Herb Alpert, , via Wikimedia. Alpert was a bagel. Alpert hails from Los Angeles, home to a rich and diverse set of cultures.

Boyle Heights was known as a multicultural, working class enclave with many Mexican Americans and Japanese Americans cheek to jowl with Jewish folks. Historian George Sanchez goes as far as to argue that Boyle Heights maintained this diverse, radical culture into the s, when Alpert came of age.

Though not literally on the Mexican border, Los Angeles might as well be. Just a few hours drive south sits Tijuana, the definitive border town in the American imagination. Of course, the Mexican-US border is an arbitrary line drawn by politicians far removed from this region.

People have crossed and recrossed this border endlessly and still do. Los Angeles always has been culturally, demographically, and economically tied to Mexico. Undeniably, Alpert stood at the top of the heap in All told, Alpert sold around fourteen million albums in —way more than, yes, the Beatles. Confirmation of his domination of the pop charts came when Alpert recorded the title track composed by Burt Bacharach for the first-ever James Bond film, Casino Royale , in Clearly, Alpert merged Mexican horns into his own sound; but artists incorporate elements of different cultures all the time.

Picasso and Gauguin did it. The Talking Heads did it. Dizzy Gillespie and countless other jazz artists did so. As a native Los Angeleno born and raised in culturally diverse Boyle Heights, his neighborhood included countless Mexican Americans and was inextricably twined to Mexico. His visit to Tijuana in was not his first to that city, but was when it inspired him to incorporate Mariachi horns into his own music.

Alpert, of course, was hardly the only American to embrace Mexican and other Latin musical traditions. Arguably, doing so is an acknowledgement of the impact of and respect for Mexican culture in the United States. They are a product of a city in which vastly different peoples live near each other and increasingly come together. Rather, it emerges in cities like Los Angeles, where peoples and cultures meet and mesh.

He has donated tens of millions of dollars, especially to promote music education in his hometown. Photo by Pete Souza via Wikimedia Commons. Today, when considering the greatest American musicians of the s, many spring to mind. The Doors in LA. Stevie Wonder and the Jackson 5 in Detroit. These and many others, much loved and respected, have seen their stars continue to shine.

Still, none were nearly as commercially successful as Alpert in No doubt, he has faded from popular memory. The proof, today, lies in record bins across the land, where it is rare to not find a Herb Alpert album. Alpert represents the best of an increasingly multicultural America arguably defined, since the s, more by Los Angeles than New York.

Proof that borders are meant to be crossed or sometimes even ignored. Peter Cole is a professor of history at Western Illinois University. He writes extensively on the history of labor unions, port cities, race matters, and politics.

He tweets from ProfPeterCole. Los Angeles is a city made from an assemblage of speculative practices. Spain colonized the region, surmising it was unsettled territory to be conquered—ignoring, of course, the Tongva who had lived here for thousands of years. Later on, as part of the United States, the region went through a stuttering period of growth as boosters proclaimed the magic of Southern California throughout the Midwest and elsewhere, fueling land speculation wherein gullible investors would repeatedly and blindly bid up land prices only to discover more often than not upon a first visit that the real estate was essentially worthless.

And, of course, it became ground zero for all the imagination of Hollywood, projecting moving images of fantasy plotlines onto screens around the world. The last of the grand train stations built in the United States, it was approved in and completed thirteen years later during the throes of the Great Depression and a world war.

What was then Chinatown was demolished in the process, whitewashing the site of the largest mass lynching in US history 1 with gleaming art deco construction. It is the terminus of a city upon which it seemed almost anyone could project their own minor utopia.

Sure enough, in , a bigger, better Chinatown was built about a mile away under the guidance of community leader Peter Soo Hoo and with the help of Hollywood set designers in designing its core, Central Plaza. There are, of course, endless varieties of financial speculation, such as land speculation or the mining speculation in the goldfields of Northern California and the oilfields around Los Angeles.

It straddles magic realism and speculative fiction, suspending our disbelief about any number of perfectly plausible alternative realities for Los Angeles: palm trees as flags for the poor instead of street ornamentation for Beverly Hills, a traffic jam on the Cahuenga Pass as a meticulously conducted symphony, NAFTA as a luchador being defeated by el gran mojado….

In the university, speculative work most often involves theoretical development, from physics to philosophy. This form of speculation has something to do with race insofar as it aims to decolonize, and little to do with jumping through the hoops of theory. What we might call immanent speculation, this is the practicing of an inherently unknowable future in order to create the conditions for that future to unfold. In contrast to theory-laden speculative philosophy, or to the incrementalism of design in the built environment, or even to the extreme opposite of ungrounded utopianism, immanent speculation rigorously pulls out latent alternative realities embedded in a place through the method of making.

It does so with the consequence that these other worlds—whether or not they are fully realized—expand our notion of what could be. It aims to decolonize the future from the forward march of time, from the imperfect conditions of the present, freeing it to become something just beyond what we imagine to be possible.

It is called immanent because it is not pulled from thin air, but rather from the sites and places in which we live. It is undisciplined yet rigorous, intellectual yet artistic. In fact, an imperfect immanent speculation recently found its way into where we began: Union Station and Chinatown. Some , people commute through the station every day, and they continued to do so as the opera was performed.

The characters moved fluidly through the building, exploring imaginary spaces and playing out a war of words between Kublai Khan and Marco Polo. Viewers were given wireless headsets that played the full opera with live orchestra, but were given no instructions on how to view the piece. You could sit down and experience it motionless, you could attempt to catch every exciting moment by recklessly following where you assumed the action was, you could take your headset off to mute the orchestra and listen to the ambient noise, you could share your headset with a curious passer-through, and sometimes you could find yourself in the way of the performers.

Donning a headset transported you to a different world that was overlaid on top of this one, in real time. The opera was lauded by critics. The performers miraculously transformed from anonymous commuters to fully costumed period characters. Dancers deftly maneuvered between audience members and passers-by like some feat of spatial jazz. The technological novelty of listening to the fragmented bits of opera on wireless headsets, synthetically mixed into a whole, was equally impressive, blending the excitement of a full, live orchestra and the contemporary remix-mash-up sensibility of a DJ set.

Each of the other elements played out in particular relation to the space, history, and essence of the site. Tropes of the traveler, of the explorer, of the grand hall versus everyday spaces were played out in the train terminal.

This demonstrated immanent speculation because it was at once speculative—it imagined and performed an otherworldly fantasy—as it was embedded in the messy reality of urban space. At one point, a homeless person noticed the captive audience and began singing her own tune before a nervous stagehand awkwardly ushered her away to receive her own headset.

And, of course, the inversion of who is watching and who is being watched cannot go unstated: as much as we privileged theatergoers invaded this space and tried to watch as much of the frenetic and fractured performance as we could, so too were we being gawked at by passers-by.

We were a funny-looking mob of confused people with wireless headsets on, providing our own free show. There was none of the unidirectional comfort of a darkened theater. A performance of Hopscotch. In , The Industry took on an even more heady and complex project. Titled Hopscotch, the opera was broken into thirty-six scenes that were repeatedly performed at a variety of sites across Los Angeles.

One of the participants would be responsible for capturing the experience on video, live broadcasting to one of thirty-six screens at the central hub where anyone could drop in and watch the live video for free. To complicate things considerably, the opera was written by multiple playwrights and composers, a few scenes consisted of lines shouted between cars or long quotes from French Marxist theorist Guy Debord, and multiple actors played single roles to manage the logistics of multiple locations—all in the service of a relatively straightforward love story.

As one could imagine, if Invisible Cities was on the verge of crashing down under the weight of its postmodern tendencies, Hopscotch casually blew past any nod to such concerns. Hopscotch also blew past its predecessor in the cost of a ticket. This was partially remedied by the free viewing experience at the central hub, but the discrepancy between the segregated experiences was striking. In one, you were a participant in an immersive experience, while in the other, you had to wait in line to view a set of screens that could have almost as easily been broadcast online.

The central hub was deftly designed by two SCI-Arc Southern California Institute of Architecture faculty and located on its campus but was almost certainly underfunded for its wider purposes. The design effectively deployed shape and interior sheathing to create the conditions necessary for both the broadcasting of the various scenes and the culminating act in which numerous cars pulled through the structure.

Ticket-holders emerged from the vehicles like awards show attendees walking a red carpet, while many non-ticket-holders were unable to enter because of capacity issues. Their only view was of the exterior of the hub, which was literally wrapped in trash—no doubt the only affordable material after value engineering went its course.

A group of musicologists in Los Angeles went so far as to boycott the performance—though tickets still sold out almost as soon as they went on sale. My own viewing experience was possible only by hacking the machine: by analyzing hashtags on social media, I was able to discern where the most popular nonmobile scenes were performed, and I staged my own complimentary private viewing tour.

A limousine bearing a handful of ticket-holders would roll up to the plaza and the scene would begin, moving throughout the plaza and reaching its apex as Lucha sings them back into the vehicle, which whisked them to their next site. And while, french massage and not violates practically any prohibitions, for the reason it's not about sexual contact.

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Contact Via Email draluyasolutionhome gmail. I want to share a message that has been spreading all over the internet that concerns the times we are living in. Whether you believe in God or not, this is a must read message! We can see throughout time how we have been slowly conditioned to come to this point where we are on the verge of a cashless society.

Would it surprise you to know that the Bible foretold of this event? This may be the most imporant message you will read in these times…please do not ignore this! This messsage reveals what the Mark of the Beast is, and the meaning behind counting a number people have been pondering for centuries, This message also shares why Barack Obama is the Antichrist. This is truly a message from God! Here is wisdom. Let him who has understanding calculate the number of the beast, for it is the number of a man: His number is » Revelation NKJV.

Referring to the last generation, this could only be speaking of a cashless society. Revelation tells us that we cannot buy or sell unless we receive the mark of the beast. If physical money was still in use, we could buy or sell with one another without receiving the mark.

This would contradict scripture that says we must have the mark to buy or sell. So, it deduces itself to this conclusion. These verses could not be referring to something spiritual as scripture references two physical locations our right-hand or forehead stating the mark will be on one «OR» the other.

It once again deduces itself to this conclusion. Also, how could you determine who truly has a spiritual mark so that they may buy or sell? And, as you will read further in this article, to have the mark of the beast is the same to have the name of the beast, or the number of its name.

You will begin to see even more clearly why this mark cannot be something purely spiritual. Here is where it really starts to come together. The government commissioned Carl Sanders to design a microchip for identifying and controlling the peoples of the world—a microchip that could be inserted under the skin with a hypodermic needle a quick, convenient method that would be gradually accepted by society. Carl Sanders, with a team of engineers behind him, with U. Without the knowledge of the Bible Brother Sanders was not a Christian at the time , these engineers spent one-and-a-half-million dollars doing research on the best and most convenient place to have the microchip inserted.

Guess what? These researchers found that the forehead and the back of the hand the two places Revelation says the mark will go are not just the most convenient places, but are also the only viable places for rapid, consistent temperature changes in the skin to recharge the lithium battery. The microchip is approximately seven millimeters in length,.

It is capable of storing pages upon pages of information about you. All your general history, work history, crime record, health history, and financial data can be stored on this chip. Brother Sanders believes that this microchip, which he regretfully helped design, is the «mark» spoken about in Revelation The original Greek word for «mark» is «charagma,» which means a «scratch or etching.

The word is «chi xi stigma,» with the last part, «stigma,» also meaning «to stick or prick. Sanders asked a Boston Medical Center doctor what would happen if the lithium contained within the RFID microchip leaked into the body. The doctor responded that if the microchip broke inside a human body, the lithium would cause a severe and painful wound filled with pus.

This is what the book of Revelation says:. What I first want to mention, before I share what the Holy Spirit has revealed to me concerning the number of the beast, is that God confirms in threes. We can see this throughout scripture:. Examining Revelation ,17,18, the first group of three I would like to point out is that the mark of the beast is described in three separate verses, 16, 17 and The next three I see is in verse 16, «He causes all…» is followed by three contrasting categories of people,.

Then unto verse 17, it opens with, «and that no one may buy or sell except one who has…», followed by three explanations of what one must have to buy or sell,. Now unto verse 18, we read «Let him who has understanding calculate…», which is followed by,. The last three I see is the number «6» being used three times in a row.

Throughout the centuries there have been people trying to calculate numbers based on titles and names that come up to the number to identify one person, the Antichrist; but from Revelation , I do not see where God is telling us to count up to , but rather to count the number of the beast.

This number is identified as So the verse is telling us to count the number What does it mean to count? It means to add up. So how could we add up ? Remember my previous point about God confirming in threes is key to unlocking the number So logically, what would be the best way to count the number ?

To count it equally by using the rule of three based off the number. What is interesting is that the verse that reveals for us to count the number itself is verse 18 there a total of 18 verses in Revelation Chapter Why the number is worth our attention is because the verse following Revelation is the first time in the Bible where the , are being described in detail:. What is compelling about the number , is, if you divide , by , you get The name of Jesus in Greek gematria adds up to The New Testament was originally written in the Greek language.

Revelation not only mentions the ,, but also the Lamb who is Jesus. Why the number 24? Revelation chapter 4 tells us there are 24 elders seated around the throne of God. This is the same throne where Jesus sits. Remember that this was the same exact formula we used to count the number that ultimately brought forth the number Here is a quick recap to demonstrate how this formula confirms itself as being the true way to count As you can see, it is perpetual.

And remember that we consistently used a formula that worked in threes being the number that God uses for confirmation. Here is another mathematical confirmation: , divided by 6, divided by 6, divided by 6 6,6,6 equals So what could this mean?

Well we know in this world we are identified by numbers in various forms. From our birth certificate to social security, as well as our drivers license; being identified based on a system of ruler ship. The first two definitions of the word are «a human being, whether male or female», and, «generically, to include all human individuals».

Could the number of the beast apply to all mankind? In the Greek the New Testament was originally written in the Greek language , and other translations, you will notice the beast is described as an «it», instead of «him». But by saying «the number of it », implies that it is of the beast system as a whole. We can know the number of the beast cannot be to identify products like a new barcode to buy or sell because scripture says we cannot buy or sell without the number of the beast.

What am I getting at? But for this number to be in our chips, that is where it must be to conclude ultimately that we cannot buy or sell without having the number of the beast. Truly a great division is taking place between good and evil—both spiritually and physically riots, unrest, politics. If you take the current year and divide it by the number known for its satanic implications you will get the number This number happens to be the number used to vote for Joe Biden and Kamala Harris.

And one thing is certain, is truly being divided by Satan. He is the master deceiver and spreader of chaos. Jesus calls him the father of lies. Obama has used this phrase in the past on his twitter and people believe it is a subliminal message to receive the mark of the beast, that is to say the implantable RFID microCHIP that will go IN our body.

Jesus says that we must be born again to enter the kingdom of God in the Gospel of John chapter 3. He shall be tormented with fire and brimstone in the presence of the holy angels and in the presence of the Lamb. And the smoke of their torment ascends forever and ever; and they have no rest day or night, who worship the beast and his image, and whoever receives the mark of his name» Revelation In the Islamic religion they have man called the Mahdi who is known as their messiah of whom they are waiting to take the stage.

There are many testimonies from people online who believe this man will be Barack Obama who is to be the biblical Antichrist based off dreams they have received. I myself have had strange dreams about him like no other person.

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There was an error. I think you hit the nail on the head General Comment I thought this song was about the pollution in marin, and peoples ignorance to all the pollution and leaving it for the comfort of their homes. The 2 white lines? Have no idea Such a great song. Naad on June 17, Link.

Naad "I still find time to exercise In uniform with two white stripes" Believe that is referring to the tracksuit as being the exercise uniform. General Comment this song is about yuppies taking over the bay area. General Comment Adidas has 3 black stripes, not 2 white. I'm ashamed that i know that. General Comment well, i live in this "marin" that they're talking about in this song i can can tell you excactly what they're saiying. General Comment The part about the two white stripes, I am assuming, is that he is talking about rich yuppies who go out and jog every morning in stupid jogging suits, metaphorically comparing the suits to army outfits, thus there is an army of rich people who go out and jog about every morning.

The part about the "scalding wooden tub", i'm guessing is a hot tub. The yuppie sees all the problems and crap out in the real world, and nonchalantly goes and relaxes in his hot tub because he just doesn't give a shit. General Comment Also, the part about the fenced off sand is his own private section of the beach, in his backyard. The two white stripes could also be in a bathing suit, or he could just be excercising in his backyard private beach.

General Comment Its saying that they fucked up the environment but don't even care because they've got their "own beach" inside their homes the hot tub. Violentpacifist on March 20, Link. General Comment defininetly a track uniform It's a warning about the distopian environmentally destroyed future "The crowded future stings my eyes" so bad that you have to wear a gas mask.

Artists - D. Milking the Sacred Cow. Rate These Lyrics. We do not have any tags for Moon Over Marin lyrics. Dead Kennedys — Dead End. Dead Kennedys — Bleed For Me. Dead Kennedys — Riot. Dead Kennedys — Winnebago Warrior. Dead Kennedys — Halloween. Dead Kennedys — Forest Fire. Dead Kennedys — Buzzbomb. Dead Kennedys — Well Paid Scentist.

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